Funky, Fun ‘Shrek the Musical’ Flips and Fractures Fairy Tales at The Muny

Funky, Fun ‘Shrek the Musical’ Flips and Fractures Fairy Tales at The Muny

By Lynn Venhaus

It’s hard to say who had a better time at “Shrek the Musical” – the parents or the children, often green-clad and gleefully giggling at the daffy antics. The Muny’s annual family favorite ‘Kids Show’ delighted across generations with its irreverent humor, impressive pop vocals, and infectious energy in a funky, funny, fluffy un-Disneyized fairy tale musical.

It’s not your classic prince-rescues-princess tradition, and that’s the fun of it, what sets this storytelling apart. In the comical land of Far, Far Away, the unlikely hero is a smelly, grumpy ogre, accompanied by his chatty sidekick Donkey, his feisty true-love Princess Fiona and his merry band of misfits.

The ensemble opens with the catchy “Big Bright Beautiful World” and you’re off on an unusual adventure. Lord Farquaad demands Shrek rescue Princess Fiona from a dragon-protected tower in exchange for the deed to his swamp, for the despicable despot wants to marry her. Once upon a time wasn’t ever this raucous.

First released as an animated film in 2001, “Shrek” fractured happily-ever-after fairy tales in this DreamWorks Animation smash hit that won the first-ever Oscar for Best Animated Feature Film. Breaking industry rules and becoming a cultural phenomenon, the film adaptation of William Steig’s slight 1990 children’s picture book “Shrek!” has earned $500 million globally. It has four sequels (a fifth is due out next year), two Puss ‘n Boots spin-offs, and just announced is an Eddie Murphy-led “Donkey” spinoff for 2028.

Nik Walker (left) and Marcus M. Martin in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Of course, Broadway beckoned. “Shrek the Musical” took off in 2008, with Tony-nominated book and lyrics by Pulitzer Prize winner David Lindsay-Abaire, whose wicked wit is apparent in this adaptation, adding more backstory and mischief. With his absurdist, blunt humor paired with Jeanine Tesori’s clever and upbeat songs, they pulled apart musical theater tropes.

Lindsay-Abaire has incorporated elements of the movie sequels, too – “Shrek 2” and “Shrek Forever After.” After the Broadway run of 441 performances, they have since revised the musical several times.

With a large fun-loving ensemble, the Muny presents a jolly good road trip to the swamp, Duloc, and beyond. In its second staging here, the first since 2013, the casting is impeccable, their performances vigorous and the whimsical world-building is dazzling by director John Tartaglia and his unconventional team of dreamers and doers, celebrating the ‘different.’

The Tony-nominated and Emmy-winning Tartaglia, who directed “Shrek” thirteen years ago – and originated the role of Pinocchio on Broadway, has infused this playful version with bigger and bolder choices but keeping his trademark heart at the center. It’s the 10th show he’s directed, and he’s very comfortable incorporating puppetry into all his visionary productions.

Tyler Joseph Ellis in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

After all, he was promoted several weeks ago to be the vice president of development and production at The Jim Henson Company, focusing on television and live theatrical projects. He serves as the primary creative supervisor for the Fraggle Rock brand (and started his career at “Sesame Street.”)

The magnificent giant pink fire-breathing Dragon is a stunning addition.  Designed by James W. Wojtal Jr. and his team, with Eric Wright of Puppet Kitchen the puppet director, five puppeteers create magic on stage. Jim Henson’s Creature Shop designed and built Gingy, the dancing rats and the exploding bird. 

Maintaining the Disney departure feel, Tartaglia followed through by envisioning a grungier, not gleaming, kingdom, but also favored a lively, captivating 90s glam-rock concert look, with a nod to punk rock, too.

It reminded me of late ‘60s and early ‘70s television variety shows like “The Sonny and Cher Show” and “The Smothers Brothers Comedy Hour” with sparkly high-energy performers and cheeky humor.

Marcus M. Martin and Salome Smith in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel

The well-integrated designs add to the showbizzy and make-believe worlds, including musical Easter eggs that subvert the usual tropes (Can you spot “Les Miserables,” “A Chorus Line,” “Gypsy,” “The Lion King,” “Wicked” and “Chicago”?). Nothing’s going to bring him down, Lord Farquaad sings!

Adam Koch’s vivid set design incorporated a new-to-the-Muny technique, using a screen to great effect, especially when Donkey and Fiona have a heart-to-heart in a ‘cave.’ His grid-and-forest design took us immediately into an interesting new world.

The exceptional trio of Nik Walker, Marcus M. Martin and Kara Lindsay headline as Shrek, Donkey and Fiona, and corralled us into their corner from their entrance, with deeply expressive voices, crisp comic timing and tangible chemistry.

Delightful Troy Iwata once again raises the bar on comical scene-stealing performances. Previously the guffaw-inducing housekeeper Jacob in last year’s “La Cage Aux Folles” and adorably amusing as beat-to-a-different drummer Ogie in “Waitress,” he makes the most of tyrannical narcissist Lord Farquaad and his shortcomings.

Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

His sheer physicality is mind-boggling, cavorting by wearing a special costume with tiny legs attached and primarily walking on his knees. His “What’s Up, Duloc!” and “Ballad of Farquaad” are hilarious, as are his farcical movements.

Add a zany Aymee Garcia as outspoken Gingerbread Man, aka Gingy, and a spry Tyler Joseph Ellis, who hits the right falsetto notes as rabble-rouser Pinocchio, to the ‘social outcast’ mix. Mighty Salome Smith is a showstopper as the booming voice of the Dragon, belting out “Forever” like a Dreamgirl.

All the principals, except for Iwata, are making their Muny debut. The peppy ensemble, a mix of vets and newbies, is very strong – and busy. They’re up to the rigorous routines that dynamic choreographer Patrick O’Neill, associate choreographer Bryan Thomas Hunt and assistant choreographer Kelly Sheehan challenge them with, and it shows in the major dance numbers: “Story of My Life,” my favorite “Freak Flag” with its winking at “Les Miz,” “What’s Up, Duloc!” and the glorious tap routine “Morning Person.”

Kara Lindsay in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel

Martin has fun leading the spirited divas Three Blind Mice (Monique Churchill, Kylie Edwards and Abby Linderman) in the R&B “Make a Move.” Inserting “I’m A Believer” from the movie for the wedding reception dance-party finale is as jubilant a curtain call as can be. Another catchy visual by inventive video designer Kylee Loera includes photo booth snapshots.

In his 18th show as music director/conductor, master maestro Ben Whiteley leads 24 musicians, and keeps the joyous tempo on track, with fluid orchestrations throughout.

For her 14th show, costume designer Robin L. McGee, a Highland, Ill., native, created an eye-popping assortment of outfits, based on original costume design by Tim Hatley. Just look at the close-up detail in production photos, making the fairy tale characters recognizable, but also able to easily move.

Jeff Knaggs’ wig designs completed the look, and those who helped with padding and prosthetics deserve shout-outs too. Lighting designer Jason Lyons and sound designer Joshua Hummel worked in tandem to capture the atmosphere, and the human noises had to be perfectly timed, as did the swamp sounds.

Salome Smith (above), Marcus M. Martin and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Now, there is frequent use of potty humor, so you are warned – particularly fart jokes. “I Think I Got You Beat” is an outrageously silly flatulence and burping contest between Shrek and Fiona.

Skilled at physical comedy, the ensemble also included Mathew Blasio, DeShawn Bowens, Matthew Davies, Ryan Fitzgerald, Matt Gibson, Jack Gimpel, Shelby Griswold, Michael Harp, Gwen Hollander, Sean McManus, Shelby Ringdahl, Trevor Michael Schmidt, Kelly Sheehan, Caitlin Stebelman and Jonah D. Winston.

They appeared as such familiar childhood characters in forests and fauna – Pied Piper, Fairy Godmother, Peter Pan, Wicked Witch, Tweedledum, Mama Bear, Ugly Duckling, Big Bad Wolf and others.

The company was joined by the adorably costumed Muny Kids and Teens youth ensembles. Fine young performers Solomon Rosenthal and Lake Schultz play Young Shrek and Young Fiona, while Amelie Lock was Teen Fiona. The trio of Fionas combine for the poignant “I Know It’s Today,” yearning for their escape.

Amelie Lock, Kara Lindsey, Lake Schultz. Photo by_Phillip Hamer

In such duets as “Don’t Let Me Go” and “Travel Song,” Walker and Martin show their mapcap skills, and when paired with Fiona in “This Is How a Dream Comes True” and the anthem “Who I’d Be,” it calls for heightened emotions.

The most important takeaway is the show’s message about self-acceptance. Some songs focus on inner beauty, self-worth and being comfortable in your own skin. Shrek’s a-ha moments include “When Worlds Fail,” “Build a Wall” and “Beautiful Ain’t Always Pretty.”

While the songs are melodious and superbly delivered, some of the numbers seem repetitive, stretching out the inevitable, and these ballads, while heartfelt and moving, created some restlessness from the little ones around me. The musical’s structure has some pacing issues, but this cast kept it as breezy as possible.(Special mention to stage manager Larry Smiglewski). It is a 2.5-hour experience with intermission.

In “Shrek the Musical,” we can still BELIEVE in the comforting magic of fairy tales, and that everyone is worthy of love and friendship. With “biggish” ideas, the Muny has crafted a refreshing show that’s suitable for all – on two different levels. For adults, the parodies and un-cutesy theme land while the kids can revel in the slapstick and goofy characters.

Aymee Garcia (Gingy puppeteer), Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

The Muny presents “Shrek the Musical” from June 25 through July 2 nightly at 8:15 p.m. at its outdoor theatre in Forest Park. For more information, visit www.muny.org

THe company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Vocals Soar, Tangos Tantalize in The Muny’s Sumptuous ‘Evita’

Vocals Soar, Tangos Tantalize in The Muny’s Sumptuous ‘Evita’

By Lynn Venhaus

Virtuoso vocals and transfixing tangos propel the Muny’s grand-scale stylized and dramatic “Evita,” the Andrew Lloyd Webber and Tim Rice classic.

Featuring three of the most expressive voices to grace the outdoor stage this or any season, Katerina McCrimmon is the titular character, Paulo Szot is Argentinian president Juan Peron and Omar Lopez-Cepero is narrator Che, the historic revolutionary born in Argentina. The musical goes through her meteoric rise to power and influence as Argentina’s First Lady.

Through their stunning renditions of the signature songs, the trio earns the audience’s awe and admiration. Notable for their commanding stage presence, technical skills and strong delivery, they flourish in the imposing setting.  

Also standing out were tenor Daniel Torres as the charming Magaldi in “On This Night of a Thousand Stars,” and mezzo-soprano Sabrina Santana poignant as Peron’s mistress, whose heart-tugging “Another Suitcase in Another Hall” is one of the evening’s highlights.

The glamourous and charismatic Evita, who died tragically of cervical cancer at age 33 in 1952, grew from humble beginnings to beloved icon. Marrying Peron in 1945, she became a populist leader after his election in 1946, later described as the “Spiritual Leader of the Nation.”

Paulo Szot and Katerina McCrimmon in the 2025 Muny production of “Evita.” Photo by The Muny | Emily Santel

The story starts in 1934 when the poor Maria Eva Duarte was 15. As Evita, she championed the rights of the working class, women and the poor, establishing social programs and instrumental in women’s suffrage. But she also had her detractors, not accepted by the aristocracy.

McCrimmon, who is skilled at bringing the house down, for she toured as Fanny Brice in the most recent revival of “Funny Girl” and her rendition of “Don’t Rain on My Parade” was a highlight of the Fox 2024-2025 Broadway season.

With her tour-de-force delivery, she creates a magical Muny moment with the showstopper “Don’t Cry for Me Argentina.” Image-wise, she’s breathtaking in a shimmering flouncy white ballgown with silver sparkles, standing poised on a stately balcony/staircase representing Casa Rosada, the government seat.

With customary finesse, the Muny’s execution is nearly flawless. Innovative director Josh Rhodes, who also choreographed, had a specific vision and meticulously followed through, collaborating with the associate director and choreographer Lee Wilkins. Natalia Nieves-Melchor is the assistant choreographer and dance captain.

Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by The Muny | Emily Santel

Rhodes’ flair for incorporating novel ideas was evident in “Chess” two years ago, and now, this time.

McCrimmon and Szot are a good match together, first paired in “I’d Be Surprisingly Good for You.” Tony winner as Emile de Becque in Bartlett Sher’s acclaimed 2008 revival of “South Pacific,” his rich, warm baritone is powerful in “The Art of the Possible,” “A New Argentina,” and shows range in the tender “She Is a Diamond.”

A bona fide star in three previous Muny shows, Omar Lopez-Cepero is an exceptional Che. As a cynical commentator, he snarls, he scowls, he expresses his disdain for Evita’s opportunistic and manipulative ways. And his songs are just as passionate.

He’s an observer, Greek chorus, challenger and critic on stage most of the time. Lopez-Cepero’s intensity comes through singing “Oh What a Circus,” “High Flying Adored,” “The Chorus Girl Hasn’t Learned,” “The Money Kept Rolling In” and “Dice Are Rolling,” among others.

Members of the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Lopez-Cepero was memorable in “On Your Feet!”, “The Unsinkable Molly Brown” and “Paint Your Wagon” in recent years, and he owns this role, making his performance unforgettable.

Best of all is music director Ben Whiteley’s brilliant orchestrations and conducting. He has brought out vivid colors in the musical imagery through captivating use of instrumentations.

He exuberantly captures Latin rhythms, jazz influences and pop melodies in the anthemic score.

Each orchestra piece stands out, thanks to the top-shelf skills of the 24-piece orchestra. Their work is exquisite from “A Town Square in Buenos Aires” through 26 more compositions to the finale “Lament.”

Sabrina Santana and Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Sound designers David Patridge and John Shivers also enhanced the aural experience.

Adam Koch’s majestic scenic design, accompanied by Paige Seber’s moody lighting design, and Steven Royal’s distinct black-and-white video design, all Muny debuts, create an immersive regal tableau. Fun fact: 20 years ago, Koch was a young assistant stage designer at the Muny. Welcome back!

One of the most eye-catching elements is world-class tango dancers Junior Cervila and Noelia Guerrero – you can’t take your eyes off them. Cervila choreographed the tango-infused numbers.

They are mesmerizing in their first act introduction, then “Waltz for Eva and Che,” the finale, and most beautifully presented in the bittersweet ballad “You Must Love Me.”

From left: Katerina McCrimmon, Noelia Guerrero and Junior Cervila in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Written by Webber and Rice for the 1996 film adaptation, it not only became a stand-alone hit for Madonna, but also won Best Original Song at the 1997 Academy Awards. It has since been incorporated into the show.

 “Rainbow High,” where McCrimmon directs her transformation so that she can be adored and their ‘savior,’ ramping up the “star quality,” is also impressive, as is a feisty, playful “Buenos Aires.”

An articulate 20-person ensemble, representing different social classes, becomes a community, and their movements represent a changing cultural landscape – Rhodes’ vibrant choreography spotlights the country’s sociopolitical changes.

Andrés Acosta, Leyla Ali, Marissa Barragán, Leah Berry, Patrick Blindauer, Jordan Casanova, Marilyn Caserta, Junior Cervila, Devin Cortez, Nicholas Cunha, Kyle de la Cruz Laing, Daniel Alan DiPinto, Kylie Edwards, Noelia Guerrero, Natalia Nieves-Melchor, Zibby Nolting, Arnie Rodriguez, Leann Schuering, Trevor Michael Schmidt, Sharrod Williams and Noah Van Ess are featured – in celebration and in mourning. An ensemble of ten Muny Kids and eight Muny Teens are also incorporated. Shout-out to stage manager Kelsey Tippins.

Omar Lopez-Cepero and the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

First-time costume designer Brian Hemesath brings considerable show business credentials with him – Three-time Emmy winner for “Sesame Street,” 100 digital shorts for The Lonely Island on SNL 2002-2015 and work on Spielberg’s “West Side Story” and John Wick films.

His timeline for Evita’s evolution from peasant to model, radio star, actress and First Lady is a mix of flashy and classy. Wig designer Kelley Jordan’s work is exemplary, complimenting his various looks.

The alluring presentation is not the issue. Webber and Rice’s storytelling is the show’s weakest aspect. Partly because throughout time, Eva has become a historical footnote, and many are not familiar with her controversial story.

Katerina McCrimmon and Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Is she a heroine or a villainess? It’s up to you to decide, but the musical’s format is hampered by unsympathetic viewpoints. You also may need a tutorial before you go, if you are unaware of the backstory.

This is not to say that the cast isn’t impassioned, because they are, and are fully committed to giving their all. They try very hard to make it an inspirational touchstone.

I’ve always found this musical cold – even though I invariably admire the performers. After seeing a national tour at the Fox Theatre in 2015 and an equal parts gritty and elegant presentation at the Repertory Theatre of St. Louis in 2018, I’m still waiting for the show to give me a reason to care.

Members of the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Nevertheless, the Muny’s creative teams’ craftsmen and artists have premiered one of the most dazzling productions with precision and clarity. Rhodes and company are authentic in historical context.

(Full disclosure, outside of “Jesus Christ Superstar,” not the biggest fan of Webber-Rice’s main claims to fame. I feel they are more about spectacle and bombast than an emotional investment. I hope for something to move the needle but so far not yet. So, there is that.)

Their ambitious and very theatrical sung-through musical “Evita” became a sensation first in London in 1978, starting with a rock opera concept, transferring to Broadway a year later and becoming the first British musical to win the Tony in 1979.

It made stars of its leads, Patti LuPone and Mandy Patinkin, who won Tony Awards (show nominated for 11, won 7).

From left: Katerina McCrimmon, Daniel Torres, Omar Lopez-Cepero and members of the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

A 1996 movie starred Madonna and Antonio Banderas, and a 2012 Broadway revival starred Ricky Martin. London’s West End has revived the musical five times, including a current Jamie Lloyd interpretation starring Rachel Zegler.

The Muny debuted the show in 1985, and reprised it in 1989, 1996 and 2001. So, it’s been 24 years since a fresh take.

With its superlative all-around singers and their polished stage presence, “Evita” is a stylish whirl of dance and recognizable musical numbers.

The Muny presents “Evita” July 18 -24 at 8:15 p.m. nightly at the outdoor stage in Forest Park, 1 Theatre Drive.The musical is 2 hours, 20 minutes with an intermission. For more information, visit www.muny.org

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Katerina McCrimmon in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Muny’s Majestic ‘Disney’s Frozen’ is a Sparkly Night of Wonderment

Muny’s Majestic ‘Disney’s Frozen’ is a Sparkly Night of Wonderment

By Lynn Venhaus

With groundbreaking visual effects and enough eye-popping sparkle to elicit thunderous roars, the Muny premiere of Disney’s “Frozen” delivers a magical spectacle.

Master storyteller John Tartaglia reimagined the stage musical to capture more of the animated film’s childlike wonder, and the Muny manufactured snow, and incorporated lasers, video projections and resplendent radiance in unprecedented ways

Elsa’s exhilarating rendition of the signature bestselling award-winning song, “Let It Go,” is achieved in such a dazzling presentation that it should induce chills. The Muny’s team has topped themselves, blending in visual storytelling through digital technology as Elsa builds her ice castle and determines to set her own course.

Feeling an electric surge, the awestruck audience reacted enthusiastically to the spellbinding number with loud cheers and a buzzy wowed ovation. Talk about an extraordinary Muny moment – and what a powerhouse vocalist Hannah Corneau is!

Maliah Strawbridge (left) and Isla Turner in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

As a beloved director and often go-to for the annual kid-friendly show (last year’s shimmering “The Little Mermaid,” 2023’s grand “Beauty and the Beast,” and 2022’s sweet “Mary Poppins,” among others), Tartaglia also captivates by drawing out the heart and humor as part of the razzle-dazzle.

To bring this fantasy-adventure to life, the Muny’s stars shine as bright as the icy kingdom of Arendelle, where princesses Elsa and Anna were forced to be separated because of the oldest sister’s unexplained chilling powers she can’t control.

The Oscar-winning film that became an instant Disney classic in 2013, loosely based on Hans Christian Andersen’s 19th century Danish fairy tale “The Snow Queen,” was instead about the power of sisterly love, self-acceptance and facing your fears. Animator and screenwriter Jennifer Lee deservedly won an Oscar for her take, and was Tony nominated for the book.

The stage adaptation opened on Broadway in 2018, its run cut short by the pandemic in 2020. While the film featured seven and a half songs, the original award-winning songwriting team of Kristen Anderson-Lopez and Robert Lopez wrote 14 new ones for this version.

Bobby Conte, Patti Murin, and Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

A standout last year as Hodel in “Fiddler on the Roof,” Corneau is luminous as conflicted Elsa while Patti Murin demonstrates her flair for comedy as vivacious Anna, recreating the role she originated on Broadway.

They offer a portrait of towering female strength and powerful connection, and blend beautifully in “For the First Time in Forever” and “I Can’t Lose You.” Both can belt, adding emotional intensity.

Equally enchanting are the spunky adolescents playing young Elsa and Anna – Maliah Strawbridge and Isla Turner, themselves rays of sunshine who perform “Let the Sunshine In,” “A Little Bit of You,” and “Do You Want to Build a Snowman” with aplomb.

Now grown and facing an eternal winter, newly crowned Queen Elsa is frightened and in hiding while loyal sister Anna searches for her. The youngest sister teams up with a rugged mountain man Kristoff, his faithful reindeer Sven, and the adorable snowman Olaf. It’s easy to warm up to these characters.

From left: Patti Murin, Jared Gertner, Ryan Lambert and Nathaniel Mahone in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

The too-good-to-be-true charismatic Prince Hans is played by Bobby Conte, whose luxuriant tenor is always memorable. It’s a welcome return after some big shows on the Muny stage – as Enjolras in 2013 “Les Miserables,” and Bob Gaudio in 2018’s “Jersey Boys,” and Edgar Rutledge in “1776,” and “Paint Your Wagon,” both in 2019, before appearing on Broadway as PJ in the gender-flipped revival “Company” and Cousin Kevin in last year’s revival of “The Who’s Tommy.”

His introduction is the charmer “Hans of the Southern Isles” and then engaging with smitten Anna in “Love Is an Open Door,” plus the darker “Monster” and “Colder by the Minute.”

High-spirited Jelani Remy makes a noteworthy debut as Kristoff, both charming and funny. He buoyantly sings “Reindeer(s) Are Better Than People” with Sven and “What Do You Know About Love?” with Anna.

The wizardry of Eric Wright at Puppet Kitchen means that Andrew A. Cano as Sven and Kennedy Kanagawa as comical Olaf endear themselves to young and old alike, stealing a scene or two. Olaf’s anthem “In Summer” is as joyful as that lovable warm hugger is.

Jelani Remy in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

Scenic designer Tijana Bjelajac has created a winter wonderland that glistens with blue and silver backdrops, and you also feel like you are in the fresh mountain air – in the July summer heat! (What magic trick or illusion did she use? Remarkable!). She also fashioned a palatial living space as well.

Those also sprinkling the pixie dust were video designer Kylee Loera, whose work here is her finest hour, topping her previous fine achievements; lighting designer Jason Lyons’ exquisite illuminations – and Northern Lights; and sound designers David Patridge and John Shivers, whose work never sounded better.

The lighting/video team  included Rob Denton (laser designer, lighting department lead), Benji Arrigo (video department lead), Chelsea Zalikowski (projection associate), Zavier Taylor (associate video designer) and Shelby Loera (associate lighting designer).  

Costume designer Robin L. McGee, who has put her award-winning stamp on the past two “The Little Mermaid” productions as well as “Mary Poppins,” “Aida,” and “The Beauty and the Beast,” has an affinity for dressing Disney princesses, aided by fine work from wig designer Ashley Rae Callahan.

Elsa’s glittery ice blue satin gown is a stunner. Working with a primary palette of blues and greens, McGee and her team have crafted elegant ballgowns, warm winter wear, royal finery, military uniforms, townsfolk attire, and the naturalistic “Hidden Folk.” Plus hats, gloves, mittens, scarves and coats.

The Hidden Folk are based on Scandinavian folklore – “huldufolk,” and are mystical, animalistic creatures, led by parental figures Grand Pabbie (Chris Stevens) and Bulda (Cecilia Snow). In the stage version, they replaced the rock trolls from the film.

Jelani Remy (center) and the company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

Also standing out are hilarious Jared Gertner as Duke of Weselton, a cross between Austin Powers and Dr. Evil, and Ann Sanders and Jonah D. Winston regal as Queen Iduna and King Agnarr of Arendelle, Anna and Elsa’s parents.

The vibrant ensemble is joined by a 13-member teen ensemble and a 29-member youth ensemble. Tartaglia knows how to stage a large group and make it fluid. After all, he managed to place 85 people in a robust “Be Our Guest” two summers ago, which had, in addition to oversized cutlery, fireworks.

Bobby Conte and Patti Murin in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

He also directed exceptional versions of “Tarzan,” “Seussical” and “Annie,” and starred as the Cat in the Hat, the Genie in “Aladdin,” and won the St. Louis Theater Circle Award for Supporting as Pseudolus in “A Funny Thing Happened on the Way to the Forum.” The actor-writer-director-puppeteer could survive on his wit alone but thank goodness he knows how to extract the very best from everyone involved.

(Casting update: As of July 8, Tartaglia has taken over the role of Oaken, who leads the ensemble in ‘Hygge!,” a musical number opening the second act as a replacement for the original actor who is recovering from an injury.).

Darryl Archibald, who flawlessly conducted a 32-piece orchestra for last season’s triumphant “Fiddler on the Roof,” returns to bring out this score’s velvety textures. He even wrote a special overture that is heard first at the Muny.

Some of the musical numbers felt like superfluous padding when I saw the (underwhelming) national tour at the Fox in November 2022. However, choreographer Patrick O’Neill has injected more whimsy and playfulness, and the dance numbers are entertaining overall.

Special mention to the team guiding the magic-making — Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production). 

I felt like a child again, catching a snowflake in my hand, and taking in the frosty opulence, the wonderment of the virtuoso creative contributions and the cast’s splendid vocal strengths.

The Muny’s marvel of next-level tech meets old-fashioned storytelling, “Frozen” will melt hearts and can bring out the kid in all of us.

Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

The Muny presents “Disney’s Frozen” July 6-14 at 8:15 p.m. nightly on the outdoor stage in Forest Park. The show is 2 hours, 20 minutes with intermission. Concessions are cashless payments. Preshow entertainment starts at 6:45 p.m. The theatre opens at 7:30 p.m. For more information, visit www.muny.org

The company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer