Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

By Lynn Venhaus

Get ready to groove! A harmonious blend of electrifying sound, smooth moves and soulful expression, “Ain’t Too Proud: The Life and Times of the Temptations” deftly delivered passionate personal portraits in The Muny’s premiere production.

The iconic songs that made this rhythm and blues group the most successful ever sound pure and powerful as the soaring falsettos, high tenor leads and deep bass notes recall a timeless soundtrack to the ‘60s and ‘70s    – and freshly highlight their extraordinary career for those not as familiar.

This is an endearing classic jukebox musical with dramatic storytelling about perseverance, ambition, collaboration and resilience — how these five Detroit guys rose from humble beginnings to international stardom.

The show opened on Broadway Feb. 28, 2019, stopped for the pandemic shutdown on March 12, 2020, then resumed Oct. 16, 2021, and closed Jan. 16, 2022. It was nominated for 12 Tony Awards and won for choreography. National tours have stopped at the Fox Theatre in St. Louis twice, first in 2022, and then for a weekend in 2025.

From left: Jawan M. Jackson, James T. Lane, Nick Rashad Burroughs, Elijah Ahmad Lewis and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The Temptations were the first Motown group to win a Grammy (“Cloud Nine” in 1969), had 53 hits in the Billboard Top 100, were inducted into the Rock and Roll Hall of Fame in 1989, and Billboard named them the #1 Greatest R&B/Hip-Hop Artist of All-Time in 2017.

Formed as The Elgins in 1961, founder Otis Williams (James T. Lane) assembled the first quintet to include tenor Elbridge “Al” Bryant (Robert Crenshaw), bass Melvin Franklin (Jawan M. Jackson), tenor Eddie Kendricks (Elijah Ahmad Lewis) and baritone Paul Williams (Daniel Yearwood).

Under Berry Gordy’s (Galen J. Williams) tutelage, they ascended the charts as The Temptations, with Smokey Robinson (Tyler Hardwick) first writing their hits. Bryant left in 1964 and was replaced by David Ruffin (Nick Rashad Burroughs), who sang lead on “My Girl,” “Ain’t Too Proud to Beg” and “I Wish It Would Rain.”

As they go through decades of fame, personal loss, and historical change, Norman Whitfield (Robert Crenshaw) took over as composer, writing bold songs about real-world issues, affected by the civil rights movement, Dr. Martin Luther King’s death in 1968, and subsequent Detroit riots.

James T. Lane and Nasia Thomas in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The second member shift was when Dennis Edwards (Joseph Anthony Byrd) replaced Ruffin in 1968, then Kendricks and Paul Williams both left the group in 1971. Later members included Richard Street (Aramie Payton), Damon Harris (Tyler Hardwick), Glenn Leonard, Ron Tyson, and Ali-Ollie Woodson. By Williams’ account, there are 27 men who have been officially part of The Temptations, and today, there is an evolving roster.

This recognizable music instantly made a connection with the audience, and a comfortable rapport was established. A high-energy ensemble performed 31 Motown hits with synchronized, athletic dance steps.

Paul Williams, widely considered the group’s best dancer, helped develop those slick moves in the early days, including “The Temptation Walk,” which were recreated by Tony winner Sergio Trujillo, and then stylized by choreographer Rickey Tripp, making his dazzling Muny debut, aided by associate choreographer Nasha Harris Santiago

Also here for the first time, Music Director Darryl G. Ivey buoyantly conducted 23 top-tier musicians to masterfully blend those global smash hits. Under Marcia Milgrom Dodge’s fast-paced direction, pizzazzy sequences were enlivened by scenic designer Edward E. Haynes Jr.’s towering Ambassador Bridge set piece and Kevan Loney’s imersive video designs incorporating concert and television appearances. Rob Denton’s lighting design and Joshua Hummel’s sound design complimented the showbizzy atmosphere.

From left: E.J. Hamilton, Candice Marie Woods and NaTonia Monet in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Costume designer Gail Baldoni based impeccable retro garments on the original designs by Paul Tazewell and included those stylish matching suits the guys were known for and sparkly gowns for The Supremes. Kelley Jordan fashioned the wigs, and the hairstyles grow in size as the 1960s progress..

Behind the flash, the actors conveyed a band of brothers – in the emotional highs and lows, and in the personal, professional and political struggles of their time. Dominique Morisseau’s book, while gritty, follows a conventional formula – but does not gloss over painful occurrences. The darker side includes alcoholism, drug addiction, domestic violence and suicide.

Morisseau adapted founder Otis Williams’ autobiography, written with Patricia Romanowski, for the basis of the musical, and he not only attended Monday’s performance, but spoke to the crowd after the curtain call. Williams, 84, still tours with the group.

From left: NaTonia Monet, Galen Williams and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

As the sturdy narrator Williams, engaging James T. Lane broke the fourth wall. He also framed the heavy emotional cost of success, outliving his friends, and focused on keeping the band together. As the moral anchor, Williams dealt with the big egos and arguments, and is the last surviving member, so the story is his to tell.

Dynamic Nick Rashad Burroughs, such a live wire as James “Thunder” Early in 2024’s “Dreamgirls,” embodied the tempestuous and talented frontman Ruffin, who couldn’t overcome his demons.

From left: Steve Rosen, Nick Rashad Burroughs, Elijah Ahmad Lewis, James T. Lane, Jawan M. Jackson and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

A real aural delight is Jawan M. Jackson as the distinctive bass Franklin, nicknamed “Blue.” His “Papa Was a Rolling Stone” is unforgettable. No wonder that he originated the role on Broadway and is now part of The Temptations, for his rich, mature tone resonates so perfectly.

Elijah Ahmad Lewis, who was a principal standby on Broadway, plays the cool cat Eddie “Corn” Kendricks with verve, displaying the signature falsetto on “Just My Imagination,” “Get Ready” and “The Way You Do the Things You Do.”

Daniel Yearwood is a heart-tugging Paul Williams, providing warm, sincere vocals like “For Once in My Life,” and then emotionally going through a sad trajectory.

The polished and professional female squad played several notable roles, with Candice Marie Woods as a stunning Diana Ross, E.J. Hamilton as Mary Wilson and NaTonia Monét as Florence Ballard, all shimmering as The Supremes, with Monet also Tammi Terrell, and Nasia Thomas as Otis’ wife Josephine.

From left: Elijah Ahmad Lewis, Jawan M. Jackson, James T. Lane, Robert Crenshaw, Daniel Yearwood and the company of the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Noteworthy in support are Robert Crenshaw as Al Bryant and Norman Whitfield, two roles he played on the national tour and TJ Staten Jr. as Otis’ grown son Lamont. While his role as manager Shelly Berger isn’t as flamboyant as Uncle Fester, Cogsworth and Igor in previous Muny productions, it’s nice to see Steve Rosen return – and his curtain call schtick is very funny.

Besides the aforementioned, the hard-working ensemble included Joshua Keith, Essence Anisa Tyler, Riley Adams, AJ Bentley, Laila Fantroy, Kameron Henry, Myles Lacey, Kayla Montgomery and Landon Page.

We brought our fond memories to the Muny, and Dodge supplied the upbeat concert vibe to make it a lively and entertaining evening. She made the past feel very present.

A Detroit native, she played Motown 45s in her basement like my sister Julie and I did in our youth. So, of course we were seat dancing! And up on our feet for the curtain call. This is Dodge’s 11th musical at the Muny, and one that was deeply personal to her, which she conveyed to all of us there Tuesday night.

From left: Nick Rashad Burroughs, Jawan M. Jackson, Elijah Ahmad Lewis, James T. Lane and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The music of The Temptations lives on forever, and the Muny audiences won’t soon forget the fun party atmosphere nor the quintet’s heartfelt journey.

The Muny presents “Ain’t Too Proud: The Life and Times of The Temptations” from July 27 to Aug. 2 on the outdoor stage in Forest Park nightly at 8:15 p.m. and is presented by Moneta. The runtime is 2 hours, 30 minutes with 15-minute intermission included.

From left: Daniel Yearwood, Elijah Ahmad Lewis, Nick Rashad Burroughs, Joseph Byrd, Jawan M. Jackson and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The Muny’s Lush, Lithe ‘South Pacific’ Is An Unforgettable Experience

The Muny’s Lush, Lithe ‘South Pacific’ Is An Unforgettable Experience

By Lynn Venhaus

Big personalities and bigger voices fill the Muny’s expansive stage for an enthralling excursion into an exotic place that remains a timeless touchstone of American musical theatre.

In their 11th staging of “South Pacific” – a stunning tour de force in every element, the Muny meets a significant cultural moment through the vision of director William Carlos Angulo. Using the gutsier 2008 revival script, the show expands on the heightened love, intolerance and war themes.

Angulo emphasizes the two intercultural romances where couples grappled with acceptance and overcoming prejudice some eight decades ago, which resonates today. Suave Emile de Becque is a French plantation owner with a mysterious past who falls for spunky nurse Nellie Forbush, from Little Rock, Ark.

The time is 1943 when the Allies fought the Axis – the coalition of Nazi Germany, fascist Italy and Imperial Japan in World War II. The unworldly Nellie is stationed on an unnamed island where the U.S. Navy and Marines are keeping tabs on the enemy.

Taylor Louderman (center) with members of the company of the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

These characters populated James Michener’s short stories in “Tales from the South Pacific,” which was adapted by Joshua Logan and Oscar Hammerstein for the wartime musical, with music by Richard Rodgers and lyrics by Hammerstein. It opened on April 7, 1949, when war memories were fresh in people’s minds.

The work won the Pulitzer Prize for Drama in 1950, the first (and only musical until “Hamilton” in 2016) and 10 Tony Awards. It ran for nearly five years on Broadway until 1954, a record album was a huge hit, and a popular movie adaptation was released in 1958. The show had never been revived on Broadway until Bartlett Sher’s acclaimed 2008 Lincoln Center run, which tackled the darker themes realistically.

After Marine officer Lt. Joseph Cable arrives for a dangerous espionage mission, he is smitten by Liat, a Tonkinese woman who lives on the mystical island Bali Ha’i. As the young lovers, Michael Canu and Michaela Marfori are mesmerizing in dance sequences that Angulo has incorporated for richer storytelling. Choreographer Karla Puno Garcia has added a tender tableau that sets this production apart, a ravishing debut.

Michaela Marfori and Michael Canu in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by MaryKatherine Patteson, The Muny

That glorious music! Music Director Roberto Sinha conducts 29 musicians for those iconic sweeping ballads and fun ensemble numbers, so very sumptuous, starting with that fabulous overture.. Sinha returns after marvelous maestro turns in Angulo’s “In the Heights” and “Dear Evan Hansen” and is currently the music director of Broadway’s “Hamilton.”

To experience Brazilian bass-baritone Paulo Szot recreate his Tony-winning role as Emile is wondrous and breathtaking live. This is the kind of powerful operatic performance that people will still be talking about for years.

They’ll single out his magnetic renditions of “Some Enchanting Evening” and “This Nearly Was Mine” with the kind of reverence that is spoken about Yul Brynner in “The King and I,” Robert Preston in “The Music Man,” and Zero Mostel in “Fiddler on the Roof.”

Sarah Fenske, St. Louis Magazine executive editor, declared it “The Summer of Szot” after seeing him at both Opera Theatre of St. Louis as charming Signor Naccarelli in “The Light in the Piazza” and now the Muny. I’m jumping on this bandwagon too. (He’s returning to Broadway to play Lance in “& Juliet” later this month, a role he originated.)

Paulo Szot in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

While a charismatic presence, he’s not the only reason to see this cherished classic. Taylor Louderman is enthusiastically welcomed back to where it all started for the Tony nominee as a teenager, combining a sunny disposition with her physicality and lovely lilting vocals as the spirited, unsophisticated Nellie. Showing genuine emotional depth, she brings out the turmoil that Nellie faces because of ingrained attitudes that affect her relationship with Emile.

Now playing a very grown-up role, she’s the epitome of exuberance in “A Cockeyed Optimist,” “I’m Gonna Wash That Man Right Outa My Hair,” “I’m In Love with a Wonderful Guy,” and “Honey Bun.” Together, Louderman and Szot have a sweet chemistry., and their “Twin Soliloquys” is silky smooth.

Not only can Canu dance ballet, but his strong tenor soars in “Younger Than Springtime” and “My Girl Back Home.” Being brought up in Philadelphia society, when he’s disgusted by his own ingrained bigotry, he erupts into the pivotal “You’ve Got to Be Carefully Taught.”

Paulo Szot and Michael Canu in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

This decades-old social commentary remains impactful today, which sets “South Pacific” apart from other golden-age chestnuts. When she meets Emile’s Polynesian children, Louderman must say “colored,” which has been restored in the script. The understanding comes later. It’s a scrupulously constructed show that wants to say something.

The rest of the ensemble is flawless, with Joan Almedilla a knockout as Bloody Mary, avoiding making her a caricature, and transporting us in “Bali Ha’i.” After playing a conniving prince in “Frozen” last year, Bobby Conte returns as an animated Luther Billis, the lovable schemer who provides much needed comic relief.

It’s a pleasure to see three St. Louisans make their mark on the Muny stage, with veteran Michael James Reed as Captain George Brackett, Jeff Cummings in his debut as Commander William Harbison, and former Muny Kid Robert Crenshaw in his debut as Stewpot. Crenshaw, who lit up stages on national tours of “Ain’t Too Proud” and “The Wiz,” is fun to watch as the goofy Seabee.

Jeff Cummings (left) and Michael James Reed in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by MaryKatherine Patteson, The Muny

The lavish atmosphere, in contrast to the gritty war mission, is beautifully rendered in Arnel Sancianco’s lush scenic design, with the tropical touches carried through in John Lasiter’s sun-drenched lighting design and Yee Eun Nam’s video designs of breezy foliage and ocean waves. Josh Hummel crafted the sound design.

Costume designer Raquel Adorno’s lovely flowing evening gowns set an enchanting mood, with a gorgeous palette of seafoam greens and blues as well as flowery prints. The elegant party clothes contrast with the military attire of the sailors and nurses. Ashley Rae Callahan was the wig designer.

The robust singers and dancers have fun with “Bloody Mary,” “There Is Nothin’ Like a Dame,” and the Thanksgiving Follies. As Emil’s children Ngana and Jerome, Grace Moore and Josiah Paik are delightful in “Dites-Moi.”

Bobby Conte (center) and members of the company of the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

The cast includes Julia Aguinaldo, Tre’ Booker, Jessica Carmona, Chloe Chamberlin, Aaron Patrick Craven, Arielle Ploy Dettmer, Alex Benetiz Evans, Rachel Fairbanks, Hannah Florence, Garrick Goce Macatangay, Jake Mendes, Caylie Rose Newcom, Julian Ramos, John Ray Jr., Hayden Rivas, David Rowen, Connor Schwantes, Gordon Semeatu, Francisco Thurston, and Nicholas A. Wilkinson.

The Muny’s “South Pacific” is a snapshot of how we once were, with hope for the future.  It’s a grand glimpse of the best of times, the worst of times, and how people connect dramatically on the world arena. This exceptional cast and crew of artisans have created an unforgettable night of theater that deeply resonates and carries us away in song.

“The Muny” presents “South Pacific” on the outdoor stage from July 6 – 12. Visit muny.org for more information on The Muny’s 108th season. 

From left: Grace Moore, Taylor Louderman and Josiah Paik in the 2026 Muny production of Rodgers & Hammerstein’s “South Pacific.” Photo by Phillip Hamer

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

‘Jersey Boys’ Uplifting Melodies, Story Hit the Right Notes at the Muny

‘Jersey Boys’ Uplifting Melodies, Story Hit the Right Notes at the Muny

 By Lynn Venhaus

“But the first time the four of us made that sound, our sound, when everything dropped away and all there was, was the music…that was the best,” – Frankie Valli

With its focus on the driven, determined and dynamic brotherhood who became the enduring superstar quartet The Four Seasons, their lively legacy lives on in the Muny’s crowd-pleasing rolling ball of thunder “Jersey Boys.”

A celebrated smash hit around the world, the smartly constructed Tony winner is a can’t-miss bio-jukebox musical because of its vibrant staging, captivating storytelling and unforgettable sound.

Not only featuring a substantial collection of hits, the charming combination of showbiz spectacle and personal struggles connect with generations authentically, garnering empathy, and the group’s hard-won success resonates.

 The rags-to-riches true stories of Frankie Valli (Pablo David Laucerica), Bob Gaudio (Andrew Poston), Tommy DeVito (Ryan Vasquez) and Nick Massi (Cory Jeacoma), blue-color kids from a tough Italian neighborhood in Belleville, New Jersey, are detailed in Marshall Brickman and Rick Elice’s straight-shooting documentary-style book.

Pablo David Laucerica, Andrew Poston, Jerry Vogel_Photo by Phillip Hamer

By presenting four different points of view, they also broke the Fourth Wall, where characters talk directly to the audience, and each one narrates their version. Being wise street guys, their salty dialogue is peppered throughout the two acts. They sure were entertaining, on stage and off.

The writing pair deftly integrated the group’s tough times and glorious moments in between 34 songs, their placement depending on recordings timeline or a means to emphasize real events.

With lead singer Valli’s unmistakable falsetto, songwriter/keyboard player Gaudio’s catchy melodies, De Vito’s guitar, and Massi’s bass, their signature sound sold 175 million records and was an essential cultural touchstone of the 1960s-1970s.

The quartet features three strong actors making their Muny debut. Indefatigable Pablo David Laucerica is a dynamo as legendary Valli, acting “Like that bunny on TV, I just keep going and going and going. Chasing the music. Trying to find our way home.”

Flashing a radiant smile often, Laucerica pours his heart and soul into the songs, and while he superbly delivers upbeat pop and moving ballads equally, one of his best numbers is the heartbreaking “Fallen Angel” about the tragic death of his daughter at 22. Frankie convincingly wrestles with his desire to perform and the need to spend more time with his family.

From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer

Poston is appealing as boyish Gaudio, the self-assured songwriting wizard, while Jeacoma adds some fine-drawn heft to his Massi characterization, more than just a quirky figure eliciting laughs as the self-proclaimed “Ringo.” He’s an accomplished ‘Jersey Boys’ veteran (as is Laucerica).

In his second Muny appearance after his scene-stealing turn as the sadistic dentist in “Little Shop of Horrors” in 2023, Vasquez provides the braggadocio and is an imposing figure in his intense portrayal of slick sharp-tongued troublemaker DeVito. It’s a noteworthy muscular performance.

While they took a while to find their rhythm in the musical numbers, the four eventually clicked, their silky-smooth 4-part harmonies gelling along with their snappy movements. In their passionate portrayals, though, they established a fine rapport with each other for an immediate close-knit feeling.

First-time music director Paul Byssainthe Jr. cohesively conducted the 25-piece orchestra, emphasizing a sensational horn section that shines in the upbeat numbers.. The actors playing musicians exhibit some stylish moves.

Choreographer William Carlos Angulo’s larger dance numbers are appropriately peppy, but there is one puzzling dance interlude during a Valli solo, after his daughter’s passing. Nevada Riley, a young female dancer, enters alone, and dances in the dark, no illumination whatsoever – so how many people saw it? Could shadows have been more effective?

Wouldn’t lighting designer Rob Denton have enhanced that? Denton, one of the best in the business, has dramatically illuminated music scenes and intimate interactions effectively here. truly stunning work establishing the scenes..

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

The Muny’s creative team transports us to the 1960s, from the smoky clubs to humble digs, to a fabled Brill Building recording studio, taping of “American Bandstand,” “The Ed Sullivan Show,” and other milestones in the 1970s and 1990. Set designer Krit Robinson has crafted a simple grid for all the moving pieces, some gritty, some finer quarters.

Costume designer Leon Dobkowski conjures up attractive vintage period pieces and status outfits, with glitzy dance and singing attire getting fancier as the gigs get bigger.

The creative eye-popping video designs by Kylee Loera and Greg Emetaz immerse us in the music business and frame the times. They incorporated hand-held cinema verité footage of interviews with the older Four Seasons, played by Drew Battles, Michael James Reed, and Jerry Vogel. The smooth, seamless integration is some of their best work.

For the Rock Hall induction scene, some members of the audience appeared confused, thinking that the older actors were the real Four Seasons when they came on stage in tuxedos. They stood up cheering, snapping photos. Unfortunately, only two of the actual members are living – Gaudio and Valli, and they were not present. (However, Gaudio did make an appearance in 2018, being introduced one night to the Muny crowd.)

From left: Tristen Buettel, Nevada Riley and Stephanie Gomerez in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | MaryKatherine Patteson

For anyone that considers these timeless songs part of the soundtrack of their lives, this is a nostalgic boogaloo down memory lane. It’s not only Boomer bliss, or for fans only, but other generations can appreciate the universal themes of ambition, friendship, love, disappointment, heartbreak and making your dreams come true.

Director Maggie Burrows presented the major music numbers with panache, especially the back-to-back hits “Sherry” (their first hit in 1962), “Big Girls Don’t Cry,” “Walk Like a Man,” and “Ragdoll.” The ‘earworm’ tunes keep coming in robust fashion — “Let’s Hang On,” “Working My Way Back to You,” “C’mon, Marianne” and “Stay” among them.

Standing out are thrilling interpretations of “December 1963 (Oh, what a Night)” – their last no. 1 hit in 1976, “Can’t Take My Eyes Off of You,” and “Who Loves You,” a rousing finale that had the crowd on its feet – and singing and clapping along to the forever hummable “December 1963” encore/curtain call.

The iconic “Can’t Take My Eyes Off of You,” released in April 1976, has a fascinating backstory that gets its deserving Muny moment. After being turned down, the embattled song was among his biggest hits, earning a gold record and reaching No. 2 on the Billboard Hot 100 for a week, making it Valli’s biggest solo hit until he hit No. 1 in 1975 with “My Eyes Adored You.” Solid gold first time out of the gate as a solo artist.

With an extended ovation and loud cheers for Laucerica’s virtuoso rendition, that reaction indicated it was an audience favorite. And the staging, with its silhouetted horn section, was a nifty touch.

Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily Santel

In fine support are Shea Coffman as record producer and lyricist Bob Crewe (but saddled with an ill-fitting wig), John Leone – who was in the original Broadway cast — as business leader, family man and fixer Gyp de Carlo, Mike Cefalo as Joe Pesci (yes, that Joe Pesci), and Tristen Buettel as Frankie’s first wife, Mary Delgado.

Of course, the ensemble seamlessly plays multiple roles. D’Marreon Alexander, Matt Faucher, Stephanie Gomerez, Reina Guerra, Jimin Moon, Ben Nordstrom, Matt Rivera, and Fernando Trinidad III complete the ensemble, with Kaley Bender and Noah Van Ess as swings.

Currently, the 13th longest-running show on Broadway with 4,642 performances, “Jersey Boys” ran for 11 years from Nov. 6, 2005, to Jan. 15, 2017. In 2006, it won four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design.

As the first theater to present it after the Broadway run, residence companies and national tours, The Muny featured it as a world regional premiere during the 100th year centennial season in 2018, and the joint was jumping.

While this production could have been tighter and crisper (under-rehearsed, affected by oppressive heat, perhaps?), overall, it is a rollicking, entertaining evening.

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

This quintessential American Dream tale hasn’t lost its luster. Come for the classic hits, enjoy the laughter, delivered vigorously. Humor abounds, so do emotional tugs through their relatable journey navigating the pitfalls of fame and money.

Leaving with enough good vibes to remain uplifted, I haven’t been able to get the songs out of my head since I exited the outdoor Muny stage Tuesday for the final show of the redefining and memorable 107th season.

How lucky we are to be alive right now, connecting with each other through the time-honored tradition of sitting under the stars and seeing Broadway-quality shows Muny-style. Onward and upward for next summer!


The Muny presents “Jersey Boys” from Aug. 18 through 24 at the outdoor stage in Forest Park. It is 2 hours, 20 minutes and has an intermission. This has adult content. For tickets, go to: www.Muny.org or call the box office at 314-361-1900, located at 1 Theatre Drive in Forest Park, or MetroTix at 314-534-8111.

From left: Andrew Poston, Ryan Vasquez, Cory Jeacoma and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer


The 108th Season

The Muny will announce the seven shows in its 2026 season on Dec. 1, which happens to be Cyber Monday. The invitation-only live event will be livestreamed for virtual participation. Time will be announced later.

For the first time, subscribers can renew current tickets or secure new season tickets when they unveil the season 108 lineup.

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From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica with the company of the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily Santel
From left: John Leone, Shea Coffman, Drew Battles, Michael James Reed and Jerry Vogel in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer

Muny’s Heart-Melting ‘Dear Evan Hansen’ Is Beacon of Light in Dark Times

Muny’s Heart-Melting ‘Dear Evan Hansen’ Is Beacon of Light in Dark Times

By Lynn Venhaus

Deeply personal and profoundly moving, “Dear Evan Hansen” grabs our hearts and doesn’t let go.

Sensitively presented by director Rob Ruggiero and perceptively told by an emotionally engaged cast in its powerful Muny and Midwest regional debut, the musical is anchored by an astounding Michael Fabisch, who immediately wins us over as the awkward outcast Evan.

In his star-making turn, the captivating Fabisch, who played Evan on the most recent national tour, projects vulnerability and a remarkable range of feelings as an anxious high school senior struggling to fit in.

He is in nearly every scene — his physical stamina as impressive as the emotional depth he expresses in the signature songs “You Will Be Found,” “For Forever,” “Words Fail,” and “Waving Through a Window.”

Through a series of unfortunate events, Evan finds himself entangled in a web of lies after a troubled classmate’s suicide, which spirals out of control.

Rob McClure (left) and Michael Fabisch in the Muny production of “Dear Evan Hansen.” Photo by The Muny | Emily Santel

When you first hear that everything is based on a lie, you may have a ‘wait – what?’ reaction. However, Evan’s hard-fought journey of self-discovery resonates. He makes mistakes, and there are consequences, but ultimately, there is hope.

The story asks us not to judge Evan but understand why he created this charade — to comfort a grieving family. Forgiveness is a powerful tool here too.

The spotlight on the anonymous and anti-social Connor Murphy has a beneficial outcome — The Connor Project, a viral movement for inclusion, that grew from the students’ efforts.

Statistics tell us loneliness is at an all-time high. A National 4-H Council survey found that seven out of 10 young people say they struggle with mental health issues. I think this musical can save lives, and if it helps someone reach out, what a wonderful result. It is certain to spark conversations.

From left: Michael Fabisch, Bryan Munar and Joshua Bess in the Muny production of “Dear Evan Hansen.” Photo by Phillip Hamer

Even during an intense summer heat wave, a highly attentive audience leaned in, rapt. Sensing that the musical connected to each person in some way, no matter what age, I was struck by the hush of the engaged crowd – except for a few overheard sniffles here and there (understandable, and with me, unavoidable).

Try getting through “So Big/So Small,” a heart-melting vocal by Jackie Burns, who plays Evan’s caring single mother Heidi.  Her husband left when Evan was 7 and has a whole new life in Colorado. She addresses her shortcomings in this tearjerker.

Burns, Broadway’s longest running Elphaba in “Wicked,” is raw and real in her portrayal of Evan’s hard-working, exhausted mom, juggling her job as a nurse’s aide, school classes to become a paralegal, and trying to provide for her son but not always being there for him.

“I knew there would be moments that I’d miss
And I knew there would be space I couldn’t fill
And I knew I’d come up short a million different ways
And I did
And I do
And I will”

Pass the tissues. Not only does this song foster empathy, but the entire show can be viewed as therapeutic/cathartic – and necessary. Oh, the dialogues to follow in homes across America.

Michael Fabisch and Jackie Burns in the Muny production of “Dear Evan Hansen.” Photo by The Muny | Emily Santel

The show is universally relatable because of its themes of mental health, grief, social anxiety, fear of being alone, yearning for acceptance, and understanding how others feel invisible or unvalidated for who they are.

While the high school setting conveys both despair and wanting to please in an overwhelming digital age, the adults are affected too, as they do ‘adulting’ in an ever-changing playing field where the goal posts keep moving.

Everybody seems to be trying to do the right thing and find their place in the world, flaws and all. That is why the cast’s ability to depict frustration, confusion and joy is felt, landing in every corner of the Forest Park seats. Who wouldn’t want an opportunity for reinvention?

An ensemble peppered with fresh faces and seasoned principal performers tugs hard at the heartstrings as their impassioned voices unite in splendid harmonies. The Act One closer, “You Will Be Found” is an anthem we always need, but more so in our contemporary cold, cruel world.

Standing out in supporting roles – and making their Muny debuts – are Joshua Bess as the anonymous and aggressive Connor, whose apathy may have masked a cry for help, Afra Sophia Tully as his sister Zoe, and Bryan Munar as tech whiz Jared, a family friend who reluctantly helps Evan become an internet sensation.

Savy Jackson in the Muny production of “Dear Evan Hansen.” Photo by Phillip Hamer

Savy Jackson, last year’s Ariel in “The Little Mermaid,” is charming as the cheerful over-achieving Alana. Rob McClure, in his ninth Muny show, and his real-life wife Maggie Lakis, also a Muny vet, portray Connor’s parents Larry and Cynthia, pain and sorrow etched on their faces.

Pairing with Fabisch, Bess is light-hearted in “Sincerely, Me,” Tully has a tender duet in “Only Us.” and McClure sentimental in “To Break in a Glove.”

A fusion of musical theatre and pop, the score by composer Benj Pasek and lyricist Justin Paul is well-integrated into the recognizable story by Steve Levenson.

Golden boys Pasek and Paul, the latest EGOT winners (20 and 21st), earned Tonys and a Grammy Award for “Dear Evan Hansen,” an Oscar for “City of Stars” from “LaLa Land,” and the primetime Emmy for the song “Which of the Pickwick Triplets Did It?”, from “Only Murders in the Building” in the episode “Sitzprobe.”

With its beautiful imagery of an idyllic day, indelible poetry about friendship, and haunting melody, “For Forever” hits hard. While it’s a total fabrication from Evan to soothe the Murphys in mourning, it emphasizes Evan’s aching desire for connection.

Michael Fabisch (center) and members of the company of the Muny production of “Dear Evan Hansen.” Photo by The Muny | Emily Santel

The Muny concept for this show works well – not overpowering with razzle-dazzle but letting the identifiable story with its unforgettable characters be the focus. Ruggiero, in directing his 11th show, has a knack for staging on the outdoor space, and his insight influences the production’s vibrant tempo.

A 17-member cast, with eight principal characters and including “virtual community voices”  – Kaley Bender, Vera Brown, Alex Daspit, Spencer Davis Milford, Zoe Brooke Reed, Essence Anisa Tyler, Noah Van Esse, and Oscar Williams, is expanded to include a 24-person teen ensemble on stage and eight vocalists offstage.

The projection technology, its depiction of social media, and setting the scene locations, helps illustrate the isolation – and the intimacy. Michael Schweikardt’s sleek scenic design, paired with Kevan Loney’s video design, is a terrific visual landscape.

Eschewing the need to open up scenes, Ruggiero has pared them down instead – dining room, bedrooms, school computer lab – with human interaction, strikingly illuminated by lighting designer Rob Denton.

John Shivers and David Patridge’s sound design was effective in its integration of electronic communication as well as delivering crisp vocals in musical numbers.

Michael Fabisch and Afra Sophia Tully in the Muny production of “Dear Evan Hansen.” Photo by Phillip Hamer

Music director Roberto Sinha strategically used sumptuous strings and mastered poignant orchestrations by Alex Lacamoire, while Justin Paul’s vocal arrangements added emotional heft. How can you not fall in love with that score?

Costume designer Joseph Shrope outfitted the characters in age-appropriate casual attire, and of course, Evan wore his trademark polo shirts.

The musical, which opened on Broadway in December 2016, won six of the nine Tony Awards it was nominated for in 2017, including Best Musical, Best Book of a Musical, Best Original Score, Best Actor in a Leading Role in a Musical (Ben Platt as Evan), Best Featured Actress in a Musical (Rachel Bay Jones as Heidi), and Best Orchestrations.

It ran on Broadway until Sept. 18, 2022, for nearly six years, including 1,672 regular performances and 21 previews.

Because of its enduring and extraordinary impact, the musical remains a timeless, moving experience. Emphasizing truth, the Muny’s adaptation is worthy of your time and attention – for it speaks from the heart straight to the heart. You are not alone.

The Muny presents “Dear Evan Hansen” July 28 – Aug. 3 on the Forest Park outdoor stage. For more information or tickets, visit www.muny.org.

The company of the Muny production of “Dear Evan Hansen.” 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

The Muny Visualizes Storytelling with Lasers, Projections in ‘Frozen’

The Muny Visualizes Storytelling with Lasers, Projections in ‘Frozen’

When Disney’s Frozen opened Sunday night on the James S. McDonnell Stage in Forest Park, the production debuted cutting-edge digital mapping projections, lasers and other technologies never before used at The Muny.

These stunning, cinematic innovations blend seamlessly with The Muny’s three existing LED walls, hand-painted scenery and other more traditional storytelling techniques to transport theatregoers to the kingdom of Arendelle.

The Muny premiere of Disney’s Frozen is presented by Edward Jones and runs through July 14. Performances begin at 8:15 p.m. nightly.

“This is Muny history — it’s another game changer for the kind of storytelling we’re able to do,” said Muny Artistic Director & Executive Producer Mike Isaacson. “I’m so grateful to our lighting department, led by Rob Denton, our set designers and our creative team for their two-year effort on this production. I’m gobsmacked by the results. St. Louis must come see this magical creation.”

🎥 Watch video from opening night of Disney’s Frozen

Digital mapping projection transforms ordinary surfaces into dynamic display areas by projecting video or other visual content onto them. For Disney’s Frozen, four 40,000-lumen laser projectors at the back of the theatre are used to create snow, ice, wind and other effects on the booms, stage floor and other pieces of scenery designed by Tijana Bjelajac. The two sets of booms — The Muny’s handpainted backdrops that open and close — are 72 feet wide and 23 feet high.

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

“On a Broadway show, projectors are typically about 20,000 lumens,” said Rob Denton, lighting department lead at The Muny. “But these projections are traveling a distance of about 400 feet, and the images are being laid on top of one another to achieve the intensity we need to be visible before sunset.”

The use of projections at The Muny has been in the works for about two years, and the technology is integrated with existing onstage automation systems — the digital images are able to track the movement of the booms, the turntable and other elements.

In addition to projections, four powerful lasers — positioned onstage and focused on structures at the back of the theatre — help to underscore key magical moments in the production. These lasers are significantly brighter than those typically seen in theatrical or concert settings.

Because The Muny sits beneath multiple flight paths for nearby airports, the use of lasers required approval from the Federal Aviation Administration.

“We’ve known for a few years that Disney’s Frozen was coming down the pipeline, so we took steps early to hit the benchmarks we needed to be able to pull this off,” Denton said. “It’s exciting that we’re ready to make that leap and that we have the right production to debut this technology.”

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

The lighting/video team for the Muny production of Disney’s Frozen includes Jason Lyons (lighting designer), Kylee Loera (projection/video designer), 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).  

Disney’s Frozen is led by John Tartaglia (director). The Muny artistic staff includes Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production). 

Projectors were rented from St. Louis-based Gateway Studios & Production Services. Lasers are rented from Squeek Lights.

The successful introduction of projections and lasers in Disney’s Frozen opens the door to incorporate this technology in future Muny productions.

Over the years, The Muny has continually evolved with the times and technology — from pioneering a revolutionary 48-foot turntable in 1930 to installing its first LED wall in 2012, and culminating in a 2018 stage rebuild that introduced three LED walls, automation tracks to move scenery, and a cutting-edge lighting system designed to deliver both grand spectacle and intimate storytelling. In 2024, the sound system was upgraded, ensuring that each note of every show is crystal clear — from the boxes to the free seats.

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

About Disney’s ‘Frozen’

Full of magic and humor, Disney’s Frozen features beloved songs from the Oscar-winning 2013 film, along with a dozen new songs written for the stage. In the kingdom of Arendelle, sisters Anna and Elsa grow increasingly distant. When Elsa becomes queen and her hidden powers spiral out of control, she flees, plunging the kingdom into an eternal winter. Determined to bring Elsa home to the castle, Anna embarks on an epic adventure with friends. It’s a powerful tale of sisterhood, acceptance and the meaning of true love. Disney’s Frozen includes music and lyrics by Kristen Anderson-Lopez and Robert Lopez, with a book by Jennifer Lee.

Season 107 at The Muny also includes Evita (July 18-24), Dear Evan Hansen (July 28-Aug. 3), La Cage aux Folles (Aug. 8-14) and Jersey Boys (Aug. 18-24).

Single-performance tickets start at just $21 and are on sale now at muny.org or metrotix.com, by calling (314) 534-1111 and at the Muny Box Office, located at 1 Theatre Drive in Forest Park.

A 20% group discount is available for parties of 15 or more. To start the free reservation process, visit muny.org/groups or call (314) 595-5708.

Visit muny.org/frozen to read content notes and more for Disney’s Frozen; watch In Focus , a Muny original series; and hear Muny Unscripted, a new podcast available exclusively on Spotify. 

About The Muny

Now in its 107th season in St. Louis, The Muny — the recipient of the 2025 Regional Theatre Tony Award — is a 501(c)(3) nonprofit dedicated to producing exceptional musical theatre that is accessible to all, continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, The Muny welcomes more than 300,000 patrons each summer for seven world-class productions under the stars. Learn more at muny.org, and follow along at facebook.com/munytheatre , instagram.com/themuny and youtube.com/themunytv.

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