Stages St. Louis’ Jaunty ‘Disney’s Newsies’ Pops with Personality

Stages St. Louis’ Jaunty ‘Disney’s Newsies’ Pops with Personality

By Lynn Venhaus
Brimming with vim and vigor, Stages St. Louis’ “Disney’s Newsies” pops with personality. Stressing unity in troubled times, it’s a modern message about how harnessing hope can change lives.

Believe! Like the very best underdog sports tales, this David vs. Goliath story based on the Newsboys Strike of 1899 taps into belonging, being of service to others, and making a difference in the world.

Despite the musical being set in the late 19th century, the struggles of a ragtag group of misfits, rebels and street urchins who bring out the best in each other as they fight oppression can resonate in any age, even digital, as fights for rights continue around the world.

Based on the beloved 1992 Disney movie musical that became a cult classic, it wasn’t until 20 years later that it made its Broadway debut, adapted by Harvey Fierstein.

In 2012, it earned four Tony nominations, including Best Musical, winning two for Best Score – Alan Menken’s first-ever Tony for writing the music (after eight Oscars), with lyrics by Jack Feldman, and Best Choreography by Christopher Gattelli.

Phillip Hamer photo.

Trying to survive their harsh conditions one turn-of-the-century summer in Manhattan’s lower east side, newsboys discover rising prices and reduced meager wages threaten their livelihood. The newspaper was the only way to get the news once upon a time.

Organized by orphan Jack Kelly, they protest the practices of the publishing tycoons of the day, namely their greedy employer, Joseph Pulitzer, whose “papes” are the New York World, The Herald and The Sun.

The Muny’s 2017 production was the show’s Midwest regional premiere, after the national tour stopped at the Fox Theatre in 2016.

For its ambitious Stages premiere, it has arrived super-sized at the Kirkwood Performing Arts Center with a big-picture outlook by director Steve Bebout, a grand-scale set design by Ann Beyersdorfer, and turbo-charged acrobatic choreography by Lindsay Joy Lancaster.

Their meticulous work with a fresh-faced cast of triple-threats is dazzling. This unified ensemble of young adults, teens and youngsters shine with a contagious youthful energy – oh if we could only bottle it! — which elevates the elaborately staged pieces.

The exciting signature numbers “The World Will Know,” “Seize the Day,” “King of New York,” and ‘Once and For All” are Menken’s odes to the common man, first heard in the movie.

Menken and Feldman wrote 12 original songs for the movie, which was directed and choreographed by Kenny Ortega of “Dirty Dancing” fame and starred an 18-year-old Christian Bale. While it bombed at the box office, fervent fans grew through watching VHS tapes, DVDs and TV showings. He added seven new tunes for Broadway.

Phillip Hamer photo.

With this expansive bright and buoyant cast, the company’s strength and endurance is noteworthy. They immediately captivate with their winsome characters and cheeky attitudes, singing about “their fine life” in “Carrying the Banner” and have a blast with their new notoriety in “King of New York.”

The dancers’ joy is visible from their first full-throttle appearance to a high-spirited curtain call, where they jump, twirl, kick and twist with abundant glee. In moves that could qualify them for the medal rounds in Olympic gymnastics, they are an earthy full-court press.

PJ Palmer is Race, Noah James Lentini is Albert, Paul Giarratano is Specs, Joah Ditto is Henry, Kyleigh Hegarty is Finch, Philly Kang is Elmer, Giuseppe Little is Romeo, TJ Staten is Mush, Kyle Holmes is Buttons, Carson Hampton Palmer is Tommy Boy and Darcy, Avery Martin is JoJo, Eddie Olmo II is Mike, Ronan Ryan is Ike, Danny Grumich is Wiesel, and James Caposito is Spot Conlon.

Playing Citizens of New York, among other roles, include Lena Matthews, Alyssa Sayuk and Hazel Vogel. Annaliza Canning-Skinner is Pulitzer’s secretary Hannah. (Swings are Brittany Ambler, Jonathan Kwock and Caposito.)

They foster goodwill through relatable heart-tugging personal situations (although the meanie enforcers are brothers Morris (Ryan) and Oscar Delancey (Olmo).

As for the archetype adults, some familiar faces return to Stages – Steve Isom as Bunsen and John Flack as goon Snyder. They are joined by versatile Patrick Blindauer, who is Jacobi’s Deli owner and Governor Theodore Roosevelt, among other small parts.

Taylor Quick and Daniel Marconi. Phillip Hamer photo.

Embodying the charismatic hustler Jack Kelly is Daniel Marconi, making a memorable debut in this demanding role and nailing his wise-guy accent.

However, he has an interesting connection to Stages’ world premiere of “The Karate Kid – The Musical,” for he took part in the NYC staged reading last year of the revamped musical as Daniel LaRusso. He was also in the pre-Broadway tryout of Tony winner “The Outsiders” at the La Jolla Playhouse.

In a star-making turn, Marconi smoothly anchors this band of brothers, taking command with strong vocals and plenty of swagger as the de facto leader, establishing himself as a fast-talking wheeler-dealer who commits to their right-over-might cause. He’s quick with the quips and sincerely tries to be there for the people he cares about.

Although he dreams of going out west for a better life, he’s loyal to his best friend, “Crutchie” (Matthew Cox), a disabled orphan, and falls for the crusading reporter, Katherine Plummer (Taylor Quick).

She exposes the ruthlessness of newspaper magnate Pulitzer and his minions, who don’t care about the newsies’ plight. Together, they have a sweet moment in “Something to Believe In.”

Marconi excels at standing up to the nefarious Pulitzer, played with unrelenting heartlessness by Christopher Gurr, while firing up everyone who wants to “stick it to the man.”

He meets a kindred spirit in go-getter Davey (Richard Spitaletta) and his nine-year-old brother Les (Davin Wade), whom he takes under his wing. Davey’s intelligence and Jack’s street-smarts are an inspiring combo. Both Spitaletta and Wade are engaging performers, comfortable in their roles.

Matthew Cox as Crutchie. Phillip Hamer photo.

Capturing everyone’s hearts is Matthew Cox, who endears as lovable Crutchie. You’ll want to have tissues ready for his “Letter from the Refuge” song, as he details the horrors of being back at the deplorable juvenile reformatory.

Quick, as resourceful Katherine, is another standout. She made her debut earlier this summer as Shelby in “Steel Magnolias,” but here showcases her considerable singing and dancing skills in “Watch What Happens” and “Once and For All.”

Anita Michelle Jackson is an incandescent light on stage, sashaying as sassy and classy theater owner Medda Larkin, who encourages Jack’s artistic ambitions, and looks fabulous in costume designer Brad Musgrove’s divine finery.

A texture specialist, Musgrove worked with period-appropriate garb for the poor-kid cast in mostly subdued earth tones, mixed up with prints, with the rich folk in Gilded Age attire, so the only chance to break out with sumptuous fabrics was with the showgirls.

David Nehls’ savvy music direction is on point, superbly conducting Alerica Anderson on base, Travis Maddison on guitar, Lea Gerdes and JD Tolman on reeds, Ranya Iqbal on cello, Abbie Steiling on violin, Evan Palmer on trombone, Chris Miller on trumpet, and Peter Gunn on drums and percussion, while he played keyboards.

Struck by the work’s timeless can-do American spirit, Bebout said he wanted to focus on young people’s quests to figure out their place in the world. “’Newsies’ reminds us to never doubt the power of a galvanized group of kids who want to change the world,” the director wrote in his program notes.

Christopher Gurr as Pulitzer. Phillip Hamer photo.

The ragamuffin newsies’ efforts bring the city to a standstill – not just a strike for decent wages, but through an ally reporter’s expose about unfair child labor practices in factories, slaughterhouses, and sweatshops are stand-up-and-cheer moments.

An important history lesson, this marked a significant turning point, when the labor union movement gained ground in a new Progressive Era as the country swelled with American Dream-seeking hopefuls who were the workforce for the Industrial Revolution.

Bebout has returned for another knockout, after he directed the comic juggernaut “Clue” last summer, which garnered five St. Louis Theater Circle Awards for Stages’ first play.

His ability to keep the fleet-footed cast swiftly moving through various locations is admirable. (Kudos to stage manager Monica Dickhens too).

The cast fluidly moves pieces of Beyersdorfer’s aesthetically impressive and practical grid set that is, by turns, a newspaper printing plant, bustling streets, makeshift living conditions, and The Refuge, with Pulitzer’s office and Medda’s theater in the mix.

The technical work is exemplary, including Bart Williams’ crisp fight choreography, Sean M. Savoie’s precise lighting design, Saki Kawamura’s adept video projection design, Mike Tracey’s sound design, and Daniel Paller’s shrewd wig and hair design.

Stages’ first foray into presenting a Disney musical in its 38 seasons is a triumph, an uplifting and heart-tugging tale of unlikely heroes that any generation can identify with.

Phillip Hamer photo.

Stages St. Louis presents Disney’s “Newsies” from July 26 to Aug. 25 in the Ross Family Theatre at The Kirkwood Performing Arts Center. For tickets or more information, visit https://stagesstlouis.org

Anita Michelle Jackson as Medda Larkin. Phillip Hamer Photo.

Lively ‘Grease’ Is a Time, Place and Feeling at Stages St. Louis

Lively ‘Grease’ Is a Time, Place and Feeling at Stages St. Louis

By Lynn Venhaus
Managing Editor
“Grease” may be the word, but I have one for the Stages St. Louis production:
Vivacious!

This funny and nostalgia look at 1950s teenagers and the
decade’s burgeoning rock and roll culture bursts with ebullient performers who
deliver the beloved songs with panache.

Those songs never get old. “Summer Nights,” “We Go
Together,” “Greased Lightning,” “Born to Hand Jive” and “You’re the One That I
Want” are among the catchy show tunes in the style of Buddy Holly, Little
Richard and Elvis Presley that entice sing-a-longs. (And eager audiences are
ready).
Integrated with the snazzy dance numbers choreographed by Tony Gonzalez, and
costumes to match, they capture the look and sound of a bygone era — but also
a universal feeling.

And certainly not that we were all the cool kids. Far from
it.

By now, the worldwide smash hit is as familiar as your
senior year in high school. So why do people return over and over to watch high
school shenanigans?

Photo by ProPhotoSTL“Alone at the Drive-In Movie,” “Beauty School Dropout,” “Those
Magic Feelings” and “It’s Raining on Prom Night” touch on all the fretting that
comes with being a teen, no matter what generation.

Maybe it’s that sense of trying to fit in, to belong. That
underneath that tough T-Birds exterior are guys desperate to figure it out —
masking those insecurities (on display so well in James Dean’s “Rebel Without a
Cause”). And the Pink Ladies really wanting to be Gidget, but not letting on
they are afraid they don’t measure up.

On the surface, it is all fun times, that sweet flush of
youth during a more innocent time – but dealing with grown-up issues AND
hormones.

“Greaser” Danny Zuko (Sam Harvey) fancies “good girl” Sandy Dumbrowski (Summerisa Bell Stevens) one summer, and lo and behold, she transfers to his public high school, not the Catholic one. Whoa. Kind Frenchy (Lucy Moon) invites Sandy to hang out with the Pink Ladies, but rough-and-tough Rizzo (Morgan Cowling) is not nice to the new girl. Rizzo has her own issues with boyfriend Kenickie (Jesse Corbin), but school isn’t a high priority with anyone except  Patty Simcox (Aisling Halpin) and nerd Eugene (Brad Frenette).                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            “Grease” is a cultural phenomenon nearly 50 years old — and has been revised multiple times, with the most significant changes made in the 1978 movie, then adopted for a 1993 London stage version, which incorporated four chart-topping songs from the movie written by Barry Alan Gibb, John Farrar, Louis St. Louis and Scott Simon. This is the version Stages has the rights to, and it makes a difference.

You would not much recognize the original 1971 stage version,
which has been sanitized from Jim Jacobs’ and Warren Casey’s initial effort
about working-class high schoolers in a Polish part of Chicago, based on
Jacobs’ alma mater in Cicero.

Photo by ProPhotoSTLThe duck-tailed, hot-rodding Class of 1959 of Rydell High
resembled those ruffians, and the gum-snapping and hip-shaking Pink Ladies were
a combination of bad and mean girls. The raunchier version has been toned down,
but there are still the themes of peer pressure, teen pregnancy, gangs, class
conflict, and good old garden-variety teen rebellion.
This cast, with a few who have been out of high school for some time, seem to
gel well. They sure can shake, rattle and roll in their musical numbers, and
exaggerate their characters for comic effect. Their school and home scenes,
under Michael Hamilton’s smooth direction, delve deeper into social
interaction, with different conversations and motives at play.

While it’s obvious the cast is older, “Grease” isn’t a
production that hinges on authenticity. Just go with the fantasy.

(After all, back in my day, most of these people would have
been considered juvenile delinquents, not people to emulate. And changing into
a sexy siren to get a guy? Oh dear. When would that fly today?)
“Grease” did not become a massive hit because everyone’s enamored with
hooligans. The modest musical parodying the 1950s had an eight-year run on
Broadway and two popular revivals in 1994 and 2007, plus the movie is the no. 1
movie musical of all-time, not to mention all the productions in schools,
regional and community theater.
People can identify with awkward adolescence and ‘types’ – if you don’t
recognize yourself, you know others who do. The supporting cast is appealing,
particularly Patrick Mobley as shy Doody, eager to be a chick magnet with his
guitar, and merry Brooke Shapiro as Jan, desperate to have a beau.

Photo by ProPhotoSTL

Moon is terrific as Frenchy, and “Beauty School Dropout” is
one of this show’s highlights, in staging, choreography and costumes. Showing
off her powerful pipes, Kendra Lynn Lucas is a showstopper as the Teen Angel.
She also doubles as Miss Lynch, but in a rather confusing development is flirty
with students.

Steve Isom evokes those early rock ‘n roll disc jockeys in
his on-air patter and hosting dance contest duties as Vince Fontaine.

Julia Johanos is admirable as a stylish Marty, who acts worldly
older on purpose, while Collin O’Connor is amusing as Roger of ‘Mooning” fame.
Frankie Thams tries to be a rowdy Sonny.

Summerisa Bell Stevens is a radiant Sandy, and after
impressive turns as Sophie in “Mamma Mia” and Doralee in “9 to 5,” she
demonstrates her vocal talents once again. She is at her best with “Hopelessly
Devoted to You.”
I didn’t feel the pairings of Danny and Sandy and of Kenickie and Rizzo were
all that convincing, but their singing and dancing skills were dandy. Harvey
did a nice job with the ballad “Sandy,” and as much as Rizzo’s mean-spirited
“Look at Me, I’m Sandra Dee” annoys me, her “There Are Worse Things I Can Do”
was fine.

The rest of the energetic ensemble includes Bryan Purvis as Peggy-Sue, Madison Tinder as Doreen, Matthew Weidenbener as Frankie, Erik Keiser as Junior, Zach Trimmer as Johnny Casino and Tiger Brown as that fleet-footed Cha-Cha Di Gregorio. Lisa Campbell Albert did her usual stellar job as musical director, with orchestral arrangements by Stuart M. Elmore.

The cast certainly looks the part in their stunning vintage
outfits, tailored to perfection by resident costume designer Brad Musgrove and
his crew. His choice of fabrics is spot-on and he has created looks that could
be straight out of the movies “Pillow Talk” and “A Summer Place,” or McCall’s
magazine, complete with bobby sox and saddle shoes.

Scenic Designer James Wolk makes interesting use of the
space with two staircases so that transitions are smooth, and he has built a
car – a red convertible that serves its purpose. He had me at hi-fi and 45s. Sean
M. Savoie’s lighting design enhances it beautifully.

This “Grease” does what it’s supposed to do – present a time, a place and a feeling, and as a bonus, has the groove and meaning audiences want.

Stages St. Louis presents “Grease” through Aug. 18. Many shows are sell-outs but tickets are available Aug. 13, 14 and 18. For more information or tickets, visit www.stagesstlouis.org

Comical and Cute, Stages ‘101 Dalmatians’ Is a Splendid Treat for All

Comical and Cute, Stages ‘101 Dalmatians’ Is a Splendid Treat for All

By Lynn Venhaus
Managing Editor
The dogs have their day in an inspired young audience production of Disney’s
beloved “101 Dalmatians” at Stages St. Louis.

This 40-minute condensed version sparkles in every aspect,
from the cut-to-the-chase story, merry melodies, precious puppies and cheerful
cast, who enlist the audience to help them solve the clever caper. You can’t
get much higher on the Cute Meter.

Ever since Walt Disney snapped up Dodie Smith’s 1956 novel
and turned it into an adorable animated feature released in 1961, which became
the highest-grossing film that year, we’ve been smitten with spots. Author Smith
used her own dog’s 15-pup litter as the basis for a family-friendly heist tale,
then Disney’s animators visually amped up one of the all-time great cartoon
villains, Cruella de Vil. She’s just as memorable in this live-action edition.

Photo by Peter WochniakIn a two-tone hair wig, Tyler Jent plays up the exaggerated
mannerisms of Cruella as she tries to buy the puppies, but owners Roger and
Anita turn her down. Little do they realize that she wants their pelts for an
elaborate fur coat and has collected 86 other Dalmatians.
Cruella hatches a diabolical plot to steal the pups by using their favorite
treat, Kanine Krunchies, to lure them away. With his comically expressive face accented
with bold makeup, Jent is deliciously dastardly in musical numbers “Cruella’s
Scheme,” “The Fur Vault” and “My Beautiful Coat.”

She is accompanied by bumbling henchmen Jasper (Ryan Cooper)
and Horace (Joshua Roach), who are goofy sight gags on their own. They demonstrate
their slapstick skills as they botch the job and succumb to defeat after “The
Chase.”

Photo by Peter WochniakThe dog network helps– as does a few other furry critters –
using the “Twilight Bark.” With the help of the savvy “Dogs of London – Boxers
(Carson Davis, Caden Michael Self), Poodles (Trenay Labelle, Anna Wright),
Scotties and Chihuahuas (Laura Ernst and Mitchell Holsclaw) — they nab the
burglars, returning the pups to Roger and Anita, and their parents Pongo and Perdita.

Light-hearted Eric Michael Parker and Larissa White are lovely
as the couple while Drew Humphrey and Dena DiGiacinto are lively as the proud
parental pooches.

Immensely likeable pairs, they lead the upbeat group
numbers, with peppy music direction by Tali Allen. That catchy “Cruella de Vil”
will again be stuck in your head. Their fine voices blend in sweet harmony and
captivate the audience, young and old, as they encourage interaction.

Laura Ernst plays the kind Nanny besides donning doggie
costumes, with Jacob Flekier as Sergeant Tibbs and Mitchell Holsclaw doubles as
a police officer.

In addition to professional actors, twelve students from
Stages Performing Arts Academy are included in the cast as puppies. Among the
house brood are Thomas Woodrow as Pepper, Luke Swaller as Patch, Hallie Fisher
as Penny, Aaron (AJ) Bentley as Spot and Sophie Gorgen as Dot, with Arden
Dickson and Dan Wolfe.

Director Peggy Taphorn has kept the show breezy and choreographed
the dances to be appealing and fun, starting out with a “Dalmatian Conga” and
wrapping it up with “Dalmatian Plantation” before the finale.

With the same attention to detail that they put into the
mainstage productions, Stages’ crackerjack creative team has crafted a charming
and delightful show suitable for youngsters and just as enjoyable for the
adults who accompany them.

Visually, scenic designer James Wolk has drawn warm and
whimsical rooms in a storybook way, and the smaller set neatly fits inside the current
mainstage show, with “The Boy from Oz” light grid framing the stage. Sean M.
Savoie’s lighting design takes advantage of the bright color scheme.

Snazzy outfits were designed with flair by resident costume designer Brad Musgrove, and every familiar character is immediately identifiable. With his penchant for glittery over-the-top garments, he has a ball with Cruella’s flamboyant ruby-and-fur (fake) diva attire.

Each puppy, covered in black-and-white print, is distinct to bring out their personality, whether it’s a hat or a piece of their ensemble that helps them stand out. A bow tie! A propeller cap! Those darling little tails!

This short-and-sweet affair is a jolly good time in old
London town, and you’ll be enchanted with puppy power – and the expert human
performers who bring this entertaining musical to merry life.

Photo by Peter WochniakStages St. Louis presents Disney’s “101
Dalmatians”as the Emerson Family Theatre Series from June 18 to June 30 at the
Robert G. Reim Theatre in Kirkwood. For showtimes, tickets or more information,
visit www.StagesStLouis.org.

Performers Light Up Stages’ Exuberant ‘The Boy from Oz’

Performers Light Up Stages’ Exuberant ‘The Boy from Oz’

By Lynn Venhaus
Managing Editor
Although Peter Allen did not get a Hollywood ending, his remarkable true-life
story of how he skyrocketed to fame through sheer talent, drive and his
ebullient personality deserves a splashy musical as good as Stages St. Louis production.

“The Boy from Oz” is the kind of glitzy material that the
company has excelled at for 33 seasons, their intimate stage a canvas for
crowd-pleasing flashy numbers and lavish costumes, with added poignancy that
tugs at our heartstrings. Allen died of AIDS-related throat cancer in 1992; he
was 48.

You may not recognize the name, but you have heard Allen’s
songs, and this show reminds us of his catchy pop hits and power ballads, which
he often wrote for other artists (Olivia Newton-John, Melissa Manchester, Rita
Coolidge).

The Stages production is the Midwest premiere of this rarely
produced musical, although Hugh Jackman won a Tony in 2004 for Leading Actor in
a Musical in the first Australian production ever mounted on Broadway.

Born in a small bush town, Aussie Allen became one of the greatest showmen of the 1970s and ‘80s, and in the title role, David Elder makes him unforgettable. With his charming smile and boundless energy, Elder glides into the role with ease – singing and dancing with oodles of pizzazz, from tender love songs to the era’s disco beats.

Elder’s bravura performance is a stunning display of sass, class and Energizer Bunny motion. Winning over the crowd from his first appearance as the adult Peter, he dynamically captures the life force that Allen was, daring to say: ‘I am who I am, and you can’t ignore or stop me.’ It’s one of the most muscular and joyous lead performances of the year.

As Allen’s fame grew, he was a regular on the talk show
circuit, brightening up those couches, often wearing his trademark Hawaiian
shirts. I recall how genuine he seemed as an entertainer, although extremely
flamboyant – he clearly loved the glamour of showbiz, opened at Carnegie Hall,
danced with the Rockettes at Radio City Music Hall and sang on the Academy
Awards.

This musical, with a snappy book by Martin Sherman and Nick
Enright, emphasizes his life as tailor-made rags-to-riches name-in-lights legend.
The cheeky wit is endearing as Elder narrates Allen’s first-person story.

To chronicle his life, original producers Ben Gannon and Robert
Fox used Allen’s own music and lyrics: “Best That You Can Do” (1981 Oscar
winning song known as “Arthur’s Theme” co-written with Burt Bacharach, Carole
Bayer Sager and Christopher Cross), “I’d Rather Leave While I’m in Love,”
“Everything Old is New Again,” “Love Don’t Need a Reason,” “I Honestly Love
You” and “Don’t Cry Out Loud” among them.

Corinne Melancon and David Elder. Photo by Peter Wochniak“Not the Boy Next Door” turns out to be a fun number between
mother and son. Reliable veteran Corinne Melancon, who seemingly can play any
kind of role, from the pious Mother Superior in “Sister Act” to strong-willed
single mother Donna Sheridan in “Mamma Mia!” during her frequent summers at
Stages, provides affection and pride as Peter’s mother Marion Woolnough, strong
in voice and characterization.

And it’s not just Elder who is sensational, but two debuts are noteworthy. While his Allen interpretation is a slow build – I mean, he doesn’t start at 11, Michele Ragusa is an astonishing Judy Garland, feisty right out of the gate, quickly becoming a patron favorite and stealing the show with her well-timed quips, mannerisms and powerful vocals. Garland’s husband, Mark Herron, discovered Allen in of all places, Hong Kong.

Ragusa soars in “All I Wanted Was the Dream” and “Don’t
Wish Too Hard,” and the moving “Quiet Please, There’s a Lady on Stage” with
Elder.

Garland’s daughter and his future wife, Liza Minnelli, is played with panache by Caitlyn Caughell. She assumed the role after Sarah Ellis (St. Louis Theater Circle nominee as Laurie in “Oklahoma!”) was injured and needed surgery.

She portrays the right mix of bravado and vulnerability as Liza embarks on her own celebrated career, shows her mettle in “Come Save Me” and “She Loves to Hear the Music” with the ensemble. The couple, who divorced after seven years of marriage, remained friends for life, and Elder and Caughell convey that bond.

Michele Ragusa as Judy GarlandZach Trimmer portrays Peter’s longtime love, Texas model
Greg Connell, who died of an AIDS-related illness in 1984. He’s not a warm and
fuzzy character, so their relationship appears to have some holes in the
retelling. The pair share two affecting duets, “If You Were Wondering” and “Love
Don’t Need a Reason.”

Two boys, Ben Iken and Simon Desilets, alternate playing an
eager young Peter, who just wants to entertain, singing and dancing for small
change. Versatile mainstage mainstay Erik Keiser excels as Peter’s first
singing partner, Chris Bell, in their “brother act,” first appearing on
Australian Bandstand as The Allen Brothers. They would have a successful
touring cabaret act and appear on TV.

As is customary at Stages, Steve Isom plays several roles,
from Peter’s abusive alcoholic dad Dick Woolnough to his brusque manager Dee
Anthony.

The ensemble is as energetic and enthusiastic as Elder is,
and their showstopping grand finale, the 1976 salsa-flavored disco hit, “I Go
to Rio,” is a rousing number in which dancers make quite an entrance in Brad
Musgrove’s elaborate sequined costumes. Musgrove, who never met a sequin he
didn’t like, outdoes the Follies here in spectacular shiny silver-and-white outfits.
The costumes received their own applause, as did Dana Lewis’ robust choreography.

James Wolk’s scenic design is straightforward, allowing the
music numbers to be the focus, and there is a lovely nighttime New York skyline
through an apartment picture window. Sean M. Savoie’s brightly colored lighting
design complements Wolk’s set beautifully.

Director Michael Hamilton emphasizes the vivacious side of Peter while not forgetting the sorrow. He crisply stages the Judy-Peter-Mark-Chris number “Only an Older Woman” with as much oomph as he does with the exuberant ensemble numbers “Sure Thing Baby” at the Copacabana and “When I Get My Name in Lights.” Stuart Elmore’s orchestrations work well, while music director Lisa Campbell Albert varies the tempo to suit each singer.

“Caught between the moon and New York City” will always
define Allen for me. It’s just one of those phrases that you’ll always remember
with a smile, especially if you have fallen in love with the city like he did. And
he’s impossible to forget after seeing his story, “The Boy from Oz.”

David Elder and Ben Iken as old and young Peter AllenStages St. Louis presents “The Boy from Oz” May
31-June 30 at the Robert G. Reim Theatre in the Kirkwood Community Center, 111
S. Geyer Road, St. Louis, 63122. For more information or to purchase tickets,
visit www.StagesStLouis.org or
call 314-821-2407.

Stages St. Louis Kicks Off Its 33rd Season: ‘Experience the Story’

Stages St. Louis Kicks Off Its 33rd Season: ‘Experience the Story’

STAGES St. Louis is thrilled to announce casting for its 33rd Season: THE BOY FROM OZ, GREASE, MAN OF LA MANCHA, and its Emerson Family Theatre Series production of Disney’s 101 DALMATIANS.

“The tagline at STAGES is ‘Experience The Story’ and our 2019 Season stays true to these words offering something special for everyone,” expresses Associate Producer Andrew Kuhlman.

THE BOY FROM OZ May 31 – June 30 Music and Lyrics by Peter Allen Book by Martin Sherman and Nick Enright Direction and Musical Staging by Michael Hamilton Choreography by Dana Lewis Musical Direction by Lisa Campbell Albert Scenic Design by James Wolk Costume Design by Brad Musgrove Lighting Design by Sean M. Savoie.

The Midwest Premiere of THE BOY FROM OZ follows the dazzling and hilarious Australian singer-songwriter, Peter Allen, from his humble beginnings performing in backcountry pubs to his international stardom beside such Hollywood icons as Judy Garland and her daughter Liza Minnelli. Featuring such beloved Peter Allen hits as “Don’t Cry Out Loud”, “I Honestly Love You”, and the show-stopping “I Go To Rio”; THE BOY FROM OZ is a showbiz celebration of life, love, and being fabulous.

David Elder is Peter Allen, Sarah Ellis is Liza Minelli, Michele Ragusa is Judy Garland and Corinne Melancon is Marian Woolnough

DAVID ELDER (Peter Allen) David is thrilled to return for his 6th show at STAGES! Broadway credits include CURTAINS (Bobby Pepper), 42ND STREET Revival (Billy Lawlor, Outer Critics Circle, and Astaire Award Nominations), KISS ME, KATE (Bill Calhoun/Lucentio), TITANIC: The Musical (Frederick Fleet, the Lookout), ONCE UPON A MATTRESS starring Sarah Jessica Parker (Sir Harry u/s), DAMN YANKEES starring Jerry Lewis (Bomber on Broadway, Joe Hardy on the National Tour), Disney’s BEAUTY AND THE BEAST (Salt, Beast u/s), and GUYS AND DOLLS starring Nathan Lane (Guy, Crapshoot specialty). Film and TV credits include ACROSS THE UNIVERSE, CRADLE WILL ROCK, JEFFREY, and “Guiding Light”.

MICHELE RAGUSA (Judy Garland) Michele is thrilled to be making her STAGES debut! Broadway credits include YOUNG FRANKENSTEIN (Elizabeth), URINETOWN (Pennywise), RAGTIME (Evelyn), TITANIC, A CLASS ACT, and CYRANO. Off-Broadway credits include ADRIFT IN MACAO (Primary Stages/ Lortel and Drama League nominations/Barrymore Award), TITANIC: 20th Anniversary Concert (Lincoln Center), and CRAVING FOR TRAVEL (Playwrights Horizon). Regional credits include BULLETS OVER BROADWAY (Helen), MAME (Mame), HELLO, DOLLY! (Dolly Levi), LEND ME A TENOR (Maria), ANNIE (Hannigan), BOEING, BOEING (Gabriella), THOROUGHLY MODERN MILLIE (Mrs. Meers), FUNNY THING … FORUM (Domina), THE KING AND I (Anna), SPAMALOT (Lady/Lake), SWEENEY TODD (Beggar Woman), SINGIN’ IN THE RAIN (Lena), INTO THE WOODS (Witch), KISS ME, KATE (Kate), THE DROWSY CHAPERONE (Chaperone), COMPANY, MARY POPPINS (Winifred Banks), GUYS AND DOLLS (Adelaide), and THE FULL MONTY (Vickie).

SARAH ELLIS (Liza Minnelli) Sarah is thrilled to be reuniting with her STAGES family! Recent credits include the Broadway 1st National Tour of A GENTLEMAN’S GUIDE TO LOVE AND MURDER.  Favorite regional credits include Laurey in OKLAHOMA! (STAGES), Dyanne in MILLION DOLLAR QUARTET (Riverside and Geva Theatres), and Molly in GHOST: The Musical at Fingerlakes MT Festival, where she will be returning later this summer to play Nellie in SOUTH PACIFIC. Other regional credits include Ogunquit, Pittsburgh CLO, North Shore Music Theatre, KC Starlight, Westchester Broadway Theatre, Florida Studio, and WV Public.  NYC credits include THE ROAD TO RUIN, DEAR JANE, and STARDUST ROAD: The Hoagy Carmichael Musical.  Sarah is a frequent Guest Artist with the Dubuque Symphony Orchestra and holds a BFA from Penn State (WE ARE!).

CORINNE MELANÇON (Marion Woolnough) Corinne happily returns to STAGES after appearing in last season’s I DO! I DO! and MAMMA MIA!  Broadway credits include 11 years in MAMMA MIA! (where she appeared as Donna, Tanya, and Rosie), KISS ME, KATE, JEKYLL & HYDE, BIG, A CHRISTMAS CAROL, MY FAIR LADY, and ME & MY GIRL.  Other NY appearances include Carnegie Hall and Radio City Music Hall.  Corinne has appeared in the International Touring company of GRAND HOTEL and on film as Lady Beaconsfield/Guinevere in JEKYLL & HYDE.  Additional STAGES credits include Violet in 9 TO 5, the title role in THE DROWSY CHAPERONE (St. Louis Theatre Circle nomination), Mother Superior in SISTER ACT, Charlotte in A LITTLE NIGHT MUSIC, Nickie in SWEET CHARITY, Tracy in HIGH SOCIETY, Rose in BYE BYE BIRDIE, and Lucille in NO, NO, NANETTE.  Favorite regional credits include Vera in MAME, Judith in HAY FEVER, Velma in CHICAGO, and Mona in DAMES AT SEA.

GREASE July 19 – August 18 Book, Music, and Lyrics by Jim Jacobs and Warren Casey Additional Songs by Barry Alan Gibb, John Farrar, Louis St. Louis, Scott Simon Direction and Musical Staging by Michael Hamilton Choreography by Tony Gonzalez Musical Direction by Lisa Campbell Albert Scenic Design by James Wolk Costume Design by Brad Musgrove Lighting Design by Sean M. Savoie.

Welcome to Rydell High where Danny Zuko and his gang of Burger Palace Boys and Pink Ladies rule the school! Bursting with explosive energy and 1950’s nostalgia, GREASE blends an irresistible mix of adolescent angst and All-American teen spirit to create a high octane pop-culture phenomenon you won’t want to miss!

SUMMERISA BELL STEVENS (Sandy Dumbrowski) Summerisa is thrilled to be returning to STAGES St. Louis, where she was recently seen as Sophie Sheridan in MAMMA MIA! and as Doralee Rhodes in 9 TO 5 (2018 Broadway World Award for Best Actress). Favorite regional credits include Swing/Tara u/s and Alison Prager u/s in HALF TIME (Paper Mill), Velma and “Somewhere” Soloist in WEST SIDE STORY (Paper Mill & Riverside Theatre), DeLee in SMOKEY JOE’S CAFÉ (Merry-Go-Round & Riverside Theatre), and Amber in HAIRSPRAY (Tuacahn). Summerisa holds a BFA in Musical Theatre and a Minor in Ballroom Dance.

SAM HARVEY (Danny Zuko) Sam is a born and raised Nebraska Cornhusker and proud AMDA NY graduate. He is also very excited to be taking on the iconic role of Danny Zuko this summer at STAGES after just coming off the 10th Anniversary Tour of ROCK OF AGES (Stacee Jaxx). NYC and Off-Broadway credits include BAYSIDE! The Musical! (Zack Morris) and THE LOVE NOTE (Peter). International credits include BROADWAY CHRISTMAS WONDERLAND (Lead Vocalist) and ROCK OF AGES (Drew). Sam performed regionally in GREASE (Kenickie) and THE SOUND OF MUSIC (Rolf). Love to his family and beautiful wife.

MORGAN COWLING (Betty Rizzo) Morgan is extremely grateful and excited to be making her STAGES St. Louis debut as a Pink Lady! She toured the country as Meg Giry in the original cast of THE PHANTOM OF THE OPERA (25th Anniversary Tour). Off-Broadway and NYC credits include Sherri Walters in MARRY HARRY (The York Theatre), Lecy in ONCE WE LIVED HERE (Urban Stages), and BULL DURHAM (Workshop). Regional credits include OKLAHOMA! (Goodspeed Musicals), HELLO, DOLLY! (Ford’s Theatre), THE MADNESS OF MAY (Thalian Hall), and Disney’s WISHES (Disney Cruise Line, OC). A Western Australian Academy of Performing Arts alum, Morgan’s Australian credits include GUYS AND DOLLS, SEUSSICAL, and THE MARRIAGE OF FIGARO.

JESSE CORBIN (Kenickie) Jesse has worked extensively regionally and in New York City with favorite credits including Tony Manero in SATURDAY NIGHT FEVER, Danny in GREASE, Enjolras in LES MIZ, and Joseph in JOSEPH … DREAMCOAT. Other career highlights include appearing in the North American premiere of Tim Rice’s FROM HERE TO ETERNITY, debuting the spectacular THE FIRST NOEL at The Apollo Theatre in Harlem, and starring in the Off-Broadway, two person production of THE LION, THE WITCH, AND THE WARDROBE. Jesse recently debuted his solo show in NYC at Haswell Green’s and just released a collection of original songs! MAN OF LA MANCHA September 6 – October 6 Written by Dale Wasserman Music by Mitch Leigh Lyrics by Joe Darion Direction and Musical Staging by Michael Hamilton Choreography by Dana Lewis Musical Direction by Lisa Campbell Albert Scenic Design by James Wolk Costume Design by Brad Musgrove Lighting Design by Sean M. Savoie

A romantic and inspiring musical adventure, MAN OF LA MANCHA tells the epic story of seventeenth-century author Miguel de Cervantes and his immortal literary creation Don Quixote. This poignant tale of ultimate heartbreak and unimaginable triumph features a lushly melodic score that includes the rapturous “Dulcinea”, the rousing title song, and the classic Broadway anthem which dares us all to dream “The Impossible Dream”.

JAMES PATTERSON (Cervantes/Don Quixote) James is excited to make his debut with STAGES. Most recent credits include Georges in LA CAGE AUX FOLLES at the Pioneer Theatre Company and Lumiere in Disney’s BEAUTY AND THE BEAST at Theatre Under The Stars. James has appeared in the Broadway and National Touring productions of GIGI (Dufresne), MARY POPPINS (Park Keeper), THE DROWSY CHAPERONE, Disney’s BEAUTY AND THE BEAST (Beast, Gaston, and Lumiere understudy), CATS (Munkustrap), and STATE FAIR. Other credits include Dr. Livesey in TREASURE ISLAND and Lumiere in Disney’s BEAUTY AND THE BEAST (Fulton Theatre & MSMT), LE COMTE ORY (Metropolitan Opera), MAME (Kennedy Center), Barnaby Slade in SAIL AWAY(Carnegie Hall), Joshua Chamberlain in CHAMBERLAIN (MSMT), and Reverend Shaw Moore in FOOTLOOSE (Fulton Theatre). Website: jamespattersontheactor.com. James is a graduate of Tufts University and NEC.

PATRICK JOHN MORAN (Sancho Panza) Originally from NJ, Patrick took a quick $4 bus ride over the George Washington Bridge and now calls NYC home! National Tour credits include Francis Flute/ Master of the Justice in SOMETHING ROTTEN! and Asher/Baker in JOSEPH … DREAMCOAT. Regional credits include William Morris Barfee in THE 25TH ANNUAL … SPELLING BEE (Chicago Company/Drury Lane), Jacey Squires in THE MUSIC MAN (Cape Playhouse), Sancho Panza in MAN OF LA MANCHA (Flat Rock Playhouse), Hubie Cram in DO RE MI (Musicals Tonight!), Harry in MY FAIR LADY (Riverside Theatre), and Norman Bulansky in THE BOYS NEXT DOOR (Identity Theater Company).

AMANDA ROBLES (Aldonza) Amanda is a graduate of the University of the Arts and holds a BFA in Musical Theatre. She has recently been seen as Rita in a full workshop production of FROM HERE TO ETERNITY (Jerome Robbins Theater) under Sir Tim Rice and as Isabel/Tia Carmen in the World Premiere of AMERICAN MARIACHI (DCPA and The Old Globe). Amanda has also appeared at Walt Disney World’s Castle Stage in the opening casts of ELENA’S ROYAL WELCOME (Princess Elena) and MICKEY’S MOST MERRIEST CELEBRATION. Currently, she resides in New York City and continues to work in regional productions around the country.

Disney’s 101 DALMATIANS June 18 – June 30 Music and Lyrics by Mel Leven, Randy Rogel, Richard Gibbs, Brian Smith, Martin Lee Fuller, Dan Root Book Adapted and Additional Lyrics by Marcy Heisler Music Adapted and Arranged by Bryan Louiselle Based on the Screenplay by Bill Peet Based on the Novel The Hundred and One Dalmatians by Dodie Smith Direction and Choreography by Peggy Taphorn Musical Direction by Tali Allen Scenic Design by James Wolk Costume Design by Brad Musgrove Lighting Design by Sean M. Savoie

STAGES Emerson Family Theatre Series production returns this year with Disney’s 101 DALMATIANS. Join the evil Cruella De Vil and her two klutzy henchmen as they try to steal a litter of the cutest puppies ever to hit jolly old London Town. But not to worry – this fur-raising adventure ends happily with plenty of puppy power to spare! A musical treat for the entire family, Disney’s 101 DALMATIANS is sure to have audiences barking for more! This year’s Emerson Family Theatre Series also features 12 students from STAGES Performing Arts Academy. STAGES is offering a unique performance opportunity as the only Academy attached to a professional theatre in the region.

DENA DIGIACINTO (Perdita) Dena is thrilled to be back at STAGES St. Louis where previous credits include OKLAHOMA!, 9 TO 5, and JOSEPH … DREAMCOAT. She appeared on Broadway in the recent revival of A CHORUS LINE. Other favorite credits include EVITA (Riverside Theatre and National Tour), Disney’s THE LITTLE MERMAID, Disney’s BEAUTY AND THE BEAST, and THE WIZARD OF OZ (Variety Theatre), THE DROWSY CHAPERONE (Peninsula Players), MARY POPPINS (John W. Engeman Theater), and Irving Berlin’s WHITE CHRISTMAS (Pioneer Theatre Company).

DREW HUMPHREY (Pongo) Drew is thrilled to return to STAGES, where he was most recently seen in OKLAHOMA!; New York/Tour credits include the Broadway production of Irving Berlin’s WHITE CHRISTMAS (also Cast Recording), OF THEE I SING and LADY BE GOOD at Encores!, and the First National Tour of 42ND STREET. Regional credits include CRAZY FOR YOU (Bobby Child), SINGIN’ IN THE RAIN (Cosmo), CATS (Skimbleshanks), THE MUSIC MAN (Tommy Djilas), and WEST SIDE STORY (Snowboy).  Drew received a BFA in dance from the University of Arizona. 

LARISSA WHITE (Anita) Larissa has appeared as Bonnie Parker in BONNIE & CLYDE, Dolly in THE THREEPENNY OPERA, Heather McNamara in HEATHERS, Heather (again) in AMERICAN IDIOT, physicist Leona Woods in ATOMIC, Angel in CELEBRATION, Alice in LIZZIE, and Elle in LEGALLY BLONDE. Her show WERDEN SIE MICH TOTEN was produced for Surfacing’s Emerging Playwrights Festival.

ERIC MICHAEL PARKER (Roger) Originally from Los Angeles, Eric is a NYC-based actor and singer. He is also a winner of the Kurt Weill Foundation’s Lotte Lenya Competition and has performed on stages from Tokyo to Rome. Some favorite credits include Freddy in MY FAIR LADY (Musical Theatre West), Harold Bride in TITANIC: The Musical (Moonlight Productions), Robert Martin in THE DROWSY CHAPERONE (Norris PAC), and, most recently, Mr. Collins in AUSTEN’S PRIDE, a new musical of the novel “Pride & Prejudice” (ACT of CT). 

STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education. In 2019, STAGES celebrates its 33rd year of producing Broadway-quality theatre, presenting 140 performances from June through October to nearly 50,000 patrons.

STAGES employs a full-time staff of 23 overseeing a budget of $5.1 million. During the performance season, an additional 150 actors and crew members bring the productions to life. To date, STAGES professionals have produced 120 musicals, with over 3,700 performances, playing to more than one million patrons. Single tickets to STAGES’ 2019 Season are on sale now and prices range from $25 – $65. Subscriptions are still available and begin at just $120. STAGES’ Mainstage productions perform in the intimate, 377-seat Robert G. Reim Theatre at the Kirkwood Civic Center, 111 South Geyer Road in St. Louis, MO 63122.

For more information or to purchase tickets call 314-821-2407 or visit www.StagesStLouis. org.

New York Casting is done by Scott Wojcik and Gayle Seay of Wojcik/Seay Casting.

Strong Women Productions Dominate St. Louis Theater Circle Awards

Strong Women Productions Dominate St. Louis Theater Circle Awards

By Lynn Venhaus
Managing Editor
Plays with substantial women roles were spotlighted at the seventh annual St.
Louis Theater Circle Awards March 25, with The Repertory Theatre of St. Louis’
musical production of “Evita” and a homegrown “A Streetcar Named Desire” from
the third annual Tennessee Williams Festival each receiving seven awards.

Both iconic female-lead shows had received the most
nominations, 11 apiece, when the Circle announced them in January. The awards
recognized outstanding work locally produced by regional professional companies
during the calendar year 2018.

Nominees Kari Ely and Michelle Hand in “Into the Breeches!”The comedy “Into the Breeches!”, the first play in Shakespeare
Festival St. Louis’ new program, “In the Works,” won four awards. The world
premiere was in January 2018, with its first St. Louis performances in
September. The comedy from Chicago playwright George Brant is about a
fictitious theater group in 1942, and with the men away at war, the director’s
wife sets out to produce an all-female version of “Henry V.” It had roles for
six women and two men. In addition to awards for ensemble, director Nancy Bell
and best production, Michelle Hand won best actress.

The Circle, which includes veteran area theater critics, annually recognizes outstanding work in comedies, dramas and musicals, and with two opera categories.

Each of the 33 categories featured five nominees, with 23 local companies cited for 54 shows, and 120 artists receiving nods, including 10 with two apiece.

This year, there were three ties: sound design in a play, costume design in a musical and musical ensemble.

Evita won seven awards from the Circle“Evita,” the vibrant Tony Award-winning Andrew Lloyd Webber-Tim Rice musical, earned awards for musical direction (Charlie Alterman), choreography (Gustavo Zajac and Mariana Parma), set design (Luke Canterella), lighting (John Lasiter), director (Rob Ruggiero, his third), ensemble and production of a musical.

The landmark “A Streetcar Named Desire,” written in 1947 by the great American playwright Tennessee Williams, who spent his formative years in St. Louis, earned honors for Sophia Brown as Outstanding Actress – for her heart-wrenching portrayal of the emotionally needy and mental fragile faded beauty Blanche Dubois, sound design (original music by Henry Palkes and sound by Amanda Werre), lighting design (Sean M. Savoie), set design (James Wolk), direction (Tim Ocel), ensemble and production of a drama.

The 18 other awards went to separate shows, with both The
Black Rep and The Muny winning three apiece, and The Rep adding two more for earning
the most, nine.

Jeff Cummings and Katy Keating in “Life Sucks.” Photo by ProPhotoSTLIn comedy, Katy Keating won for Supporting Actress as feisty but unrequited lovesick Sonia in New Jewish Theatre’s “Life Sucks,” a ‘sort of’ adaptation of Chekhov’s “Uncle Vanya” by Aaron Posner. She was also part of the award-winning ensemble of “Into the Breeches!”.

Isaiah Di Lorenzo in “Rosencrantz and Guildenstern Are Dead.” Photo by Ron James.Isaiah Di Lorenzo won Supporting Actor as The Player, the leader of the Tragedians, in St. Louis Shakespeare’s production of Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead.” He also was in the award-winning ensemble of “A Streetcar Named Desire.”

Will Bonfiglio as Mary Dale in “Red Scare on Sunset.” Photo by Justin Been. Will Bonfiglio won his second Outstanding Actor Award, as film star Mary Dale in Stray Dog Theatre’s “Red Scare on Sunset.” He was honored in 2017 for the one-man show, “Buyer & Cellar,” also at Stray Dog.

For costume designs, Lou Bird won for The Rep’s “Born Yesterday” vintage wardrobe in the play category and there was a tie in the musical category between Leon Dobkowski, who won for The Muny’s colorful “The Wiz,” and Darryl Harris for the elegant “Crowns: A Gospel Musical” at The Black Rep.

There was another tie in sound design in a play – besides “Streetcar,” Rusty Wandall won for Lucas Hnath’s contemporary “The Humans” at The Rep.

Laurie McConnell, left, as Birdie Hubbard in “The Little Foxes.” Photo by Patrick HuberIn drama, Laurie McConnell won Supporting Actress as forlorn
Birdie Hubbard in St. Louis Actors’ Studio’s production of Lillian Hellman’s “The
Little Foxes.” She won in 2017 for Supporting Actress in a Musical, for her portrayal
of Joanne in “Company” at Insight Theatre Company.

Eric Dean White as Satan and Chris Ware as Judas. Photo by Ann AuerbachEric Dean White, a previous nominee, won Supporting Actor for playing the slick, smooth, haughty and conniving Satan in “The Last Days of Judas Iscariot” at Mustard Seed Theatre.

Ron Himes in “Fences”

Another previous nominee and winner, Ron Himes won Outstanding Actor as bitter garbage collector Troy in August Wilson’s “Fences at The Black Rep last winter. In 2014, The Black Rep won best ensemble and production for “The Whipping Man.”

The Black Rep’s “Torn Asunder” best new playThe Black Rep also won Best New Play for Nikkole Salter’s “Torn
Asunder,” which dramatized true stories of newly emancipated African Americans
trying to overcome the vestiges of slavery so they could reconnect with their
families.

Joy Boland won Outstanding Supporting Actress in a Musical for her portrayal of the imposing villainess sea witch in Variety Theater’s “Disney’s The Little Mermaid.”

Beth Leavel as Mama Rose in “Gypsy.” Photo by Philip Hamer.For their powerhouse musical performances, Corbin Bleu won Outstanding Actor as the fleet-footed matinee idol Don Lockwood in “Singin’ in the Rain” and Beth Leavel was honored as the controlling stage parent Mama Rose in “Gypsy,” both at The Muny.

Corbin Bleu in “Singin’ in the Rain” at The Muny. Photo by Phil Hamer.Leavel had been nominated three times before (“Hello Dolly!” “Oklahoma!” and “Thoroughly Modern Millie,” all at the Muny. She is currently performing on Broadway in a St. Louis-produced original musical, “The Prom.”

Stephanie Merritt and Kent Coffel in “The Light in the Piazza” Kent Coffel won Outstanding Supporting Actor in a Musical for his performance as well-meaning haberdasher Signor Naccarelli, Fabrizio’s father, in “The Light in the Piazza,” presented by R-S Theatrics in its St. Louis regional premiere.

Anything Goes at New Line Theatre. Photo by Jill Ritter LindbergTying with “Evita” for musical ensemble was New Line Theatre’s vivacious “Anything Goes.”

It was a three-peat for Ruggiero, who won for directing “Evita,” and had previously been honored for The Rep’s productions of “Follies” and “Sunday in the Park with George.”

“Regina” at OTSL was Outstanding Opera ProductionIn the opera categories, Opera Theatre of St. Louis was honored
for both Outstanding Achievement in Opera, which was given to director Patricia
Racette for “La Traviata,” and the Mark Blitzstein adaptation of “The Little Foxes”
— “Regina,” as Outstanding Production of an Opera.
Three special awards were bestowed:  To the
Muny for a century of performances celebrated during its centennial season of
2018; to Kathleen Sitzer, founder and long-time artistic director of the New
Jewish Theatre, for lifetime achievement; and to Steven Woolf, Augustin
artistic director of The Rep for more than 30 years, also for lifetime
achievement.

Sitzer retired after New Jewish Theatre’s 2017-18 season, while Woolf will retire after The Rep’s 2018-19 season this spring. Organized in 2012, the St. Louis Theater Circle includes founding members Steve Allen of stagedoorstl.com, Mark Bretz of the Ladue News, Robert A. Cohn of the St. Louis Jewish Light, Chris Gibson of Broadway World, Gerry Kowarsky of HEC-TV’s “Two on the Aisle,” Chuck Lavazzi of KDHX, Judith Newmark, now of judyacttwo.com, Ann Pollack of stlouiseats.typepad.com, Lynn Venhaus, now of St. Louis Limelight magazine, Bob Wilcox of HEC-TV’s Two on the Aisle, and Calvin Wilson of the St. Louis Post-Dispatch, Tina Farmer of KDHX and Michelle Kenyon of snoopstheatrethoughts.com. Eleanor Mullin is the administrator.

Those who helped produce the show at the Loretto-Hilton Center on the campus of Webster University included Andrea Torrence and Peggy Holly, who put together the slide show; awards assistance Hannah Daines, stage manager Alycia Martin and assistant stage manager Delaney Dunster, voice-over announcer Colin Nichols and box office assistants Kimberly Sansone and Harry Ginsburg.

Renowned local musician Joe Dreyer was the accompanist and Deborah Sharn performed an opening number.

Special thanks to Volunteer Lawyers and Accountants for the Arts, Price Waterhouse Cooper LLC, who tabulate the Circle ballots, and to the awards certificate calligrapher Susan Zenner.

Contact the Circle by email: stltheatercircle@sbcglobal.net and like us on Facebook.

Evita at The RepInto the Breeches! at Shakespeare Festival St. Louis

“La Traviata” at Opera Theatre of St. Louis

Stages St. Louis’ Frisky, Fun ‘Mamma Mia!’ Irresistible

Stages St. Louis’ Frisky, Fun ‘Mamma Mia!’ Irresistible

By Lynn Venhaus
Managing Editor
“Mamma Mia!” – take me away! Stages St. Louis’ high-spirited production is a ticket to pure escapism, a refreshing summer confection that’s a welcome respite from real-world troubles.
What makes this version of the jukebox musical irresistible is the intimate staging at the Robert G. Reim Theatre and an exuberant ensemble whose joy is infectious. Under Michael Hamilton’s animated direction, they are having such a blast that it’s easy to be drawn into their merrymaking. The joint was jumping!
Don’t think too hard about the story’s timeline or do any math about the ages – for this fantasy is critic-proof and one must suspend belief. For supreme enjoyment, be on board for mindless fun when you take your seat, and if you are not singing, dancing or clapping in time during the festive curtain call, check your pulse.
The 1999 smash hit, now the ninth longest-running Broadway musical of all-time, cleverly weaves 1970s hit songs by Swedish pop group ABBA into a lightweight romantic comedy about a former singer and her soon-to-be-married daughter. It may be far-fetched, but it works – hence, the global phenomenon.
Sophie, 20, is obsessed with the looming question of who’s her father, so she invites the maybe-dads Australian adventurer Bill, stuffed-shirt British banker Harry and divorced American architect Sam. They all show up. At the same time.

Donna Sheridan’s bandmates Tanya and Rosie, aka The Dynamos, also arrive at her Greek island taverna. This reunion combo leads to a splendid “Dancing Queen” and “Super Trooper,” and a sweet “Chiquitita,” with all three strong-voiced actresses Corinne Melancon (Donna), Dan’yelle Williamson (Rosie) and Dana Winkle (Tanya) in robust harmony.
Book writer Catherine Johnson has injected plenty of light-hearted humor into what ultimately is a heartwarming celebration of family, friends and women empowerment, all played out on a tiny slice of paradise.
In a fresh and dynamic way, the creative team has emphasized the everlasting charm that makes the show so popular, and the ensemble projects a carefree day-at-the-beach mentality. Stages’ has concentrated on the characters’ feelings, which aids the believability of their connections.
Tony Gonzalez’ buoyant choreography is a highlight, with “Lay All Your Love on Me” featuring a unique tap-dance in snorkeling fins that prompted hearty applause.
He maintained the effusive party atmosphere in “Voulez-Vous” and “Gimme Gimme Gimme,” where the chorus shines.
The technical elements came together in such a pleasurable way that it truly enhanced the experience.
Ah, the sun-drenched days and starry nights are beautifully captured by Sean M. Savoie’s lighting design, with James Wolk’s scenic design adding a moon that moves. The taverna’s balcony is a smart addition for a stressed-out Donna and wistful musical numbers.
Resident costume designer Brad Musgrove’s penchant for glitz gets a workout here, and the colorful eye-candy costumes pop. He outdoes fashion designer Bob Mackie for the razzle-dazzle finale, and noteworthy are the ensemble’s bright and flamboyant wedding attire. With the show set in 1999, I don’t think the outfits entirely reflected that period, but rather spotlighted a spirit of adventure.

The entire cast must be an integral component for this story to succeed, and this group is one of the finest I’ve seen. Music director Lisa Campbell Albert kept up a kicky pace for the singers, and oh, is it a tight chorus, not to mention the consummate professionalism of the principals. Stuart M. Elmore’s orchestral designs are on point.
I was surprised to find out that some patrons had never seen it before – and their joy of discovery was palpable. Fortunately, they experienced an outstanding show as their first time.
Corinne Melancon has become a versatile leading lady at Stages, capable of genuine conviction. She is an experienced Donna – she played the role as part of the 11 years she spent in the Broadway cast, and was also the other two Dynamos. She appeared to really love portraying this woman.
With all that experience, she could have coasted, but is fully engaged as a woman wrestling with a lot of pent-up feelings and frustrations. She brings a gravitas to the single mom who is a struggling businesswoman too.
She excels in a well-staged “Money, Money, Money” and the title song, but knocks “The Winner Takes It All” out of the auditorium.
In a superb “S.O.S.,” she beautifully blends with Gregg Goodbrod’s Sam, the love-of-her-life she scorned in 1979. Goodbrod is a strong Sam in acting and his solo “Knowing Me, Knowing You.” Nice to see him back in St. Louis after playing J.J. in “The Unsinkable Molly Brown” last summer at The Muny.
As the sultry Tanya, statuesque Dana Winkle, who was recently in the national tour of the elegant “An American in Paris,” shows off her slick dance moves in a cheeky “Does Your Mother Know.”
In a departure from the character’s typically frumpy appearance, sassy Rosie is portrayed by striking Dan’yelle Williamson, memorable as Dolores in “Sister Act” two summers ago. She’s convincing as a fierce determined woman and playful in “Take a Chance of Me.”
But Summerisa Bell Stevens as wide-eyed innocent Sophie just might be this show’s secret weapon. She’s one of the best Sophies I have ever seen – a total package who projects an innate sunniness and intelligence. So terrific as Doralee in last year’s “9 to 5,” she practically glows in “I Have a Dream,” “Honey, Honey,” and “Thank You for the Music.”
At first, David Sajewich seemed too old as Sky, but he and Stevens had so much chemistry, that it didn’t distract.
Reliable veterans Steve Isom and David Schmittou play Bill and Harry with their customary skill and crisp comic timing. They both nail their accents – Australian for Isom and British for Schmittou — and are admirably steady throughout, good sports in the dancing numbers.
The ensemble was noteworthy in the effective blacklight dream sequence “Under Attack,” which was thankfully not as silly as usual.
Of course, everyone does their part to raise the roof in the pull-out-all-the-stops finale, and when they come to “Waterloo,” no one wants this party to end.
I’m an unabashed fan of this musical – and it was my eighth time during the past 15 years. I compare it to the warm nostalgia of a “Gidget” movie from my youth. And yes, I cheerfully sang every word to “Dancing Queen” and “Mamma Mia!” at the curtain call – the audience is encouraged to do so (and I warned my neighbors to the right and left).
While it doesn’t matter if you have seen either the first or second movie, after viewing the just-released prequel-sequel, I did like that it shed more light on the backstory and motivations, so I thought of those things while watching this original show that sparked it all.
“Mamma Mia!” has sincere sentiment and its whole lotta fun vibe uplifted everyone. This production is one I’m not going to forget.
Stages St. Louis presents “Mamma Mia!” from July 20 through Aug. 19 at the Robert G. Reim Theatre in the Kirkwood Community Center, 111 S. Geyer Ave. For more information or to purchase tickets, call 314-821-2407 or visit: www.stagesstlouis.org. At least 18 shows are sold-out.Photos by Peter Wochniak