The Muny announced today dates for the highly-anticipated 2021 season. After postponing the 2020 lineup due to COVID-19, a first in the theatre’s 102-year history, The Muny plans to present the originally-announced seven shows in the upcoming 103rd season, should conditions allow.
With new dates and a new show order, the 2021 season includes Seven Brides for Seven Brothers (July 5 – 11), Disney and Cameron Mackintosh’s Mary Poppins (July 14 – 22), Smokey Joe’s Cafe (July 25 – 31), The Sound of Music (August 3 – 9), Sweeney Todd (August 12 – 18), On Your Feet! (August 21 – 27) and Chicago (August 30 – September 5).
“The thought of having our Muny family and audience together again next summer makes my heart soar,” said Muny Artistic Director and Executive Producer Mike Isaacson. “The passion, energy and talent that so many put into a Muny show will be through the non-existent roof next summer. Let’s do it.”
Over the next several months, The Muny, in conjunction with city and health officials, will continue to evaluate every aspect of its operation in relation to its audience, staff, cast, crew and community. With ongoing consideration for available information and guidance regarding the anticipated global recovery from the COVID-19 pandemic in 2021, Muny staff are preparing for a delayed start of the 103rd season in July.
“After an incredible online season in 2020, we are excited to hopefully welcome St. Louis back to summer nights in Forest Park in 2021,” said Muny President and CEO Denny Reagan. “Our teams have been working diligently on presenting a season that is not only filled with ‘only at The Muny moments,’ but also safe. Safety, the comfort of our audience and the climate of the public health crisis will be the ultimate deciding factors.”
Current season ticket holders will be contacted personally in January with more information regarding their options and next steps.
New subscriptions will go on sale March 22, 2021 and single tickets will be available June 1, 2021.
MetroTix is the official ticket outlet of The Muny. Tickets are also securely available at muny.org.
Muny gift cards for the 103rd season are now available online at muny.org/store.
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 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 102 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
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
Sometimes,
we see magic happen under the stars in Forest Park. This summer, we saw a
different kind of Muny Magic – but enchanted evenings nonetheless.
It took a global pandemic for the Muny to achieve its greatest magic trick ever – they transformed our isolation into a community through a live variety special.
And they did it with such hard work and passion. Using modern technology, incredibly creative professionals and tip-top talent from coast to coast, it was a huge undertaking, which was obvious to anyone who tuned in for even a fraction of an episode.
For the fifth Summer Variety Hour Live! on Monday, Aug. 17, the Muny supersized the presentation and it was a splashy grand finale, tugging on our heartstrings in a big but intimate way. So much genuine emotion in new works, in memories and archival footage that reminded us how special our outdoor theatre is, the largest and oldest one in the country.
Seeing Muny mainstay Beth Leavel perform her showstopper
“Rose’s Turn” from “Gypsy” (2018) with the view from the wings! My heart was
bursting. Tari Kelly leading the ebullient “Forget About the Boy” in
“Thoroughly Modern Millie” (2012) and one of the all-time great musical theater
numbers, ‘Sit Down, You’re Rocking the Boat” from last year’s “Guys and Dolls,”
with the surprise appearance by Kennedy Holmes to hit those high notes. I was
grinning ear to ear. The Mission: Feel-Good was on!
Zoe Vonder Haar, Orville Mendoza and Kennedy Holmes in “Guys and Dolls” – Photo by Phillip Hamer
For five episodes, the Muny reinvigorated its treasure
trove of tradition, 102 years strong, to provide virtual entertainment that
filled the void of a cancelled season. The collaborative spirit on display was
inspiring.
Let’s face it, the summer has been dismal, especially with
rising coronavirus cases in our bi-state region. More things shut down and were
postponed in a never-ending stream of disappointments in 2020. But as a gift to
“the Muny family,” the management and creative teams conceived a way to connect
us. We all felt it, whether tuning in on Monday or catching the rerun on
Thursday from July 20 to Aug. 17 as the evening twilight faded.
For a brief shining moment, it seemed like old times. The
8:15 p.m. start was a constant to look forward to in an uncertain year during
an unprecedented public health crisis. With Executive Producer and Artistic Director Mike Isaacson’s bold and
unique concept, and his ability to attract the talent he did, each episode was
a captivating mix of tempo and tone, under the direction of multi-talented
Michael Baxter.
Colby Dezelick
What an emotional palette we experienced, touching on why
we love the Muny, from veteran performer Colby Dezelick’s touching original
song, “I Will Be Your Home” — with a behind-the-scenes video love letter
dedicated to his Muny family, to sweet Jenny Powers describing her feelings
about flying above the audience as Mary Poppins in 2013, and how the staff took
such good care of her. Straight to the heart.
And while seeing up-and-coming talent do what they do best
is always enjoyable, feeling their sheer joy in performing is blissful.
Watching St. Louis native and Broadway performer Richard Riaz Yoder use his
exceptional talents to dance “Broadway Melody” using the Muny as his canvas –
tap-dancing for a time in sneakers! – was breathtaking.
So was jubilant Jack Sippel’s choreographed dance number,
the cheery “You Can’t Stop the Beat!” from “Hairspray,” which was performed by
19 Muny alums and sung by Nasia Thomas, Muny vet and Broadway performer in
“Beautiful,” “Ain’t Too Proud to Beg” and soon, the revival of “Caroline, or
Change.”
In the 2017 production of “A Chorus Line,”
director-choreographer Denis Jones used young versions of the dancers in
certain scenes, to emphasize their dreams and drive. On Monday, they showed the
wistful “At the Ballet” number, which was performed by Holly Ann Butler as
Sheila, Bronwyn Tarboton as Maggie and Caley Crawford as Bebe, with little
ballerinas in view.
As lump-in-the-throat as that song is, nothing can match the show’s curtain
call for its spectacular finish, and they recreated it for The Muny Centennial
Gala, complete with fireworks. Such a thrilling moment to revisit.
The energy, enthusiasm and talent of the Muny Teens and
Kids each episode was another heart-tugger. Because six teens were graduating,
they had a special senior sendoff: Michael Harp, Cate Phillips, Michael Lee
Jr., Fiona Scott, Jack Deters and Caitlin Chau sang “Our Time” from Stephen Sondheim’s
“Merrily We Roll Along.” I have seen these kids grow up. Misty eyes.
“Worlds to change, and worlds to win Our turn,
coming through.”
The Muny Kids’ adorable and confident youngsters mashed up
“Come Alive” from the film “The Greatest Showman,” with songs by Oscar and Tony
winners Benj Pasek and Justin Paul, with “A Little More Homework” from Jason
Robert Brown’s “13.”
For comic relief, there was the fun “Munywood Squares” game show, good sports all, and jolly John Tartaglia reprising his Murray the Muny Raccoon schtick, making Isaacson laugh.
Mike Isaacson
Isaacson, who has been the visionary executive producer and
artistic director since the 2012 season, named to the post in 2010, cares
deeply about the Muny’s place in historic context and local lore, and with his
Broadway experience, he’s able to give us quality casts, teams and a really
dedicated staff.
Clearly wearing his heart on his sleeve as this summer’s host, he gave us something that we could enjoy on many levels and for many reasons. Isaacson has multiple Tony Awards and 24 Broadway shows and national tours to his credit. He makes things happen in a way that elevates the Muny in stature, boosting our civic pride, but also gains respect in the larger theatrical world. His reverence for the art form is obvious, and he has shown us, time and again, the possibilities of what the Muny can accomplish.
That connection that he spoke of, all the people who came
together without hesitation, all the selfless devotion, a renewed sense of
purpose – it felt very real and elicited a teary farewell.
I think, like “Field of Dreams,” Forest Park and the Muny are
mystical places. After all, musical theatre is a constant in our lives, like
baseball. We want to believe that in a time of everything turned upside down,
of norms being shattered, that there exists a place we feel safe, happy, loved.
That sharing theater and music brings us together like no other art form.
So, the Muny Variety Hour gave us the opportunity to be in
the company of performers who love the Muny like it is a family, a home. That
theme was repeated over and over. And that’s what we are craving in these anxious
times.
And in Colby’s song: “When it’s dark, I’ll be the light.”
Beth Malone
Another almost spiritual song was the centuries-old tune
and Muny season-ender tradition “Auld Lang Syne,” sung by Beth Malone, who
accompanied herself on acoustic guitar. Beautiful and bittersweet.
The ties that bind us, recalling happy golden days of yore. “Meet Me in St. Louis” appeared again in the line-up – of course. Yes, it’s schmaltzy, but its inclusion of the 1904 World’s Fair, which has impacted our lives and region ever since those seven months, and the work preceding it, make it a nostalgic chestnut.
Married
couple and Muny performers Erin Dilly and Stephen R. Buntrock sang a lovely
duet, “You and I,” from their home. They appeared as Mr. and Mrs. Smith in the
2018 production, the Centennial season finale.
Maggie
Kuntz, a Muny vet and two-time winner of the Best Actress Award from the St.
Louis High School Musical Theatre Awards, sang the iconic “The Trolley Song”
live from under the Culver Pavilion with polish and panache.
Dan De Luca and Emily Walton in “Meet Me in St. Louis” Photo by Phillip Hamer
And then in
the sentimental sweet spot, they played “The Skinker’s Swamp” picnic scene
featuring Emily Walton as Esther and Dan DeLuca as John Truitt. The video
projection was The Palace of Fine Arts, now the St. Louis Art Museum, under
construction in a muddy field.
How many
times have we been in the shadow of our treasured landmarks?
The world
was watching when the Louisiana Purchase Exposition celebrated the 100th
anniversary of the U.S. expansion under Thomas Jefferson. More than 60
countries and 43 states participated from April 30 to Dec. 1 in Forest Park and
nearby locations.
So, the Muny
and Forest Park remain crown jewels that we cherish.
And the
Summer Variety Hour Live! reinforced our past, present and future. I’ll meet
you at the Muny next summer. Looking forward to greeting the Muny family once
more. “Through the years, we’ll always be together, if the fates allow.”
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 Among the many thousands of people tuning in to the Muny’s Summer Variety Hour Live! on Monday nights, a health care professional told Mike Isaacson, the executive producer and artistic director who conceived this musical mash-up, that the show has saved her sanity and her summer. I second that.
If this summer were a mix-tape, mine would include all the magical
Muny-ized showtunes, “Hamilton” (just because) and the TwinstheNewTrend (just
watch). This bittersweet blend has become Operation: Summer Salvation. We
didn’t know how desperately we needed this balm, like a cool breeze on an
unbearably muggy day (or a Lemon Freeze under a Muny fan).
Kennedy Holmes
Why else would tears be streaming down my face as the
sublime Kennedy Holmes beautifully sang “Children Will Listen” live under the
Culver Pavilion, with Tali Allen on piano on Aug. 10, the fourth episode? Holmes,
who broke out as Little Inez in 2015’s “Hairspray,” went on to become a phenom
on “The Voice,” with a fourth-place finish. (She was robbed!). She remains a
loyal Muny Teen and, as the soloist Monday, displayed a stunning maturity.
Under Isaacson – who loves Stephen Sondheim as much as I do
– we were able to witness an extraordinary “Into the Woods” in 2015, and as I
teared up at least five times during the Muny production back then, watching
Tony winner Heather Headley sing “Children Will Listen” was the highlight among
many. Leave it to a young woman, Kennedy, to remind us:
Children will look to you
For which way to turn
To learn what to be
Careful before you say
“Listen to me”
From a musical stressing the reality behind the
make-believe, Monday’s rendition took on a greater poignancy. And being able to
see Kennedy’s growth and blossoming as a future major star was another unforgettable
“Muny moment.”
In a crazy world of scary happenings and headlines, we have been comforted by
the talent of this joyful, faithful and hopeful ‘family’ of entertainers and the
time-honored tradition of the Municipal Opera, now 102 years old, for four
shows so far. Every superbly mixed show has elicited a rollercoaster of
emotions as we take our seat, not in the 11,000 open-air theater, on a warm
summer night, but instead before our televisions and computer screens, tissues
at the ready.
The anticipation is matched by the exquisite renditions,
whether live or on tape, but the added bonus has been seeing the work of such creative
spirits – putting together all those filmed clips and using Zoom technology.
And then you have the sunny optimism of those Muny Kids and Teens, and well,
leaky eyes.
It feels real, even if it is make-believe. Somehow, through
cyberspace, we feel connected. And we need it, apparently, for more than
140,000 people tuned in to the first three.
“Through the years, we’ll always be together, if the fates
allow” — little did we know how much the lyrics of “Meet Me in St. Louis”
would mean during a pandemic, “right here.” So, of course, this cast from the
Centennial presentation in 2018 would be this week’s heartwarming sing-a-long
reunion.
The sentimentality showed up in waves during the
penultimate super-duper deluxe show, despite a heavy thunderstorm in the region
that caused uprooted trees, power outages and flash flooding. Yet, here was
Mike, underneath the stage, guiding us through another enchanted evening. We
weren’t huddled together with our umbrellas, but nonetheless united.
And the urgency of underlying theme “Gotta Dance!” saved
the day with some fresh, fantastic choreography.
The unbridled happiness of tap dancers, near and far, took
us from stages to home spaces in “Tap Your Troubles Away.” Conceived and
choreographed by Muny Resident and Teen Choreographer Katie Johannigman, this was
a jolt of jubilation that had me grinning ear to ear, featuring alums from the
past decade. And then Jack Sippel’s moving contemporary dance piece,
“Speechless” featuring Muny Teens. Breath-taking! A St. Louis native, Broadway
performer and Muny alum, Sippel is currently working on the Netflix version of
“The Prom,” as he was the dance captain of the Broadway show.
“West Side Story” is my all-time favorite musical, and the Jerome Robbins choreography is swoon-worthy, so to be treated to the goosebumps-inducing “Dance at the Gym” from “Jerome Robbins’ Broadway” in 2018 was a treat. The Muny’s 2013 production of “West Side Story” will always stand as one of the best ever, and the West Side Story suite from the Robbins’ greatest-hits compilation reminded me why the show is timeless 63 years later.
The archival footage included “Jersey Boys,” the sensational national premiere outside Broadway/national tours in 2018, and the splendid re-imagining of “The Unsinkable Molly Brown” with life force Beth Malone from 2017. Plus, one of the best “Annie” shows I’ve ever seen – “NYC”! — in 2018 helmed by the one-of-a-kind John Tartaglia.
John Tartaglia
It would not be a Muny summer without the exceptional Tartaglia, and he delivered the night’s best laugh-out-loud surprise – appearing as Murray the Muny Raccoon,” the pesky scene-stealer who waddled on stage during ‘The Addams Family” and is missing his scraps and his adoring fans. The versatile performer has memorably played The Cat in the Hat in “Seussical,” the Genie in “Aladdin” and won the St. Louis Theater Circle Award for Supporting Actor in a Musical for playing Hysterium in “A Funny Thing Happened on the Way to the Forum,” in 2017, in addition to his directing work. He started as a puppeteer on “Sesame Street,” and went on to “Avenue Q” and playing Pinocchio in “Shrek.”
For the weekly Couple Duo, we had not one but two. Real-life
couple Jason Gotay (Jack! Prince Eric! Prince Charming (well, Topher) in
Cinderella!) and Muny regular Michael Hartung charmingly performed “Song on the
Sand” from “La Cage aux Folles.”
Then the adorable power couple Jenny Powers and Matt Cavenaugh – who wowed us at the Sheldon a few years ago – brought baby daughter Rose with them to reprise “New Words,” a song by composer Maury Yeston. It’s not from a show, but he has composed “Titanic,” “Nine,” “Grand Hotel” among others. Waterworks.
This multi-tissue moment brought the house down, so to
speak. All across the nation, we collectively burst into tears while they sang
about “the moon, stars and love.”
Wait there was more! “Do-Re-Mi,” a special song-and-dance
performance by those effusive Muny Kids and Teens. And those indomitable teens
sang a bouncy rendition from “It Roars” from “Mean Girls.”
The Munywood Squares was another fun segment, and behind
the scenes is always illuminating. We heard about the Clydesdales Ace and
Deuce, and seeing the excitement of that experience from the creative anecdotes
was a nice perk.
One more chance to see this show Thursday at 8:15 p.m. on
Muny TV. For more information: muny.org/varietyhour/
And then Monday will be the swan song. Supersized (and with the traditional “Auld Lang Syne” too). Aug. 17, 8:15 p.m.
I’m so glad we’ve had this time together, just to have a
laugh or sing a song…
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 The sights and sounds of nights gone by are such a welcome sentimental journey on the exciting new online Muny Mondays.
But the variety show is not all a “Remember When” montage,
and that is what sets it apart. With a fresh batch of pixie dust, the Muny’s
second episode of its smash hit Summer Variety Hour Live more than met
expectations after such a sensational series launch July 20.
Rob McClure and Maggie Lakis
If you were curious as to how they could top the inaugural
show, now that we know the formula, one look at the lineup beforehand answered
that quickly. Tony nominee Taylor Louderman singing live under the Culver
Pavilion! Tony nominee and fan favorite Rob McClure, versatile veteran of six
Muny shows, singing “Suddenly Seymour” with his wife Maggie Lakis, who has been
in two Muny musicals, from their home in Philadelphia. McClure’s Muny debut was
“Little Shop of Horrors” in 2011, so that was fitting. The cast of 2017’s
spectacular “The Little Mermaid,” lead by Commodore Primous III as Sebastian,
reuniting to sing a buoyant “Under the Sea.” I mean, the deck was stacked.
The best way to describe the ebb and flow of the carefully
curated selection of acts is to compare it to a multi-course gourmet dinner especially
crafted to include favorite dishes, comfort food, bold choices and unique taste
treats, every bite bursting with flavor.
When the “Wow” factors were unveiled — those unforgettable
Muny moments that you will always recall with awe, so grateful to have
experienced it in person – they blew me away. It isn’t hard to pick five, ten
or 20 out of your head if you are a regular. (We probably share some of the
same ones – we’ll have to compare notes).
And this supersonic flash came from two performers I saw in
ensembles but did not know their names: Nkeki Obi-Melekwe and Chloe O. Davis. I
will never forget them now.
Nkeki Obi-Melekwe
Nkeki soared singing “If You Knew My Story” from
“Bright Star” during her time, a selection to reinforce color-blind
casting. Nkeki, a Michigan graduate, appeared in the Muny’s 2017 “All Shook Up”
and went on to play Tina Turner in “Tina the Musical” in London’s West End in
April 2019, then move to Broadway in October.
If you are unfamiliar with “Bright Star,” the
musical by Steve Martin and Edie Brickell, it came out the same year
“Hamilton” did and lost the Tony Award for Best Musical to the
landmark show in 2016.
Chloe O. Davis, a dancer who grew up in St. Louis and was
in “All Shook Up” and “The Wiz” in recent years, was featured in “My
Tribute to Black Broadway and Black Choreography: I Thrive Now Because You
Dared Then,” a dance she conceived and choreographed.
As she used Forest Park as her stage, she gave us a history
lesson that stirred “all the feels.” She created the styles of famous black
choreographers, using audio and visual clips in addition to her dance moves –
East St. Louis’ international icon Katherine Dunham, George Faison, Debbie
Allen, Hope Clarke, Gregory Hines, Donald Byrd, Bill T. Jones and Camille A.
Brown among them.
Chloe O Davis
Moving. Powerful. Elegant. Truly a shining moment.
A delightful song-and-dance interlude was courtesy of three
dynamos Maya Bowles, Trevor Michael Schmidt and Gabi Stapula, whose high-spirited
“There’s Gotta Be Something Better Than This” from “Sweet Charity” captured our
anxiety and their eagerness to get back to the business of entertaining. These
chorus gypsies reminded us how ensemble cohesiveness is so important to any big
splashy musical.
Gabi also works with the Muny Teens, and their fun-loving mashup of “Bring On the Monsters” from “The Lightning Thief: The Percy Jackson Musical” and “Drive It Like You Stole It” from “Sing Street” again showcased how talented some local students are – and their sunny dispositions. I’m a big fan of the 2016 movie “Sing Street,” which is writer-director John Carney’s third film about the transforming power of music (“Once” and “Begin Again”), and its stage adaptation was set to open on Broadway in April after rave reviews off-Broadway.
The power ‘hour’ also featured behind-the-scenes stories about what’s happening at The Muny, including being able to pull off the stunning fireworks at the Centennial Gala, and the amusing game show throwback Munywood Squares. With interesting fun facts, hosted by Gordon Greenberg and featuring nine Muny performers in the Zoom grid, including E. Faye Butler, J. Harrison Ghee, Ann Harada, Raymond J. Lee, Vicki Lewis, Steve Rosen, Jeffrey Schecter, John Scherer and Christopher Sieber. This week’s good sport contestants were photographer Phillip Hamer and Muny company manager Sue Greenberg. Fun remembering the raccoon who waddled on to the stage in “The Addams Family” in 2014!
Taylor Louderman
On an intermittent rainy night, star Taylor Louderman was accompanied by four socially distanced musicians, to sing live the power ballad “Astonishing” from “Little Women.” Always nice to include a female empowerment song, this one from Louisa May Alcott’s timeless and timely heroine, Jo March. From Bourbon, Mo., 60 miles southwest of St. Louis, Taylor went from Muny Teen to Tony nominee as Regina George in “Mean Girls.” She made her Broadway debut in 2012’s “Bring It On!,” has been in seven Muny shows and won the St. Louis Theater Circle Award for Best Supporting Actress in a Musical for last summer’s “Kinky Boots.” (And this year, finished her bachelor’s degree that she had started at Michigan in 2009 and was married five weeks ago to Brooks Toth).
The archival footage of past summer shows is a fond trip down
memory lane, starting with Muny titans Beth Leavel and Ben Davis in 2015’s “Oklahoma!”
Leavel, Tony winner for “The Drowsy Chaperone” and nominee for ‘The Prom,” is a
frequent St. Louis Theater Circle Award nominee, winning for her Mamma Rose in 2018
“Gypsy.” Davis, seen last year as Sky Masterson in “Guys and Dolls,” has been
nominated multiple times, and once joked during an interview that he is the ‘Susan
Lucci’ of the Circle Awards.
Davis was in the now legendary production of “Spamalot” in
2013 as Sir Galahad. Host Mike Isaacson introduced “Always Look on the Bright
Side of Life,” which holds the distinction of being the most popular song at
funerals, pointing out how weather affected the show. I remember that on opening
night June 17, a steady rain was falling after torrential downpours for days
preceding it. So, there was little opportunity to rehearse outdoors. The
audience for the show opener of the 95th season was so eager to see
this Muny premiere that we came in droves with our umbrellas — and were
mightily rewarded.
It’s a night I’ll never forget. During the curtain call,
actor John O’Hurley, playing King Arthur, stopped the show to introduce Monty
Python founder and show creator Eric Idle! Whoops, cheers and thunderous applause!
Everyone on their feet. I turned to my companion and said: “We are in the
presence of a Python!” Oh, be still my heart. It was pure bliss – he led us in “Always
Look on the Bright Side of Life” after mentioning this was the largest audience
to ever see the musical and he wanted to see if we could get in the Guinness
Book of World Records for our sing-a-long.
Oh, what a night! I had the good fortune to interview John O’Hurley
later that fall when he was touring as Billy Flynn in “Chicago,” and we had a pleasant
conversation about that enchanted evening.
Another splendid memory was shared with the incredible “We’re in the Money” from the extraordinary 2016 production of “42nd Street,” choreographed by Denis Jones, St. Louis Theater Circle Award winner. That curtain call – go see it on YouTube – as the cast cascaded down a staircase will go down as my favorite (next to “A Chorus Line”) in Muny history.
All these elements are what make summer nights special at the Muny, and spotlighting the world-class talent – from the musical theater majors from the best schools in the country to the stars with Broadway credentials — who come together in Forest Park – is one I like to emphasize. Years ago, seasons were headlined by ‘names’ – mostly from TV – and while recognizable, I much prefer having the best talent possible give us their all on that stage. Drama geek that I am, I read all the bios and notice who returns to the Muny, who creates magic on the stage, or is given the part of a lifetime.
And in that spirit, the Summer Variety Hour Live emphasizes how
many parts make each show happen.
And it is a warm, familiar embrace at a time we all need a hug.
On July 20, The Muny 2020 Summer Variety Hour Live! drew more than 30,000 viewers from across the U.S. and around the world. This total sets a new, record-breaking first in The Muny’s live-streaming history.
On July 27, we were connected by the calypso beat of newly crowned EGOT winner Alan Menken, the banjo picking of brilliant Steve Martin, the Britpop synthesizer of ‘80s New Wave, the zaniness of silly comic geniuses, homages to Busby Berkeley and Broadway chestnuts, the triumph of a ‘local’ small-town girl with a dream, sweetness, sincerity, showmances and people who think sitting under those stars in St. Louis is like coming home.
These shows (5 total, 3 left) are exclusive, one-time-only
streams and will not be available after the Thursday night airing. The July 30
re-airing will include audio description and captions. The link is: youtube.com/themunytv
The Muny’s online 2020 season is sponsored by World Wide Technology. Episode 1 was made possible by US Bank and Episode 2 by Edward Jones. They announce the next lineup every Wednesday.
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
With magic to do and the ‘Lou turning its lonely eyes to them, the Muny blazed
another trail Monday with its introduction of “The Muny Summer Variety Hour
Live!”
The first episode was a nifty package of show tunes,
personalities, bouncy sing-a-longs, behind the scenes with dedicated staff and
several special live moments, all shared on social media in real time by an
audience spanning coast to coast. (Latest figures: 25,000 tuned in!).
Oh, what a treat to be reminded of what makes the Municipal
Opera so special for 102 years – and not only because it is the oldest and
largest outdoor theater in the country, but because it is “our Muny,” right
here in St. Louis. And summer isn’t really summer until the Muny opens.
Two of our hometown’s greatest showmen – Lara Teeter and
Ken Page – entertained us in royal fashion, with Tony nominee Lara recreating a
vintage musical dance he called “Take Me Away!” as his fleet feet took him
throughout the great expanse of the Muny grounds one sunny day. He was joined
by his son Charlie in the segment.
And live, from the Culver Pavilion, with four musicians
socially distanced, the regal Ken Page sang “Memory,” the signature song from
“Cats,” in a showstopper that was one for the ages. Night had fallen, and this
stage legend gave an emotional powerful rendition. Chills. Leaky eyes.
Add it to the countless memorable Muny moments we have
experienced over the years, even though it was remote. We all felt it sitting
in our living rooms.
When host Mike Isaacson, Muny executive producer and
artistic director, began this maiden voyage from backstage, he said: “We are
together in real time.” He is always mindful of being entrusted with the Muny
legacy.
I literally burst into tears. I didn’t realize how badly we, well me, needed such a pick-me-up. Oh sure, I have been a realist as to the why, but still wistful: “This would be opening night at the Muny,” I said to myself June 15, remembering the rainbow that came out after intense rainstorm right before the opening of ‘The Wizard of Oz” in 2016.
Tammy Duensing and I at the Muny 2017
And there are those Facebook memories that pop up, recalling how I felt about a production or selfies with my frequent Plus One, Tammy Duensing, whose belting rendition of the national anthem always gets compliments from the people in the seats around us.
In a year that is all about Plan B while trying to be safe
and adapt to unprecedented times during a public health crisis, this savvy move
to online specials was a ‘next best thing’ scenario, a balm for disappointment.
And spoiler alert – this starburst of a show is longer than an hour (thank
you!) and it has a 7-minute intermission. What a grand night for singing! And
dancing. And laughs.
What a jolly time the “Munywood Squares” trivia interlude
was, hosted by the outstanding director Gordon Greenberg, with such good sports
as E. Faye Butler, Ann Harada, Vicki Lewis, John Scherer, Christopher Sieber,
Steve Rosen, Raymond J. Lee, all Muny favorites. I was able to see contestants staffer
Jaclyn Sales and Leon Dobkowski for the first time, who has designed some of
the best costumes in recent years (Tarzan! The Wiz! Hairspray! Mamma Mia!
Seussical!) and on the panel Jeffrey Schecter (Schecky) when he is not a
whirling dervish being Scuttle or Cosmo or filling in as Pseudolus in “Forum.”
And J. Harrison Ghee, who was so memorable as Lola in “Kinky Boots” last
summer, looked like a million dollars. No signs of Quarantine 15.
E Faye Butler in “The Wiz.” Photo by Phillip Hamer
Because the world turned upside down six months ago when
the coronavirus spread became a global pandemic, life as we know it has changed
in nearly every aspect. “The new normal” means live theater is on hold, for the
most part, and that meant postponing the Muny’s 102nd season line-up to 2021.
While the extended break is another sad sign of many life changes in 2020, that
didn’t stop the creative minds churning to see how little bits of summer
tradition could be rescued.
Online programming became the go-to, and the Cast Party reunion
gatherings on Monday were a wonderful opportunity to connect with people who
have given me a great deal of joy that is etched in my memories. The Muny TV YouTube
channel is a treasure trove of spectacular dance moments and lustrous voices on
a warm summer night. They brought us the Muny Magic concerts from the Sheldon,
which were a showcase for the incredible talent that graces the Muny stage, and
exciting show/cast announcements the past few years.
Using playful retro colors and designs, this “Summer
Variety Hour” throwback to 1970s staple TV programs was a merry way to
celebrate the good times we share with family and friends – only they used
modern technology to make it happen. Zoom and other virtual platforms have been
our saving grace during the lockdown.
Through the Brady Bunch grid of the Zoom, The buoyant Muny
Kids sang “Happiness” from “You’re a Good Man, Charlie Brown,” demonstrating
the exuberance of young talent. Not to be outdone, the gifted and energetic
performers, often seen in the ensemble, under the helm of the Colby Dezelick
Dancers, came together from their home spaces, to perform a lively “We Go
Together” from “Grease.” Colby’s been a fun fixture on the Muny stage – last
seen as Angie the Ox in “Guys and Dolls” and the doctor in “Matilda” in ’19.
Muny veterans Jen Cody and Hunter Foster, who have been
married for 23 years, performed “The Doctor Is In,” from “You’re a Good Man,
Charlie Brown.” Scenes of their past work – including Jen as the Grandma in
“The Addams Family” with Puggsley (Michael Harp) in one of that show’s funniest
exchanges, and Hunter in a new production of “Pirates!” were shown.
Of course, you couldn’t have a Muny show without displaying
the exquisite voices that fill the back rows of the 11,000 seats, and Emma Degerstedt as
Ariel certainly did in the inspired “The Little Mermaid” in 2017, one of my
favorite productions in the past decade. Her “Fathoms Below/Where I Belong” evoked
my water-colored memories of a sweet shimmering show. It was lovely to see the lithe
Muny ensemble dancers as well.
Ashley
Brown, a Muny player during her college years who originated the role of “Mary
Poppins” on Broadway, has a glorious voice, as exemplified in “The Sound of
Music” and “Cinderella” at the Muny. She sang “Climb Ev’ry Mountain” from her
mother’s home in Florida, as her infant daughter napped.
Through archived clips, we saw a rousing “A Brand New Day” from the resurgent “The Wiz” in 2018, featuring Danyel Fulton as Dorothy, Jared Grimes as the Scarecrow, James T. Lane as the Tin Man and Darius de Haas as the Cowardly Lion. And “Lida Rose” from “The Music Man” with the Barbershop Quartet of Ben Nordstrom, Adam Halpin, J.D. Daw and Joseph Torello harmonizing beautifully.
Mamie Parris and Matt Bogart in “Paint Your Wagon” Photo by Phillip Hamer
To
close, 18 cast members of last summer’s reimagined robust “Paint Your Wagon!” sang
a vigorous “How Can I Wait?” from all over America, including leads Matt Bogart
and Mamie Parris, and supporting players Omar Lopez-Cepero, Bobby Conte
Thornton, Maya Keleher, Allan K. Washington, Andrew Kober, Austin Ku, Raymond
J. Lee, Rodney Hicks and others. What a perfect song to end an enchanted
evening with hope and love. (And it knocked the score of “Hamilton,” which has
been playing on constant loop in my brain, since July 3, out and became my new
ear worm. Go to Muny TV to hear Mamie Parris in the show.)
This monumental effort to pull all these segments together
is applause-worthy – and the hours it took to plan and executive I can only
imagine. Everyone was in high spirits – connecting us all in a new, and
welcome, way.
If you missed the first one, you have one more opportunity to see it, for Episode 1 will be re-broadcast at 8:15 p.m. Thursday, July 23. There will be four more episodes shown every Monday, then repeated Thursday. On Wednesdays, they will announce the plans for the next episode on social media.
I took this photo during the Birthday Bash, when we could go on stage. May 2018.
We are not sitting under the stars in Forest Park, but Munygoers share a special bond, and this endeavor was a unique experience that brought back fond memories. Like many of you, I have a lifetime of them, starting when my grandma took me when I was 10, a poor kid from a big family in Belleville, watching live theater in wide-eyed wonder. Theater would become a major part of my life, and my appreciation began across the river on those warm summer nights.
One of my favorite things about Episode 1 was how they
highlighted the many employees who make Muny nights happen by their tremendous
commitment to this outdoor slice of theater heaven. There is such passion in
their work. I enjoyed the back story of triple-threat Corbin Bleu, as Don
Lockwood in the splendid “Singin’ in the Rain” in 2018, getting to dance in the
rain for the first time in his rubber shoes, as told by production manager
Tracy Utzmyers. And for technical director Tim McDonald explaining how they
make the rain happen for that show, and the previous two, in 2005 and 2011.
And my favorite thing about the Muny since 2009, when a
Belleville News-Democrat editor asked me to review the season and I
enthusiastically said yes, is the possibilities that a new opening night brings
seven times a summer. Will they pull off a premiere or classic with uncommon
flair? Will everyone rise to the occasion? What will be the night’s “Wow” moments?
I remain in awe of the talent and sweat equity it takes to put on a show, and I
am enriched by the storytelling and the performers who connect with me, no
matter where I am sitting.
And some have become familiar faces that I look forward to
seeking out on stage, and I am grateful for these opportunities to see where
the directors’ and production team vision takes me. It’s a all about a community
coming together in collaboration – that’s what live theater is and what we miss.
(That, and the hugs!).
And thanks to some shining moments Monday night, I was transported
to a happy place — and just being able to think about the possibilities ahead,
is reason to smile. This is only intermission.
Take care. Stay safe. Be strong.
And thank you Muny and your sponsors, for serving us a refreshing summer tonic that was part nostalgia and part pizzazz, and all heart. It might not be perfect – what live event is? – but it’s important.
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 it will offer 10 weeks of free online Muny entertainment for the summer of 2020. For 10 consecutive Monday nights, with a single repeat stream on the subsequent Thursday, audiences and fans can experience the magic of their Muny summer online at muny.org with both curated and newly created entertainment. The Muny’s free online season is proudly sponsored by World Wide Technology.
Beginning Monday, June 15 through Monday, July 13 fans can enjoy five weeks of Muny Magic in Your Home. This new series will feature exclusive, never-before-seen footage of the The Muny’s concert series Muny Magic at The Sheldon. Launched in 2015, the popular off-season series hosts Muny fan-favorites for intimate evenings of music, song and story.
The online season launches this Monday, June 15 at 8:15 p.m. CDT with Muny favorite, and Tony and Drama Desk Award-winner, Beth Leavel. The first Muny Magic in Your Home will also feature a guest appearance from Tony Award nominee Lara Teeter, as well as other very special surprise artists. Ms. Leavel’s music director is Phil Reno and she is joined by Vince Clark on bass and Nick Savage on drums.
The complete Muny Magic in Your Home schedule is: Beth Leavel (June 15 and 18), A Night with the Buddy Holly Boys (June 22 and 25), Our Leading Ladies (June 29 and July 2), Our Leading Men (July 6 and 9) and Mikaela Bennett and Alex Prakken (July 13 and 16). For descriptions of each show, please see below.
Beginning Monday, July 20 through Monday, August 17 the Muny will produce five online variety shows featuring Muny friends and family from around the world. The full schedule and weekly lineup will be announced in early July.
All Muny online performances can be streamed on Monday and Thursday evenings at no cost via muny.org. These are exclusive, one-time-only streams and will not be available after the Thursday night airing.
“While we can’t be together in Forest Park this summer, we wanted to have a 102nd season to bring our community and our audiences together in whatever manner we can,” said Muny Artistic Director and Executive Producer, Mike Isaacson. “One of the reasons The Muny has survived and thrived for more than a century is because we’ve been a wonderful ritual, a life bookmark, for generations of St. Louisans. With our online season, we can keep and honor that beautiful tradition. We hope everyone will gather and enjoy these terrific Muny shows.
“Our teams have been hard at work putting together 10 incredible nights of programming that will hopefully help simulate a small piece of the Muny magic audiences feel each summer in Forest Park,” said Muny President and CEO, Denny Reagan. “To kick off our online season with beloved, longtime Muny favorite Beth Leavel is nothing short of exciting. Her Muny Magic in Your Home performance sets the bar for a great online summer season ahead. We are sad that we won’t see our Muny friends and family in person, but we are eager to spend 10 nights together virtually.”
Beth Leavel, The Buddy Holly Boys, Our Leading Ladies, Our Leading Men, Mykeala Bennett and Alex Prakken
Beth Leavel | June 15 and 18 Sponsored by World Wide Technology
Beth Leavel received Tony, Drama Desk, Outer Critics Circle and L.A. Drama Critics Awards for her performance as the title character in The Drowsy Chaperone. Other Broadway: Dee Dee Allen in The Prom (2019 Tony Award nomination), Florence Greenberg in Baby It’s You! (Tony, Drama Desk, OCC nominations); Bandstand, Elf, Mamma Mia!; Young Frankenstein, 42nd Street (original and revival), Crazy for You, The Civil War, Show Boat. Numerous credits off-Broadway, regional theatre, commercials and television, including the Paper Mill Playhouse production of The Bandstand. MFA from University of North Carolina, Greensboro.
Beth’s Muny credits include: inaugural Muny Magic at The Sheldon featured artist (2015), Mama Rose in Gypsy (2018), Aunt Eller in Oklahoma! (2015); Mrs. Dolly Gallagher Levi in Hello, Dolly! (2014); Sister Robert Anne in Nunsense: Muny Style! (2013); Mrs. Meers in Thoroughly Modern Millie (2012), Miss Hannigan in Annie (2009), Vera Charles in Mame (2005), Dorothy Brock in 42nd Street (2004) and Betty Rizzo in Grease (1988). She has also served as an understudy for some of the greatest Muny leading ladies in 1983: Judy Kaye in Can-Can; Lucie Arnaz in I Do! I Do!; Lynn Redgrave in The King and I and Susan Powell in Promises, Promises.
The Buddy Holly Boys | June 22 and 25 Sponsored by Cardinal Glennon Children’s Hospital, Drury Hotels, Safety National and Welsch Heating and Cooling Company
After starring as Buddy and the Crickets in The Muny’s 2015 summer blockbuster Buddy: The Buddy Holly Story, Andy Christopher, Joe Cosmo Cogen, Kyle Lacy and Nathan Yates Douglass give an electrifying performance in the highest-attended Muny Magic at The Sheldon to date.
Our Leading Ladies | June 29 and July 2 Sponsored by Augusta Winery and Montelle Winery
Danielle Bowen (Dorothy in The Wizard of Oz, 2016), Ali Ewoldt (Martha Jefferson in 1776, 2019; Philia in A Funny Thing Happened on the Way to the Forum, 2017; Maria in West Side Story, 2013), Stephanie Gibson (Gabrielle in Cinderella, 2019; Inga in Young Frankenstein, 2016; Gertie Cummings in Oklahoma!, 2007), and Elena Shaddow (Marian in The Music Man, 2016; Cinderella in Into the Woods, 2015) give heart-stirring tributes to leading ladies of past Muny seasons, including Ethel Merman, Shirley Jones and Bernadette Peters.
Our Leading Men | July 6 and 9 Sponsored by Centene Charitable Foundation
Ben Davis (John Dickinson in 1776, 2019; Sky Masterson in Guys and Dolls, 2019; Pilate in Jesus Christ Superstar, 2017; Curly in Oklahoma!, 2015; Emile de Becque in South Pacific, 2013; Galahad in Spamalot, 2013), Davis Gaines (Joseph Pulitzer in Newsies, 2017), Jay Armstrong Johnson (Jack Kelly in Newsies, 2017, Billy Lawlor in 42nd Street, 2016; Barnaby Tucker in Hello, Dolly!, 2014) and Mykal Kilgore (Annas in Jesus Christ Superstar, 2017) celebrate iconic men from past Muny seasons.
Mikaela Bennett and Alex Prakken | July 13 and 16 Sponsored by U.S. Bank
Muny newcomer Mikaela Bennett (Ella in Cinderella, 2019) and St. Louis native, and former Muny Kid and Teen, Alex Prakken (Courier in 1776, 2019; Marius in Les Misérables, 2013) take audiences on an enchanted journey through the musical theatre songbook.
For digital assets, including the Muny Magic in Your Home logo and b-roll of Beth Leavel, please click here World Wide Technology (WWT) became the first overall season sponsor in the history of The Muny in 2014. They are committed to continuing in this role with their leadership gift as The Muny’s 2020 Online Season Presenting 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. ###
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 102 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
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 longtime Muny performer, Alex Prakken left his native St. Louis to grow his musical theater aspirations, but his heart is at home on the local stages that have meant so much to him.
Prakken will star alongside Mikaela Bennett in the eighth
installment of its off-season concert series, Muny Magic at The Sheldon, on
Tuesday and Wednesday, Nov. 5 and 6, at 7:30 p.m.
“The Muny is such a special place, not just for me, but for
many,” he said. “I always wanted to go to New York. And The Muny definitely
helped me to get to where I needed to be in singing, acting and dancing. And I
got to watch these phenomenal actors on that stage, work with them, and learn
from them.”
Prakken replaces Jason Gotay, who was cast as Che in the upcoming New York City
Encores! Production of “Evita” and had to withdraw. Gotay appeared as Prince
Topher in “Rodgers and Hammerstein’s Cinderella,” as Prince Eric in “Disney’s
The Little Mermaid” and Jack in “Into the Woods” at The Muny.
“We’re so grateful to Alex for joining this always
joyous and magical night,” said Muny Artistic Director and Executive
Producer Mike Isaacson. “Alex thrilled audiences last season in 1776 and
his performance as Marius in Les Misérables remains a Muny favorite. I’m sure
he and Mikaela will make serious magic.”
A former Muny Kid and Muny Teen, Prakken said he was
thrilled to return to the Muny as the Courier in “1776,” singing the signature
solo “Momma Look Sharp,” after an absence of six years.
“It was nice to be back for ‘1776,’” he said. “It’s such a
special song, such a special show. It really sticks with you.”
Alex Prakken as The Courier in “1776” at The Muny last season. Photo by Phillip Hamer. He had participated as the Courier in a concert version at
54 Below in New York City, which takes place every Fourth of July.
Prakken, a graduate of The John Burroughs School and
University of Michigan, was previously in a much heralded “Les Miserables” as
Maurius at the Muny in 2013.
“I’ll never forget that. I had never seen an audience so enamored
with a show,” he said. The audience leapt to its feet after “One Day More.”
“It was the perfect show for the Muny – on that big stage
with a big cast,” he said.
After that, he went on to the first national tour of
“Newsies” as Oscar Delancey and as Jack Kelly’s understudy as well as Davey’s, stopping at the Fox Theatre in St. Louis.
“Playing the Fox was crazy. We spent a year playing in
really big houses, 2500-3000, but the Fox is practically double in size. It’s
the biggest one we played,” he said.
While growing up, The Fox was where he saw his first
touring shows.
“It was a shining beacon of theater, but I took it for
granted. It is a stunning theater, so freaking beautiful, big and cavernous.
Performing there, it really did feel majestic, very special,” he said.
He played Jack Kelly at La Mirada Playhouse in California,
and at the Paramount Theatre in Chicago. He has toured as Jesus in “Jesus
Christ Superstar” and as Roger in “Grease.”
Alex Prakken as Jack Kelly in “Newsies” at La Mirada PlayhouseNow living in New York City, Prakken said he’s been
fortunate to be working steadily, but enjoys returning home for a break around
the holidays. Since early May, “I’ve been going non-stop.”
His agent sends him out on auditions for things he may be
right for – “it’s about who they happen to be looking for,” he said. “It’s
often being at the right place at the right time. I’m starting to get noticed
by casting directors. It’s about knowing who they can trust.”
He and Bennett, who had never met before, were rehearsing
the week before the shows.
“She has a lovely voice, it gave me chills – really
spectacular,” he said.
Bennett played the title character in Rodger and
Hammerstein’s “Cinderella” last summer and is a graduate of The Juilliard
School, known for her work on stage and concert halls. She won a Lincoln Center
Award for Emerging Artists this year.
Her credits include Maria in “West Side Story” at the Lyric
Opera of Chicago and in concert performances at the BBC Proms, New York
Philharmonic, Philadelphia Orchestra, and the Los Angeles Philharmonic
Orchestra. She has appeared at the Kennedy Center and Carnegie Hall.
She originated both the role of Norma in the off-Broadway
production of “Renascence” and the title role of Acquanetta at the Prototype
Festival.
Michael Baxter is directing the show and frequent Muny
music director Charlie Alterman is directing the music.
Prakken said they have come up with solos and duets to reflect their strengths,
the new season, Muny classics and shows they have been in around the country.
“What felt best for us,” he said. The timeless music of Leonard Bernstein, Harold Arlen, Jason Robert Brown and Rodgers and Hammerstein is among the selections. Bennett and Prakken will be accompanied by a trio: Charlie Alterman (music director and piano), Nick Savage (drums) and Vince Clark (bass).
The concert will feature Broadway hits including “If I Loved You” (“Carousel”), “How Could I Ever Know” (“The Secret Garden”), “One Second and A Million Miles” (“The Bridges of Madison County”) and a medley from “West Side Story.”
In addition to the performances, Isaacson will reveal the
line-up for the much-anticipated 2020 summer season, its 102nd.
“It’s a very exciting season next year,” Prakken said — while
not revealing anything.
“Mike is so supportive. There is a whole other level of
care at the Muny,” he said, noting that Isaacson comes to rehearsals, making
sure people have what they need to put on a good show.
“It’s just such a great place,” he said. “In St. Louis, it’s a cultural event. People come two and a half hours early to listen to music, watch the young people perform. I hope we can make a little bit of Muny Magic at the Sheldon. It’s really a knockout place.”
He has sung at the Sheldon before, too, for a senior recital.
“It was an awesome night,” he said. Muny Magic at The Sheldon is sponsored by The Kranzberg Arts Foundation. The Sheldon is located at 3648 Washington Boulevard in St. Louis.
Tickets are available now and range from $25 to $50. For
more information and to purchase tickets, visit www.muny.org/munymagic or call
314-534-1111.
For more information about The Muny, visit muny.org
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
Managing Editor
Eureka! A robust makeover to an unremarkable ‘50s era musical “Paint Your
Wagon” has hit pay dirt on the Muny stage.
Those behind the new edition have dreamed as big as the
characters in this fresh look at the American identity, those yearning for a
better life who came over land and by sea, as many as 300,000 during the
rough-and-tumble California Gold Rush.
It’s one of our nation’s most significant tipping points (1848-1855).
The musical, set in a mining camp in 1853, has everything we associate with
those rugged settlers – the wild untamed west, the wide-open spaces and the
pioneer spirit, only this version sharpens the American melting pot feel.
Despite its Alan Jay Lerner and Frederick Loewe pedigree,
the 1951 homage to the Old West had fallen out of favor – not that it ever was
a hot property, for it had only run on Broadway for 289 performances. And then,
there was the much-maligned 1969 movie starring those songbirds Lee Marvin and
Clint Eastwood (27 percent on Rotten Tomatoes!).
The latest incarnation, developed by the Frederick Loewe
Foundation and playwright Jon Marans, has new orchestrations, vocal
arrangements, dance and characters – and presents the reimagined story through
a different lens. You won’t be able to forget this one, an unvarnished snapshot
that touches on bigotry and prejudices as fortune seekers headed West.
Photo by Phillip HamerMarans has focused on historical accuracy and made deep
incisions so that it’s not merely unsatisfying filler between the signature
songs “They Call the Wind Maria,” “I Talk to the Trees” and “Wand’rin’ Star,”
but a journey about lives and loves with real emotional heft.
Those compelling changes are as much a surprise as Josh
Rhodes’ inspired direction and innovative choreography, assisted by Lee
Wilkins, because they have rescued an otherwise lightweight show and connected
with a modern audience.
Marans wrote the 1996 Pulitzer Prize-nominated play “Old
Wicked Songs,” a character study about a Holocaust survivor and his burnt-out
pupil. A New Jewish Theatre production won Best Drama at the St. Louis Theater
Circle Awards in 2017.
The story still has brawny prospector Ben Rumson (Matt Bogart) as the strong center, the enterprising leader among the rag-tag settlers of “No Name City,” but in the first act, the only female is not his daughter, as the earlier incarnations, but his lovable new wife, Cayla (Mamie Parris).
He ‘wins’ her in a bidding contest, like a commodity, for
she has been abused by her despicable lout of a husband (Michael James Reed,
yelling at 11). Well, that was awkward. Parris, so winning as Irene in the 2014
“Hello, Dolly!,” conveys genuine warmth and caring, and her lilting voice is
lovely.
Mamie Parris and Matt Bogart. Photo by Phillip HamerBogart and Parris have combustible chemistry, and their harmonies mesh beautifully. While Bogart didn’t seem to be as smooth as other performers on opening night, he delivered an electric “They Call the Wind Maria,” and his other numbers showcased his commanding baritone.
After striking it rich, sturdy Ben becomes the boomtown’s
chief developer. Now named Rumson City, the outpost becomes home to Rumson
Palace in the second act, a place for socializing and gambling that he
envisioned for everybody.
Michael Schweikardt’s scenic design is a distinct mix of awe-inspiring
panoramic exteriors and fresh-hewed lumber interiors. Lighting designer John
Lasiter makes the night sky glow while video design by Caite Hevner expanded picture
postcard vistas.
However, Ben’s one-world theory isn’t exactly practiced when his right-hand man Armando (Omar Lopez-Cepero), whose wealthy and cultured family lived in the Mexican territory of northern California, takes a shine to Rumson’s feisty daughter, Jennifer (Maya Keleher), who has traveled from the East Coast to join her father.
Much to the horror of his college-educated daughter and wife,
Rumson will not accept the Armando-Jennifer union, therefore not practicing
what he preaches. His luster is dimmed, only to see him work through those
feelings.
Racism is rampant among the rowdy miners, who are frustrated
and fearful of the ‘foreigners.’ Two brothers from China, Ming Li (St. Louis
native Austin Ku) and Guang Li (Raymond J. Lee), once of royal lineage now just
wanting to survive; a down-on-his-luck Irish immigrant William (Bobby Conte
Thornton), who regrets leaving his family but is desperate to provide for them after
the Great Famine (aka Irish Potato Famine); two African-Americans, free man H.
Ford (Rodney Hicks) and slave Wesley (Allan K. Washington); and Europeans of
various nationalities all jostle for their piece of the pie.
Ku, Lee, Thornton, Hicks and Washington are outstanding talents who immersed themselves in these meatier roles. And the men revealed bold and controlled voices in such numbers as “How Can I Wait?” and “Four Hundred People Came to No Name City.”
Allan K. Washington and Rodney Hicks. Photo by Phillip HamerSome of the characters are contemptible, especially Preston
Truman Boyd as an intolerable loudmouth Jake, a Southerner who owns a tavern
and looks at all of life as transactional.
Sinai Tabak is conducting the Muny orchestra for the first
time, and the richly textured sound adds another layer of complexity to a testosterone-heavy
show. There is a harp among all the strings, and the sounds of country and bluegrass
impart an Americana homespun feel.
One is reminded how elegant and lyrical Lerner and Loewe
were, as this show was written in between the more successful “Brigadoon”
(1947) and “My Fair Lady” (1956).
Photo by Phillip HamerThe dancing girls show up in the second act, in quite the
entrance – arriving by stagecoach, “There’s a Coach Comin’ In.” Two magnificent
Clydesdale horses pull them – and the audience went crazy.
Some of the lonely men lose their way and go a little batty,
and this 180-degree turn, while true to life, is disconcerting. Gold fever makes
some of the men envious, greedy and bitter. Things get ugly, reminding us that
while the high road is preferred, human nature suggests otherwise. This is harsh
and hard-hitting, recovering in a hail of hope. If you are expecting fluff,
this is not that kind of show, dancing girls aside.
Nevertheless, the performers are indeed the gold nuggets
enticing us to make the emotional investment. The vocal prowess on display is as
breathtaking as the scenery, so it’s unfortunate there was a myriad of uncharacteristic
sound issues Saturday – static, mics cutting out or not on for singers, and
rough patches. Sound design is by John Shivers and David Patridge.
“Paint Your Wagon” was one of those lackluster second-rate musicals whose contemporary overhaul is quite an accomplishment, and the Muny has polished it with tender loving care. You might as well forget any previous version.
A new world premiere production in Los Angeles, with a revised
libretto by David Rambo, ran from Nov. 23, 2004 to Jan. 9, 2005. Then a fall
2007 production by the Pioneer Theatre Company in Salt Lake City, Utah had a
cast of nearly 30. An Encores! Staged concert production in New York City in
March 2015 starred Keith Carradine as Rumson and Justin Guarini as Julio.
There is no Julio here, replaced by Armando. It’s a stronger role, and Lopez-Cepero unleashes a glorious voice in his standout performance. His “Carino Mio” duet with Keleher is lush and romantic.
Photo by Phillip HamerHelping to shape the in-the-works musical is a natural fit
for the Muny, for it presented spirited reboots of “The Unsinkable Molly Brown”
in 2017 and “The Wiz” last year. During the Mike Isaacson era, the emphasis on
imagination and the theme of home has been recurring elements. So, it’s no
surprise that the Mother Lode Muny is again a birthplace, producing in
association with On the Wagon Productions and Garmar Ventures.
By virtue of its American patchwork quilt make-up, “Paint Your Wagon” may remind people of “Oklahoma!” – especially that number pleading harmony, “The Farmer and the Cowman Should Be Friends,” but I recalled “Fiddler on the Roof” instead, a proud community clinging to its customs but having to move forward at great sacrifice for survival. In the West, hardships knocked down many a soul, but hope springs eternal in “Paint Your Wagon,” and smartly addressing changing tides so dramatically will be able to resonate. You can hear America singing with its varied voices. The Muny presents “Paint Your Wagon” evenings at 8:15 p.m. July 27 – Aug. 2. For more information, visit www.muny.org.
Bobby Conte Thornton as William. Photo by Phillip Hamer
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
Managing Editor
A powerhouse cast makes sure we fall head-over-high-heels about “Kinky Boots,” a
flashy and fun musical that soars into the starry night at the Muny.
This regional premiere is polished to perfection. For the
first time, I understood the show’s heart and soul, and how its universality touched
people, becoming an international smash-hit and winning six Tony Awards, including
Best Musical, the Olivier Award and a Grammy for original cast recording.
The basic premise is simple yet resonates. It is inspired
by true events and a BBC documentary, which was adapted into a 2005 British feature
film with Chiwetel Ejiofor as Lola and Joel Edgerton as Charlie. A failing shoe
factory owner teams up with a drag queen to save his family business by
diversifying the product. That niche market in women’s footwear would be “kinky
boots” – bright, glittery sturdy stilettos made well to meet the needs of flamboyant
performers-in-drag.
Photo by Phillip Hamer
Charlie of Northampton, meet Simon of Clacton. They are
from different worlds, but share the weight of parental expectations and
self-acceptance issues. Their duet “I’m Not Your Father’s Son” is an
exclamation point on the matter. They work through this and more, all to the eclectic
beats of rockstar Cyndi Lauper’s first foray into show tunes, with new wave and
club music influences.
The unlikely pair find a common bond, as do the employees
in this relatable workplace comedy. One enlightened blue-collar bloke says: “When
you can change your mind, you can change the world!”
The message of tolerance is a fitting one for Gay Pride Month
as the musical celebrates individuality and inclusion. It’s wrapped in a
feel-good dance party with get-on-your-feet rhythms, and the cast is brimming
with vim and vigor.
Many elements make this first U.S. theatrical production
outside Broadway/national tours so special, but one factor is certain: casting
performers with experience in “Kinky Boots” was a stroke of genius. And it
shows in the brisk crisp and snappy staging.
Photo by Phillip Hamer
The theatricality of swaggering sparkplug J. Harrison Ghee
as Lola, who toured internationally in the role and was a Broadway replacement,
thrusts him into legendary diva status. Looking and sounding like Whitney
Houston in her prime, he tugs at everyone’s heartstrings in “Hold Me in Your
Heart.”
We are truly in “The Land of Lola,” as it’s obvious from Ghee’s
first entrance. During “Sex Is in the Heel,” he seizes the expansive stage,
strutting with major attitude. His moves in those high heels are a triumph over
physics.
The lithe and blithe Ghee showcases his dramatic flair and
knows how to get a laugh, tossing off book writer Harvey Fierstein’s pointed
barbs with ease.
Then there is Graham Scott Fleming as Charlie, who plays
the shoe factory heir apparent with conviction. His conflicts are genuine. However,
his vocal prowess is where he really shines.
His vocal range is well-suited for Tony-winner Lauper’s compositions,
and he interprets the heartfelt lyrics well, especially in “Step One” and “The
Soul of a Man.” He has had much success in Toronto, including nabbing a
Canadian theater award nomination for his performance as Charlie.
Tony-nominated Taylor Louderman, a native of Bourbon, Mo., who
began as a Muny Teen ten years ago, showcases her multiple talents reprising
the goofy lovestruck assembly line worker Lauren that she played on Broadway.
Photo by Phillip Hamer
In her standout number, “The History of Wrong Guys,” she demonstrates
her deft physical comedy skills and how she has come into her own. It’s a blissful
Muny moment. The crowd may not have noticed her at first for entrance applause,
but she sure earned a big ovation after that number.
The perky Louderman, with several Broadway credits and a
few key roles at the Muny – last seen as Amneris in “Aida” (the best thing
about that 2015 production), took off as Regina in “Mean Girls” to appear in
this show.
The ensemble is a tight mix, with Paul Whitty a standout as
bigoted foreman Don.
Photo by Phillip HamerJohn Scherer, a master of comic timing as evident in his
turns in “The Foreigner” and “Noises Off!” at The Repertory Theatre of St.
Louis, is hilarious as the old-school manager George.
So is Jen Perry, who reprises the role of saucy older
worker Trish she originated on Broadway.
Several cast members were in the Broadway production, which
opened April 2013 and ran for six years and 1,400 performances until April 7
this year, including Meryn Becket, Holly Davis and Maggie McDowell, and Angels Callan
Bergman, Ian Fitzgerald and Kyle Post. Angel Ricky Schroeder was in the
national tour.
Caroline Bowman, who plays Charlie’s unlikable
materialistic social-climbing fiancé Nicola, originated the role of Maggie and
then closed as Nicola in April. Ross Lekites plays Charlie’s friend Harry after
being in Broadway and national tour ensembles.
St. Louis performers are also an integral part of the
action. Omega Jones, in his debut as Simon Sr., has a tear-jerking moment at
the nursing home where Lola is entertaining. Veteran Zoe Vonder Haar is funny
as the Milan Stage Manager. Victor Landon and Khaydn M. Adams are the energetic
young Charlie and Simon characters respectively.
When the eight drag queens known as The Angels make their striking
entrance, it’s a magical Muny moment – and received an enthusiastic ovation.
Photo by Phillip HamerOther high-stepping moments include the Act One finale, “Everybody Say Yeah,” which is a marvel of movement on conveyor belts, and the rousing grand finale, “Raise You Up/Just Be,” which should empower everyone to “Feed your fire.”
Music Director Ryan Fielding Garrett, who conducted the “Kinky
Boots” national tour, skillfully drives the catchy tunes and heart-tugging
ballads.
The human connection is an important part of this show,
just as it is at the oldest and biggest outdoor theater in the country. And the
Muny connections for this show, I feel, have boosted its value and worth.
Namely, the original stylish direction and cheerful choreography of Jerry
Mitchell, one of Broadway’s most lauded artists who won a Tony Award for “Kinky
Boots” choreography. Involved in 50 Broadway shows, he earned his Equity card
at the Muny and was a Webster University student.
His work is recreated here by director DB Bonds, who played
Emmett in “Legally Blonde” eight years ago at the Muny, and choreographer Rusty
Mowery, who worked on Muny productions “Hairspray” and “Legally Blonde.”
Those special ties just boost the care you notice in this
production, a passion project for all involved.
Photo by Phillip HamerOn the technical side, the creative team’s work continues
to shine on the new stage with the upgrades, especially light, sound and video
screens.
Scenic Designer Michael Schweikardt’s grid work in the
Price and Sons Factory is efficient, functional and flows with purpose. His
glitzy touch to the Milan runway is as over the top as the boots – his ‘wow’
moment. Video Designer Shawn Duan seamlessly extended the expansive exterior
shots.
Also stepping up his game is Lighting Designer Nathan W.
Scheuer, who made sure the musical numbers glow and sparkle.
Co-sound designer John Shivers won a Tony Award for “Kinky
Boots.” He and David Patridge have been a team at the Muny since 2015.
Costume designer Gregg Barnes, two-time Tony winner for “The Drowsy Chaperone” and “Follies” revival, provides his impressive Tony-nominated “Kinky Boots” designs, and The Angels and Lola’s bold eye-popping outfits befit fashionistas. Costume coordination is by Lindsay McWilliams.
The wig work is also outstanding, with original design by Josh Marquette, and work by additional wig designer Kelley Jordan.
“Kinky Boots” finds its footing early on and grows in goodwill as people build upon their dream with helping hands. Endearing in portrayals and intent, its power is a slow build, but it’s lasting, and that is “The Most Beautiful Thing.” And you’ll walk away lifted by this new outlook.
The Muny presents “Kinky Boots” every evening at 8:15 p.m. June 17-25. For more information or for tickets, visit www.muny.org
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
Managing Editor
Broadway’s glorious past merges with The Muny’s dazzling state-of-the-art
present in “Guys and Dolls” for a sensational start to the second century that
bodes well for the future.
What an ideal show to show off the new stage and other upgrades made possible
through the Muny’s Second Century Campaign!
As impressive as the changes set out to be, all the spiffy
new elements made this endearing show sparkle – the redesigned stage allowed
the action flow smoothly, the sound was crystal clear (designers John Shivers
and David Patridge) and the lighting systems’ enhanced illumination by designer
Rob Denton and the expanded LED screens, with video designs by Nathan W.
Scheuer, were eye-catching. Director Gordon Greenberg was able to incorporate
the new downstage lifts into scenes. Overall, an A+ effort.
Besides the successful revelation, the weather was
tailor-made for the 101st season opener June 10. A crowd of 7,677 enjoyed
one of Broadway’s most delightful golden-age classics, filled with Frank
Loesser’s peppy and hummable musical numbers, sweet romance, and colorful
characters based on Damon Runyon’s short stories and given zip by the late
comedy writer Abe Burrows.
“Take Back Your Mink”Jaunty and joyous, “Guys and Dolls” combines hustling high rollers and honorable holy rollers in the bustle of the fabled Times Square, their intentions clashing when the gamblers want to be lucky and the evangelists want to save souls. Paul Tate dePoo III’s vibrant scenic design of neon signage and advertisements reflects a flashy bright lights, big city vibe that pops in every scene.
Once dubbed “the perfect musical comedy” by a critic and I
wholeheartedly agree, the Muny proved how evergreen the show can be, now in its
eighth time here and 15 years since the last one. The talent made sure this
first bicentennial production was a crowning achievement by integrating all the
new-fangled improvements seamlessly.
Zoe Vonder Haar, Orville Mendoza, Kennedy Holmes. Photo by Philip Hamer.Greenberg bathed this frothy concoction in the warm glow of
nostalgia while emphasizing the humor and elevating the romance. The high-spirited
cast injected it with zing through crisp and snappy movements, whether it was a
sharply choreographed number – those elastic dancers in “Crapshooters Dance”
and “Havana” made it fun — or the wise-guys singing Nathan Detroit’s praises
in “The Oldest Established.”
First-time Muny co-choreographers Lorin Latarro and Patrick O’Neill intertwined
different styles with energy and precision, and Music Director Brad Haak freshened
the songs, with arrangements by Larry Blank. Musicians were under a covered pit
for the first time, carrying the upbeat tempos well.
The creative team focused on the original 1950 roots and the rock-solid cast cheerfully
immersed themselves in this idiosyncratic world. One must accept its now dated
story as a period piece to fully appreciate the relationships. Calling women
“tomatoes” and “broads” is no longer acceptable, and no one in contemporary
times would, but this is from a bygone era – and displays how different men and
women roles were back then.
“Guys and Dolls” took Damon Runyon stories about New York
City from the 1920s and 30s, namely “The Idyll of Sarah Brown” and “Blood
Pressure,” with a nod to “Pick the Winner,” and radio comedy writer Abe Burrows
boosted Jo Swerling’s original script by giving the distinctive characters
Runyon’s unique vernacular, a mix of formal speech with slang. Damon, a
newspaperman and sportswriter, favored writing dialogue for gamblers, hustlers,
actors and gangsters.
However, this Runyonland appears more innocent. Detroit, the hapless but lovable mug behind the biggest crap game in NYC, keeps his adorable girlfriend Adelaide waiting for him to marry her after 14 years. The prim and proper Sarah Brown falls in love with the suave Sky Masterson in an opposites-attract storyline.
The script makes all of this seem logical and then throws in merry men named Benny Southstreet and Rusty Charlie, and it’s a surefire winner, especially with Kevin Cahoon hilarious as Harry the Horse and so is Brendan Averett as Big Jule.
From the first bars of the opening number “Fugue for
Tinhorns” to “The Happy Ending” finale, this cast connects with each other, and
ultimately, the audience.
As the sophisticated ladies man Sky Masterson, Ben Davis is
a welcome presence on the Muny stage, continuing his successful run of classic
male leads after Curly in “Oklahoma!” and Emile in “South Pacific.” He has
palpable chemistry with Brittany Bradford, who is one of the best Sarah Browns
I’ve ever seen (sometimes, the actors playing these different types don’t gel,
but this pair does). Their clashing couple delivers velvety-smooth ballads.
Bradford is quite a special talent, genuine in acting and a
splendid soprano. Her breakout number, “If I Were a Bell,” shows her
versatility. Their “I’ve Never Been in Love Before” superbly blends their
voices, another standout moment, and his sleek “My Time of Day” rendition was
terrific.
Davis propelled “Luck Be a Lady” to be one of the evening
highlights, aided by the crackerjack ensemble.
St. Louisan Kendra Kassebaum lights up the stage as Miss
Adelaide, and wow, what a home-grown triple threat. Bubbly and bouncy, she displays
impeccable comic timing in her fully dimensional lived-in performance.
She’s a fitting and funny foil for wacky Nathan, well-played by Jordan Gelber. Their “Sue Me” was on point, and “Adelaide’s Lament” is confident and comical. She leads the Hot Box Girls in a vivacious “A Bushel and a Peck” and “Take Back Your Mink.” (Tristan Raines’ costumes fit each role appropriately, but those purple-sequin gowns draped with the gray furs are stunning.)
Kassebaum and Bradford are a dynamic duo in “Marry the Man
Today” (just don’t wince at those lyrics).
The best scene, the second act showstopper that puts its indelible stamp on “Guys and Dolls,” is “Sit Down, You’re Rockin’ the Boat.” A marvel of movement and pure jubilation, this version is made even more special by the surprise appearance of Kennedy Holmes, the Muny Kid who placed fourth on “The Voice” in 2018, belting out the usual General Cartwright solo. (Zoe Vonder Haar has replaced Doreen Montalvo as General Cartwright),
Orville Mendoza fits, well, nicely, as Nicely-Nicely
Johnson, who leads the number, and is dandy in his duet with Jared Gertner as
Benny in the title number “Guys and Dolls.”
As Arvide Abernathy, Ken Page has a twinkle in his eye and adds
poignancy to the “More I Cannot Wish You” number sung to his granddaughter,
Sarah. This is his 41st appearance at the Muny – and little-known
fact, he played Nicely-Nicely in the 1976 Broadway revival.
The musical has been revived two more times, in 1992 and
2009, with the 1992 version starring Nathan Lane and Faith Prince the most
acclaimed, winning four Tony Awards including Best Revival and running until 1995,
tallying 1,143 performances. The original “Guys and Dolls” won five Tony Awards
in 1951, including Best Musical, and has been a favorite among regional, school
and community groups for decades.
That renowned 1992 version’s spunk is evident in this Muny
production, but the cast makes it their own. They put a fresh sheen on the
characters, imbuing them with heart and humor, and it never sags.
This production is worth rejoicing about, starting out the
summer in swell fashion.
The Muny presents “Guys and Dolls” June 10 – 16 nightly at 8:15 p.m. in Forest Park. For tickets or more information, visit www.muny.org
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.
