The Muny announced today that the Tuesday, July 26 performance of Legally Blonde The Musical, which opened last night, will be postponed due to flooding in Forest Park and on The Muny campus caused by record-breaking rainfall overnight.
The rescheduled performance will take place on Monday, August 1 at 8:15 pm. All tickets will automatically be rescheduled for Monday evening’s performance. Ticket holders may visit muny.org for more information. The Wednesday, July 27 performance will go on as scheduled.
“Above all else, our thoughts are with all other flood victims in the region,” said Kwofe Coleman, President and CEO. “Despite the shocking damage we found today on the grounds of The Muny, we are thankful to be able to reschedule tonight’s performance for Monday evening. I am personally grateful for everyone who adjusted so quickly and worked to make this happen.”
Tickets for tonight’s July 26, 2022 performance will be honored on the new date of Monday, August 1, 2022 at 8:15pm. If this date does not work for you, you may exchange your ticket in person at The Muny Box Office for a different performance of Legally Blonde.
Your Options: A) Attend Monday, August 1 – no action required. Your current ticket will gain entry into the theatre. B) Attend a different performance of Legally Blonde – Exchanges canbe made in person at The Muny Box Office, open daily 9 AM – 9PM C) Should you be unable to attend another performance, refunds will be honored.
Have a mobile ticket? If you have downloaded your ticket, it will remain valid. If you have not downloaded your ticket yet to your phone, you will be sent a new ticket for Monday, August 1.
Thank you for your patience and understanding as we get The Muny campus ready for your arrival
To stay connected virtually, and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.
The Muny’s 2022 Season includes Chicago (June 13-19), Lerner and Loewe’s Camelot (June 22-28), Disney and Cameron Macintosh’s Mary Poppins (July 5-13), Sweeney Todd: The Demon Barber of Fleet Street (July 16-22), Legally Blonde, The Musical (July 25-August 1), The Color Purple (August 3-9) and Joseph and the Amazing Technicolor Dreamcoat (August 12-18).
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce world-class musicals each year and welcome over 350,000 theatregoers over our summer season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Whether you’re a die-hard Muny season ticket holder, a Stephen Sondheim devotee, someone attracted to a dark Dickensian tale about a murderous Victorian barber, someone seeking a great night of musical theater, or anything in between, “Sweeney Todd: The Demon Barber of Fleet Street” is a must-see.
Fresh off the heels (or should we say umbrella) of “Mary Poppins” comes a show with a wholly different cut. It’s populated with hordes of the great unwashed, a steampunk-inspired set, love songs sung to razors and more dead bodies on stage than a Greek tragedy. And if that’s not enough, add in the music and lyrics by Sondheim (one of his greatest showpieces). Who else could have created a toe-tapping sing-along about meat pies made with human flesh?
“Sweeney Todd” originally opened in 1979 and, after sweeping the Tony Awards, has since grown into one of Broadway’s top-ten musicals – emphasis on musical because 80 percent of this show is sung. It is just now making its Muny premiere after a two-year pandemic-induced delay. It is definitely worth the wait.
Photo by Julia Merkle
This a muscular “go big or go home” production. Rob Ruggiero, director, and Mike Isaacson, artistic director and executive producer, leveraged their many talents and definitely chose the go-big option. They take full advantage of the Muny’s automated stage with its performer lifts, turntable and scenery wagons. A tip of the hat also goes to Jessica Hartman, associate director and musical staging, and James Moore, musical director, for their talents.
One of the challenges of “Sweeney Todd” is presenting the violence and carnage, which includes numerous throat slashings. The bloodletting is cleverly and effectively portrayed through lighting (thanks to design by John Lasiter) rather than with fountains of fake blood.
As befits the big production values, this “Sweeney Todd” requires – and delivers – a powerful principal cast. Tony nominee Carmen Cusack, an audience favorite, plays the crafty, ambitious Mrs. Lovett. Cusack’s voice is equal to Ben Davis’s booming Sweeney Todd. Davis achieves a Todd who is complex, wounded and angry, and can still fill the stage with a larger-than-life presence. Julie Hanson’s bawdy Beggar Woman weaves throughout the scenes like an annoying fly with a Cockney accent, while Stephen Wallen’s corpulent The Beadle waddles about like an officious toady in service to Robert Cuccioli’s imperious, love-struck lech, Judge Turpin.
Photo by Phillip Hamer
Even a slasher show like “Sweeney Todd” has a love story at its heart. Riley Noland plays Johanna with a thin high voice that befits her role as captive and victim. Her duet with Jake Boyd as sailor boy/love interest Anthony Hope is an extended highlight of this production. Though the two interact mostly from afar, their love and attraction is palpable.
Lincoln Clauss’s Tobias Ragg is a standout. The Ragg character evolves from wig-wearing hawker of snake-oil hair tonic to sprite-like table server and finally to traumatized avenger. Clauss has the acting and vocal range to match.
This production also makes full use of a large ensemble chorus with a panoply of tatty, bedraggled characters who introduce and frame Sweeney Todd’s descent from a cruelly treated barber into a lusty lasher and ultimately tragic victim of his own revengeful scheming. And, there haven’t been this many raised fists on the Muny stage since “Les Misérables” was in town.
The ensemble sings the last chorus at the conclusion of “Sweeney Todd,” but it’s the audience, walking toward the exits and excitedly talking about this production’s wow factor, that gets the last word and best positive review.
Photo by Phillip Hamer
The Muny presents “Sweeney Todd” July 16 – 22 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For tickets or more information, visit: www.muny.org.
Photo by Phillip HamerThe cast of Sweeney Todd. Photo by Phillip Hamer
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
When the titular character floats in using her umbrella, carried by the East wind to 17 Cherry Tree Lane in London, it’s a welcome jolt of joy — signaling that a merry time is ahead in this stage musical version of “Mary Poppins.”
And this vibrant, candy colored Muny production of the beloved magical nanny tale is as whimsical as you remember.
Director John Tartaglia makes it sparkly and this cast of 75 brings the magic that he is striving for in his sixth show, hoping to see smiles on a summer night.
The nostalgia factor is high, recalling the sublime Oscar-winning performance of Julie Andrews in the iconic 1964 Disney movie, which is based on P.L. Travers’ series of children’s books, eight of them starting in 1934.
Disney’s crowning live-action achievement was the highest-grossing film of 1964 and garnered 13 Oscar nominations, winning five: (actress, editing, original music score, visual effects, and song for “Chim Chim Cher-ee”). During Walt’s lifetime, it was the only one of his films to earn a Best Picture nomination.
With Travers’ permission, master producer Cameron Mackintosh turned the tale into an acclaimed stage musical in London in 2004, which opened on Broadway in 2006, and continued for more than six years. It closed on March 3, 2013, after 2,619 – the 24th longest-running show in Broadway history.
The show is a mix of the movie and the books. The sentimentality is part of its appeal, and this ensemble blends both freshness and fondness for the traditional qualities to please a new generation.
Jeanna de Waal is an ideal Mary, moving with ease, popping in and out with her grace and regal bearing. She is a good sport for her spectacular flying segments, with seamless effects work by ZFX.
For a little extra insight into the mystical nanny, she projects an air of mystery, indicating there’s more than meets the eye. She also sings like a dream, smoothly cavorting in the newer song “Practically Perfect” and a reworked setting for “A Spoonful of Sugar.”
In fact, this is a cast of glorious voices.
The charismatic and charming Corbin Bleu uses his considerable song and dance skills as the lovable happy-go-lucky Bert. It’s a triumphant return to the Muny following his sensational turn as Don Lockwood in “Singin’ in the Rain” in 2018. He had dazzled critics and audiences alike, winning the St. Louis Theater Circle Award for Best Actor in a Musical.
Photo by Phillip Hamer
Bleu, who first came to prominence as Chad in the “High School Musical” movies, works well with De Waal and the ensemble — and has a few cool moves I won’t spoil.
That score by Robert B. and Richard M. Sherman is unforgettable – and in fact, some Muny patrons sang along. But the musical is not a replica of the film, for “I Love to Laugh” has been omitted, as has “Sister Suffragette,” “Stay Awake” and “Fidelity Fiduciary Bank.”
With a few exceptions, the new songs by George Stiles and Anthony Drewe do not seem to be as catchy as the Sherman brothers’ collaborations. Even at a 2 hour and 35 minute-run time, “Anything Can Happen,” delivered in two parts, seems to drag on and on. A little editing of some numbers would have made for a tighter experience.
“The Life I Lead” has been replaced by “Precision and Order,” sung by the stern banker, George Banks. In Julian Fellowes’ book, George is revealed to have had a strict childhood, and the parents are more dysfunctional, with Winifred Banks a former actress who can’t seem to fit in to the elite society, and the two children, Jane and Michael, are naughtier.
The real-life husband-and-wife duo of Nehal Joshi and Erin Davie are splendid in vocals and their character development. Their new songs include “A Man Has Dreams” and “Being Mrs. Banks.” I do wish Mrs. Banks was still a suffragette, as Glynis Johns was so robustly in the film.
The kids are brattier – as played by Laila Fantroy and Gabe Cytron, so they are not likable, especially when acting entitled and wreaking havoc in the kitchen, but their growth results in more compassionate youngsters. Whew!
A new character, Robertson Ay, is a screwball addition, and Barrett Riggins, so deliciously wicked in “Camelot,” shines as the bumbling oh-so-not-helpful houseboy.
Chipper Jade Jones has the versatile three-peat of Katie Nanna, Mrs. Corry and Miss Smythe.
Photo by Phillip Hamer
Debby Lennon, two-time St. Louis Theater Circle Award winner, is a hoot as the “Holy Terror!” – aka George’s cruel childhood nanny Miss Andrew – who arrives to get everyone back in ship-shape after the breezy frolics with Mary. She is overbearing in “Brimstone and Treacle Parts 1 and 2.”
A masterful Darlesia Cearcy brings the house down as the Birdwoman at the park, with a superbly executed rendition and reprise of “Feed the Birds.”
Other high points include the jaunty stroll through the park “Jolly Holiday,” the robust showstopper “Step in Time,” a bubbly “Supercalifragilisticexpialidocious” at Mrs. Corry’s sweet shop and a wondrous “Let’s Go Fly a Kite” with the ensemble placed through the audience with red kites.
First seen in 2013 when the show was led by Muny fan favorites Jenny Powers and Rob McClure, this version is as enchanting, with Tartaglia’s penchant for puppetry giving an added ‘oomph.’
He has created another Muny moment with puppeteers swarming the stage with flocks of birds, produced by puppet designer Eric Wright of Puppet Kitchen International Inc. It’s a marvelous sight.
Tartaglia, such a bouncy personality as evident through his Muny performances (The Genie in “Aladdin,” The Cat in the Hat in “Seussical,” Hysterium in “A Funny Thing Happened on the Way to the Forum — St. Louis Theater Circle Award for Best Supporting Actor in a Musical in 2017), has brought a sunny outlook to his productions here.
The director of “Matilda” 2019, Annie” 2018, “The Wizard of Oz” 2016, “Disney’s Tarzan” in 2014 and “Shrek” 2013 is again inspired by the tasks at hand, no doubt influencing his creative choices.
Photo by Phillip Hamer
A crackerjack production team has delivered an attractive look and encouraged high spirits throughout, even with performers dealing with oppressive summer heat. Music Director Brad Haak and Choreographer Patrick O’Neill focused on peppy musical and dance numbers for fluid movement (with a high percentage of youngsters in the audience).
The sights — Paige Hathaway’s production design, Robin L. McGee’s costume design, Kelley Jordan’s wig design and Alex Basco Koch’s video designs are true to the 1910 time of Edwardian London, but with pizzazz.
It’s also nice to see such local treasures as Zoe Vonder Haar (as Mrs. Brill), Whit Reichert (as Admiral Boom/Bank Chairman), Jerry Vogel (as Park Keeper, Von Hussle, ensemble), Rich Pisarkiewicz (Policeman/ensemble), and Lynn Humphrey (Miss Lark/ensemble) back together on the Muny stage.
Does “Mary Poppins” have the same appeal to today’s youths like the movie did for my generation? Not sure if it is a home run as much for them as it is for adults. Nevertheless, the audience left humming a happy tune.
Photo by Phillip Hamer
The Muny presents the musical “Mary Poppins” July 5-13 at 8:15 pm. on the outdoor stage in Forest Park. For more information, visit www.muny.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
OK Boomer, this is not your generation’s “Camelot.” And this modern fresh spin on the fabled Arthurian legend is exhilarating.
For fans of the 1960 original – which has been revised multiple times through the years – rest assured that the lush romantic score, with lyrics by Alan Jay Lerner and music by Frederick Loewe, is elegantly executed and unforgettable.
Music Director Abdul Hamid Royal, who did outstanding work last year on “Smokey Joe’s Café,” makes sure the new orchestrations by Steve Orich are luxurious.
You’ll recognize the principal characters and knights’ tale of chivalry from the previous eight productions staged at the Muny, the last one in 2009. While respecting the legacy, this revamp is inspired, finding shining moments in unexpected ways.
Lilting voices, innovative movements, enchanting performances, adventurous looks, and British folklore told with conviction are lasting impressions. Therefore, embracing the changes is a risk worth taking.
The bold, muscular re-imagining by director Matt Kunkel, and leaner book adaptation by David Lee frame King Arthur’s visionary quest as a performance tale.
The rise and fall of Arthur’s kingdom are told by a troupe of revelers, not unlike the traveling minstrels in a 16th century William Shakespeare comedy.
It is their stylized retelling, not presented as a Merlin flashback. Lee has cut Arthur’s magician mentor Merlin, only referenced in his dialogue, the song “Follow Me,” and King Pellinore is gone too.
The unnecessary sorceress Morgan Le Fey and her clunky number “The Persuasion” has been removed before, notably from the 1967 film adaptation and the 1980 Broadway revival, so that’s no surprise.
Lee, an Emmy-winning writer of ‘Cheers,” “Frasier” and “Wings,” has strengthened the relationships between King Arthur, Guenevere, and Lancelot. And injected wit where it needed it.
The prose’s power is conveyed in expertly crafted scenes of torment, loyalty, devotion, longing, and love between the principals. Kunkel keeps the pace lively, and the staging dynamic, especially between the trio, creating intimacy and distance by varying different configurations on the tiered set.
Of course, it must be daunting to fill shoes once worn by Richard Burton, who won a Tony as King Arthur, superstar Julie Andrews, who owned the ‘60s as the queen of musicals, and dashing Robert Goulet, whose career skyrocketed after his stunning debut. But lyrically, the Broadway veterans who are now this principal trio are well-suited for the challenge.
As engaging as he was as John Adams in “1776” in 2019 and Dr. Frederick Frankenstein in “Young Frankenstein” in 2016, Robert Petkoff strikes the right tone – from uncertain to courageous – for Arthur’s growth. He’s impressively powerful in ending Act I. His voice is strong and clear, and you feel his passion for his Knights of the Round Table mission.
In the first years of their marriage, Petkoff depicts a playful, mutual respectful relationship with his queen, Guenevere, and Sheeren Pimentel, showcasing an exquisite soprano, plays the grand lady as an outspoken equal. They’re lively together in “What Do the Simple Folk Do?” and their initial meeting is charming.
How can you not be swept away by Arthur’s description of his paradisal home, “Camelot”?
His vision is to uphold honor and justice, but not pillage for power. And he convinces others to join his noble cause, with “Might for Right” a rallying cry.
After Guenevere and Lancelot are helpless to ignore their growing feelings for each other, Pimentel soars in “Before I Gaze at You Again” and “I Loved You Once in Silence.”
You might not feel the lightning bolt attraction between Pimentel and Brandon S. Chu, but their vocal virtuosity helps propel the story. Chu doesn’t have the typical stature of a swaggering, very self-confident Lancelot, but the delivery of the signature song, “If Ever I Would Leave You” – is a definite “Wow.” His crystal tenor is piercing.
Chu, rocking the blue leather, is fierce in battle, and his physicality is a plus in the frenzied action sequences. Pimentel demonstrates her mettle, too, as Guenevere fights off the first wave of captors.
Fight choreographer Erik Gratton has effectively staged smooth action scenes without any fussiness. He was assisted by fight captain Jacob Guzman, and the precise movements are robust.
The cinematic leather-and-lace look is another important aspect, and Tristan Raines’ costume design has elements of Game of Thrones, Mad Max, boy band outfits, and dancewear combined for a vivid tableau. He has dispensed with tights and armor — and given serious thought to more summer-friendly garb.
That aids character movement considerably, for the revelers and courtiers can re-enact battles and seamlessly ramp up the palace and political intrigue.
The vitality bursts through, for the energy of this diverse and inclusive cast is noteworthy. And let’s not forget that fun is a part of the show, too.
One of the merriest high points is “The Lusty Month of May” ensemble number, bursting with bright colors and a magical transformation, showcasing the creative minds of Raines, costuming his sixth show at The Muny, and choreographer Beth Crandall, who has teamed with director Kunkel on last year’s “The Sound of Music” and “Matilda” in 2019. Their collaboration is a fruitful one.
But alas, the empire is not built for endurance. Something wicked this way comes in the second act, when Arthur’s conniving illegitimate son, Mordred, arrives, played with diabolical glee by Barrett Riggins. He’s a recognizable toad with mischievous intent to incite, leading the cast in a spirited “The Seven Deadly Virtues.” He divides the court through innuendo and misinformation, a cancer on Arthur’s reign.
The splintered knights grow angrier in the emphatic “Fie on Goodness,” a rebuke of Arthur’s principled ideals. With the Round Table broken and relationships in tatters, a forlorn Arthur ultimately forgives. He is given hope through the eyes of a child, believed to be Sir Tom of Warwick, captivatingly played by a charming Riley Carter Adams, and her wide-eyed enthusiasm is contagious.
Do not expect any kind of accent to be discernable here, in case you are waiting for it.
The ancient mythology setting is visually reworked with a striking scenic design by Ann Beyersdorfer – an earthier palette instead of regal trappings.
The neo-medieval realism is further enhanced through atmospheric video work by Kaylee Loera, best used to show the joust action between Lancelot and Sirs Dinadin (Evan Ruggiero) and Lionel (Daryl Tofa), and Ser Sagramore (Sarah Quinn Taylor).
The lighting design by Shelby Loera, who returns after making history last summer as the first female to be in charge of lighting a show at the Muny, is stunning. The sound is perfect as well, with John Shivers and David Patridge excelling in this show.
The opting for grit over opulence is jarring to traditionalists, who want their “Camelot” to be the sentimental journey they remember. Change is challenging, to be fair. I’ve often thought the old book was too lumbering and dense. All those soliloquys! So I was fine with the slicker adaptation.
Boomers are intrinsically linked to the JFK mythology, as he was assassinated on Nov. 22, 1963, and in an interview in December in “Life” Magazine, his widow, Jackie, said the original cast recording of “Camelot” was a favorite of her husband’s, and he liked to listen to it before bedtime.
The show was then on a national tour, and a grief-stricken nation clung to the imagery of an especially hopeful time tragically cut short. His presidency has been referred to as “The Camelot Era,” and the lyric “One brief shining moment” used to define that fleeting period.
Expectations always run high, as musicals are very personal to people. What is someone’s favorite, such as “Cats,” can be annoying to another, and so on — we could go down a very long list.
I have fond memories of seeing Richard Harris play King Arthur on the Muny stage and with Robert Goulet, who filled that role on a national tour at the Fox. But those are long ago in the rearview mirror.
The planned revival, set for Broadway later this year, is to feature a book by Aaron Sorkin and direction by Bartlett Sher, so it will be interesting what the wunderkinds reimagine. Previews are expected in November, with opening Dec. 8. (Sorkin and Sher teamed up for the “To Kill a Mockingbird” reboot in 2019, which was one of the best productions I’ve ever seen, so I’m ready to see how they view this classic).
Fantasy gives more leeway to storytellers, after all. “Camelot” itself is based on the 1958 book, “The Once and Future King” by T.H. White, but this production also references Thomas Mallory’s “Le Morte d’Arthur” from the 15th century and Alfred Lord Tennyson’s “Idylls of the King” in the 19th century.
In Tennyson’s 12 narrative poems, published between 1859 and 1885, he retells the legend, the Knights of the Round Table, Guenevere and her betrayal.
The based-on folklore setting is typically around the 12th century, during the Middle Ages. Arthur’s realm is said to have taken place in the fifth century, after he defeated the Saxons.
The facts surrounding the Arthurian Legend – long revered for its golden age of peace and prosperity — have been disputed for years. But the inaccurate historical context hasn’t halted the mythology furthered by literary conventions. (Who remembers Disney’s 1963 animated film “The Sword in the Stone” during childhood?).
In this post “Hamilton” world, artists will keep pushing the envelope, and what audiences push back on will be varied. I thought on a gorgeous summer evening (Thursday, June 23), Forest Park could not be a more congenial spot to continue the Muny’s happily-ever-aftering here.
As the Muny moves forward in this second century, it is ever mindful of an obligation to art, entertainment, artists, and audience. That’s a tough balancing act sometimes, but I’m confident in the way they are leading into the future with dedicated purpose. And that music was sure persuasive under the stars.
The Muny presents “Camelot’ each evening from June 22 to June 28 at 8:15 p.m. on its stage in Forest Park. For more information, visit www.muny.org. For tickets, contact the Muny box office or visit Metrotix.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
On Friday, The Muny celebrated the successful completion of its Second Century Capital Campaign, raising over $100 million securing the future of the historic theatre in Forest Park. A lively garden party welcomed invited guests to the new donor plaza and dedication of the donor wall commemorating the contributions of the community. Last November, Steward Family Foundation and The Centene Charitable Foundation provided the lead gifts from the closing group of donors.
“The Muny is a cultural pillar in this community—serving as a home for celebration, entertainment, commonality and opportunity. The team boldly embarked on a campaign to ensure its future for generations with the faith that realizing this goal would be possible. Steward Family Foundation is proud to share our blessing and bring to fruition all that the future of The Muny promises,” said David Steward, Founder and Chairman of World Wide Technology.”
“The realization of this campaign goal guarantees that the tradition of musical theatre for and by the people of St. Louis will remain for generations yet to be born. It allows us to continue to evolve both our physical campus and the scope of opportunity and experience we provide,” said Muny President & CEO Kwofe Coleman. “I am immensely grateful to everyone whose work and leadership made this possible and to the generous donors who have made our future a reality. On behalf of The Muny, thank you.
“This is a historic and monumental accomplishment for this theatre and our community,” said Muny Artistic Director and Executive Producer Mike Isaacson. “The $100 Million goal – dream, really – was wildly ambitious and unprecedented. Because of the hard work, faith and generosity of so many, The Muny can continue to be “Alone In Its Greatness.”
“Reaching our $100 million goal was extremely important to me. Knowing that the final $10 million included gifts to honor my retirement was more than heartwarming. I’m proud, not only of the work we did but also of what this campaign has done and will make possible for The Muny for years to come.” said Muny President Emeritus Denny Reagan.
“Throughout this campaign, we have seen incredible generosity on full display and this successful final push to the goal was a remarkable testament of our community’s love for the theatre’s history and an investment in its future.” said Board and Campaign Chair Jim Turley. “It was also important to all of us that we completed this campaign in time to honor the unbelievable amount of work Denny put into the campaign and to recognize the legacy of excellence and stability he established.”
In addition to Steward Family Foundation and The Centene Charitable Foundation, the final group of gifts included support from the Bardol Chervitz Families, the Coleman Family, Donald Fassold, the Finerty Family Foundation, David Hogan, Mike Isaacson & Joe Ortmeyer, the Johnston Family Fund, Tim & Elizabeth Kertz, Ned & Sally Lemkemeier, Mr. & Mrs. William Scheffel and Mary & Joseph Stieven.
Launched in 2018 during The Muny’s centennial season, the Second Century Capital Campaign was a $100 million fundraising effort to fund major capital improvements including a complete rebuild of the Muny stage, the support, maintenance and upkeep of its 11.5-acre campus, and to build the theatre’s endowment, which supports The Muny’s ever-growing education and outreach programs. The endowment not only ensures a future of financial accessibility for The Muny’s community programs but also allows the outdoor theatre to respond to unforeseen events.
Transformational leadership gifts of $20 million made by Mr. & Mrs. James S. McDonnell III, and the Enterprise Holdings Foundation and the Taylor & Kindle families top an extensive list of supporters including the closing group announced above.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny announced today that Ben Davis, Carmen Cusack and Robert Cuccioli, will star in the musical thriller, Sweeney Todd: The Demon Barber of Fleet Street, July 16-22, 2022.
The Muny Premiere is directed by Rob Ruggiero, with musical staging by associate director Jessica Hartman, music direction by James Moore and Michael Horsley serving as associate music director. Sweeney Todd: The Demon Barber of Fleet Street is proudly sponsored by Missouri Lottery.
“These extraordinary artists in these iconic roles will be thrilling,” said Muny Artistic Director and Executive Producer Mike Isaacson. “I cannot wait to see them our Muny premiere of this musical masterpiece.”
Ben Davis
BEN DAVIS (Sweeney Todd) Muny: 1776, Guys and Dolls, Jesus Christ Superstar, Oklahoma!; Spamalot and South Pacific.
Tony Honor (Ensemble) for his work in Baz Luhrmann’s Broadway production of La Bohème (Marcello).
NYC: Lady in the Dark (NY City Center Encores!), Call Me Madam opposite Carmen Cusack, Dear Evan Hansen, Violet, A Little Night Music, Les Misérables and Thoroughly Modern Millie.
National tour: The Sound of Music and Spamalot. Other favorites include Kiss Me, Kate for the BBC at London’s Royal Albert Hall and Kurt Weill’s Knickerbocker Holiday opposite Kelli O’Hara and Victor Garber at Lincoln Center (recorded live) and in concert opposite Ms. O’Hara with Ted Sperling.
TV/Film: NBC’s Annie Live!; Chicago Fire, Law & Order: SVU; Woman in the Window, Boogie, The Magic Flute (directed by Kenneth Branagh), A Hand of Bridge, Blue Bloods, 30 Rock and Numb3rs.
Concerts: Philly Pops, RTÉ Orchestra, Tanglewood, Caramoor and many others.
Davis has been nominated for three St. Louis Theater Circle Awards — for “South Pacific,” “Oklahoma” and “Jesus Christ, Superstar.” at the Muny.
Carmen Cusack
CARMEN CUSACK (Mrs. Lovett) Broadway: Steve Martin and Edie Brickell’s Bright Star (Tony Award nomination), Flying Over Sunset (Clare Boothe Luce).
Streaming/Film: Facebook series, Sorry For Your Loss (recurring opposite Janet McTeer and Elizabeth Olsen), TriStar’s A Beautiful Day in the Neighborhood (opposite Tom Hanks).
Cusack studied opera at the University of North Texas, which gave her its first honorary baccalaureate degree in 2018
ROBERT CUCCIOLI (Judge Turpin) Muny: 42nd Street. Broadway: Jekyll & Hyde (Tony Award nomination, Drama Desk, Outer Critics Circle, FANY and Chicago’s Joseph Jefferson Awards), Les Misérables and Spider-Man: Turn Off the Dark.
Some favorite off-Broadway credits include A Touch of the Poet, The White Devil, Caesar and Cleopatra (Caesar), And the World Goes ‘Round (Outer Critics Circle Award), Rothschild & Sons (London’s Offie nomination), Jacques Brel is Alive and Well and Living in Paris and White Guy on The Bus.
Robert Cuccioli
Robert has performed at such notable regional theatres as The Guthrie, Paper Mill Playhouse, The Shakespeare Theatre of NJ, Shakespeare Theatre Company (Lorenzaccio, Helen Hayes nomination), McCarter Theatre Center, George Street Playhouse, Ford’s Theatre (1776, Helen Hayes nomination).
Television: The Sinner, Elementary, White Collar, Sliders, Baywatch, Guiding Light. Film: Celebrity, The Stranger, The Rest of Us, Impossible Monsters, Columbus on Trial.
About the show: The Broadway legend and American musical masterpiece makes its Muny debut. Set in 19th century London, Sweeney Todd: The Demon Barber of Fleet Street has captivated audiences around the world with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem.
Considered to be one of composer Stephen Sondheim’s greatest showpieces, this eight-time Tony Award-winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at The Muny.
The Telsey Office is the official casting partner for The Muny. Full casting will be announced at a later date.
The Muny’s 2022 Season includes Chicago (June 13-19), Lerner and Loewe’s Camelot (June 22-28), Disney and Cameron Macintosh’s Mary Poppins (July 5-13), Sweeney Todd: The Demon Barber of Fleet Street (July 16-22), Legally Blonde, The Musical (July 25-31), The Color Purple (August 3-9) and Joseph and the Amazing Technicolor Dreamcoat (August 12-18).
Season tickets are currently on sale. Single tickets will be available beginning May 23. Muny gift cards for the 104th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny, the St. Louis Shakespeare Festival and The Midnight Company, with nine, eight and six awards, respectively, led the way at the 2022 St. Louis Theater Circle Awards, which were held in a virtual, streaming ceremony on HEC Media on Monday, March 28, 2022.
The Muny’s 2021 production of “Chicago,” which returns to open its 2022 season, took top honors for an individual show with seven awards. Denis Jones, director and choreographer of “Chicago,” and Joe Hanrahan, artistic director of The Midnight Company, each was honored with two individual awards to lead all honorees.
Nominees in more than 30 categories vied for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the combined calendar years of 2020 and 2021.
Because the coronavirus pandemic brought about the cancellation of so many productions by nearly all local professional theater companies, approximately 75 productions were considered for nominations for the combined years of 2020 and 2021. This compares to roughly 120 to 130 productions normally considered in one year alone.
The eighth annual award ceremony, which was to have been held ‘live’ at the Loretto-Hilton Center on the campus of Webster University, was canceled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel, Facebook page and web site, as was this ninth annual event. There was no ceremony of any type by the Theater Circle in 2021.
For the ninth annual ceremony, members of the St. Louis Theater Circle considered nominees from shows produced in the first three months of 2020 and the last eight months of 2021 combined. In addition, a few shows produced between April 2020 and May 2021 were included.
The winners for the ninth annual St. Louis Theater Circle Awards are:
Michelle Hand and Nicole Angeli in “It Is Magic”
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Nicole Angeli, “It Is Magic,” The Midnight Company
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role (Tie)
Joe Hanrahan, “It Is Magic,” The Midnight Company
Carl Overly, Jr., “It Is Magic,” The Midnight Company
Outstanding Leading Performer in a Comedy, Female or Non-Binary Role
Ellie Schwetye, “Tinsel Town,” The Midnight Company
Outstanding Leading Performer in a Comedy, Male or Non-Binary Role
Adam Flores, “The Thanksgiving Play,” Repertory Theatre of St. Louis
Outstanding Lighting Design in a Play
Seth Reiser, “A Christmas Carol,” Repertory Theatre of St. Louis
Outstanding Sound Design
David R. Molina, “King Lear,” St. Louis Shakespeare Festival
“Dress the Part”
Outstanding Costume Design in a Play
Christina Leinecke, “Dress the Part,” St. Louis Shakespeare Festival
Outstanding Set Design in a Play
Margery and Peter Spack, “The Ville: Avengeance,” St. Louis Shakespeare Festival
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Elizabeth Teeter, “The Glass Menagerie,” Tennessee Williams Festival St. Louis
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Brian McKinley, “Spell #7,” The Black Rep
Outstanding Leading Performer in a Drama, Female or Non-Binary Role
Laurie McConnell, “Annapurna,” St. Louis Actors’ Studio
Outstanding Leading Performer in a Drama, Male or Non-Binary Role
Andre De Shields, “King Lear,” St. Louis Shakespeare Festival
Outstanding New Play
“Tinsel Town,” by Joe Hanrahan, The Midnight Company
“Tinsel Town” by Joe Hanrahan
Outstanding Achievement in Opera
Patricia Racette, “La voix humaine,” Opera Theatre of St. Louis
Outstanding Production of an Opera
“Gianni Schicchi,” Opera Theatre of St. Louis
Outstanding Musical Director
Charlie Alterman, “Chicago,” The Muny
Outstanding Choreographer
Denis Jones,“Chicago,” The Muny
Smokey Joe’s Cafe
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Natascia Diaz, “On Your Feet!,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Adam Heller, “Chicago,” The Muny
Outstanding Lighting Design in a Musical
Sean M. Savoie, “Jersey Boys,” Stages St. Louis
Outstanding Set Design in a Musical
Edward E. Haynes Jr. and Kevan Loney, “Smokey Joe’s Café,” The Muny
Outstanding Costume Design in a Musical
Emily Rebholz, “Chicago,” The Muny
Diana DeGarmo “Always…Patsy Cline”
Outstanding Leading Performer in a Musical, Female or Non-Binary Role
Diana DeGarmo, “Always…Patsy Cline,” Stages St. Louis
Outstanding Leading Performer in a Musical, Male or Non-Binary Role
Christopher Kale Jones, “Jersey Boys,” Stages St. Louis
Outstanding Ensemble in a Comedy (Tie)
“Dress the Part,” St. Louis Shakespeare Festival
“It Is Magic,” The Midnight Company
Outstanding Ensemble in a Drama
“Two Trains Running,” The Black Rep
Outstanding Ensemble in a Musical
“Chicago,” The Muny
Outstanding Director of a Comedy
GQ and JQ, “Dress the Part,” St. Louis Shakespeare Festival
Outstanding Director of a Drama
Carl Cofield, “King Lear,” St. Louis Shakespeare Festival
Two Trains Running
Outstanding Director of a Musical
Denis Jones, “Chicago,” The Muny
Outstanding Production of a Comedy
“Dress the Part,” St. Louis Shakespeare Festival
Outstanding Production of a Drama
“Two Trains Running,” The Black Rep
Outstanding Production of a Musical
“Chicago,” The Muny
In addition, arts philanthropists Nancy and Ken Kranzberg were honored with a special award which was originally presented at the 2020 in-person ceremony. Michael Hamilton and Jack Lane, co-founders of Stages St. Louis and the troupe’s recently retired artistic director and executive producer, respectively, were honored as well for their body of work. The Kranzbergs and Lane each gave a recorded acceptance speech during the virtual ceremony.
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Andre DeShields in “King Lear”
Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Bob Cohn (St. Louis Jewish Light); Tina Farmer (KDHX); Michelle Kenyon (snoopstheatrethoughts.com); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Ann Lemons Pollack (stlouiseats.typepad.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on theAisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny season tickets for its 2022 summer season will be available beginning Monday, March 21. Tickets can be purchased online at muny.org, by phone at (314) 361-1900, or in person at The Muny Box Office, open 9am-5pm, Monday through Friday. The Muny continues to be St. Louis’ destination for summer musicals, celebrating 104 seasons in Forest Park this summer.
The 2022 season includes two Muny premieres and the return of Broadway favorites. The seven shows are: Chicago (June 13 – 19), Lerner and Loewe’s Camelot (June 22 – 28), Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13), Sweeney Todd: The Demon Barber of Fleet Street (July 16 – 22), Legally Blonde, The Musical (July 25 – 31), The Color Purple (August 3 – 9), and Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).
CHICAGO All That Jazz! The Triumph of the 2021 Muny Season Returns! Proudly Sponsored by Edward Jones June 13 – 19 Book by Fred Ebb and Bob Fosse Music by John Kander and Lyrics by Fred Ebb Based on the Play by Maurine Dallas Watkins Script Adaptation by David Thompson
Audiences and critics went “Whoopee!” for last season’s thrilling production of Chicago. Following an abbreviated run and early close to the 2021 season, our 2022 season opens with this encore production! Hailed as “Musical Theater Magic,” “Downright Breathtaking” and “Nothing Short of Brilliant,” Chicago was the talk of the town! So, re-start the car and head to Kander and Ebb’s internationally-acclaimed, Tony Award-winning musical about fame, fortune and justice. Merry murderesses Roxie Hart and Velma Kelly await!
LERNER AND LOEWE’S CAMELOT One Brief Shining Moment. First Production in 13 Years! June 22 – 28 Book and Lyrics by Alan Jay Lerner Music by Frederick Loewe Based on The Once and Future King by T.H. White Book adapted by David Lee New orchestrations by Steve Orich
Come re-discover this powerful, moving and enchanting tale of romance and political intrigue, as we all live for “one brief shining moment.” Based upon T.H. White’s novel, Lerner and Loewe’s Camelot features a lush and Excalibur-sharp score, including “If Ever I Would Leave You,” “What Do the Simple Folk Do?” and of course, “Camelot.” With this enchanting classic tale, you are guaranteed an unforgettable (k)night at King Arthur’s Round Table.
DISNEY AND CAMERON MACKINTOSH’S MARY POPPINS Practically Perfect for The Muny! Flies in for the Second Time! Proudly Sponsored by Ameren July 5 – 13 A Musical based on the stories of P.L. Travers and the Walt Disney Film Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman Book by Julian Fellowes New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe Co-Created by Cameron Mackintosh
Based on one of the most popular films ever, Disney and Cameron Mackintosh’s MaryPoppins returns to The Muny with its irresistible story, unforgettable songs and breathtaking dance numbers! This Tony Award-winning stage adaptation shares the tale of the mysterious, magical nanny who arrives to give the Banks family some order – and maybe a bit of tough love. With winds in the east and mist coming in, your heart will soar for this enchanting show – and yes, Mary Poppins will fly over The Muny!
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET A Bloody Good Time. Muny Premiere! Proudly Sponsored by Missouri Lottery July 16 – 22 Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler From an Adaptation by Christopher Bond Originally Directed on Broadway by Harold Prince Orchestrations by Jonathan Tunick
The spine-tingling American musical masterpiece makes its long-awaited Muny debut. Set in 19th century London, Sweeney Todd has captivated audiences around the world with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem. Considered to be one of the greatest scores in Broadway history, this eight-time Tony Award-winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at The Muny.
LEGALLY BLONDE, THE MUSICAL Being True to Yourself Never Goes Out of Style. First Production in 11 Years! Proudly Sponsored by BMO Harris Bank July 25 – 31 Book by Heather Hach Music and Lyrics by Laurence O’Keefe and Nell Benjamin Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer Motion Picture
“Omigod You Guys,” Elle Woods returns! Based on the smash hit movie, Legally Blonde follows the transformation of quintessential blonde Elle Woods from sorority sister to Harvard Law graduate. Her journey of determination, self-discovery and finding true love receives its first Muny production in 11 years. Complete with a chihuahua, a bulldog and a UPS guy, The Muny is ready to “Bend and Snap” for a great time!
THE COLOR PURPLE I’m Beautiful and I’m Here. Midwest Regional and Muny Premiere! Proudly Sponsored by Emerson August 3 – 9 Based upon the novel written by Alice Walker and the Warner Bros./Amblin Entertainment Motion Picture Book by Marsha Norman Music and Lyrics by Brenda Russell, Allee Willis and Stephen Bray
Based on Alice Walker’s Pulitzer Prize-winning novel and Steven Spielberg’s landmark film, The Color Purple makes its Muny debut! Featuring a Grammy Award-winning score infused with jazz, ragtime, gospel and African blues, this moving tale is a testament to the healing power of love, faith, resilience and sisterhood. Winner of the 2016 Tony Award for “Best Revival of a Musical,” this epic staging promises a joyous evening of courage, hope and healing.
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT Any Dream Will Do! First Production in a Decade! Proudly Sponsored by U.S. Bank August 12 – 18 Lyrics by Tim Rice Music by Andrew Lloyd Webber
Originally written by Tim Rice and Andrew Lloyd Webber as a children’s oratorio, Joseph and the Amazing Technicolor Dreamcoat has, in time, expanded to become one of the most beloved shows ever. The story of Jacob, his 12 sons, and the amazing Technicolor adventures of Joseph features a multi-colored score of favorites including “Any Dream Will Do,” “Go, Go, Go Joseph” and “Close Every Door.” The first Muny production in a decade, audiences are guaranteed a night of big Muny family joy – with, of course, a megamix!
Subscribers save up to 30% on tickets to the 2022 Season.
Single tickets on sale Monday, May 23, 2022. Muny gift cards for the 104th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900. ###
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 104 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Eric Pugh has been named The Muny’s new Director of Marketing, effective January 1, 2022. He will lead all marketing and communications for the theatre’s artistic and institutional programming and branding.
“I am honored to have been chosen to lead the marketing efforts for one of the country’s greatest assets, and distinguished theatres,” said Muny Director of Marketing, Eric Pugh. “I am looking forward to becoming reacquainted with St. Louis, and I am so proud to call it home, once again. The Muny has a very bright future, and I am excited to be a part of what lies ahead.”
“We’re excited and grateful to add Eric to our team,” said Muny President and CEO, Kwofe Coleman. “Eric has a record of success both in the St. Louis market and on a national scale. His breadth of experience is going to be invaluable as we evolve our marketing efforts, deepen our connections and broaden our profile. I’m personally thrilled to welcome Eric to The Muny.”
Eric Pugh joins The Muny, after most recently serving as the Director of Sales, Marketing, and Strategic Development at the Historic Fulton Theatre in Lancaster, PA. Pugh’s successes have included increasing ticket revenue at the Fulton by over $2.3 Million or 70% during his tenure, which also includes an increase in subscriptions of nearly 4,000 or 60%. He has held similar positions, with comparable results at Cleveland Play House, STAGES St. Louis, Florida Studio Theatre, and the Carousel. An avid musical theatre fan, he feels blessed to be doing what he loves. When not at work, he can be found at a local theatre, or in New York, checking out the latest productions.
To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter. ###
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny announced the exciting seven show lineup for its 104th Season in 2022 Thursday.
Joining the previously announced “Disney and Cameron Mackintosh’s “Mary Poppins” and Stephen Sondheim’s masterpiece “Sweeney Todd,” will be the 2021 show “Chicago” cut short and the second premiere, “The Color Purple,” in addition to three fan favorites.
The triumph of the 2021 season returns when six-time Tony Award-winning Chicago kicks of 2022 (June 13 – 19). The salacious turns enchanting with Lerner and Loewe’s Excalibur-sharp classic Camelot (June 22 – 28). Fulfilling two 2020 commitments to the Muny audience: all-time family favorite Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13) will finally soar over The Muny (July 5 – 13), followed by the long-awaited Muny debut of Stephen Sondheim’s spine-tingling musical masterpiece, Sweeney Todd (July 16 – 22). The fabulously fun award-winning musical Legally Blonde (July 25 – 31) bounces back to the Muny stage for its first production in 11 years. Making its Muny debut, the landmark musical The Color Purple (August 3 – 9) bears a Grammy Award-winning score and moving tale of love, faith, resilience and sisterhood. Closing out the 104th Season is Tim Rice and Andrew Lloyd Webber’s multi-colored family favorite, Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).
The seven shows are: Chicago (June 13 – 19), Camelot (June 22 – 28), Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13), Sweeney Todd (July 16 – 22), Legally Blonde (July 25 – 31), The Color Purple (August 3 – 9) and Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).
“Last summer was extraordinary for so many reasons,” said Muny Artistic Director and Executive Producer Mike Isaacson, “and now we will return with our full seven show season, and this extraordinary line-up of shows.”
“More than ever, we are so grateful to be a place where the community gathers each summer,” said Muny President and CEO-elect Kwofe Coleman. “For what will be my first season as President and CEO, I am excited for us to produce a season that reflects the breadth of musical theatre and welcomes audiences from far and wide.”
Season ticket renewals will begin in December, with new subscriptions on sale in March 2022. Muny gift cards for the 104th Season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.
Information about auditions for the 2022 Muny season can be found at muny.org/auditions.
Show Descriptions:
Chicago The triumph of the 2021 Muny season returns! Audiences and critics went “Whoopee!” for last season’s thrilling production of Chicago. Following an abbreviated run and early close to the 2021 season, our 2022 season opens with this encore production! Hailed as “Musical Theater Magic,” “Downright Breathtaking” and “Nothing Short of Brilliant,” Chicago was the talk of the town! So re-start the car and head to Kander and Ebb’s internationally-acclaimed, Tony Award-winning musical about fame, fortune and justice. Merry murderesses Roxie Hart and Velma Kelly await!
Camelot The Broadway legend returns for its first Muny production in 13 years! Come re-discover this powerful, moving and enchanting tale of romance and political intrigue, as we all live for “one brief shining moment.” Based upon T.H. White’s novel, Lerner and Loewe’s Camelot features a lush and Excalibur-sharp score, including “If Ever I Would Leave You,” “What Do the Simple Folk Do?” and of course, “Camelot.” With this enchanting classic tale, you are guaranteed an unforgettable (k)night at King Arthur’s Round Table.
Mary Poppins Based on one of the most popular films ever, Disney and Cameron Mackintosh’s Mary Poppins returns to The Muny with its irresistible story, unforgettable songs and breathtaking dance numbers! This Tony Award-winning stage adaptation shares the tale of the mysterious, magical nanny who arrives to give the Banks family some order – and maybe a bit of tough love. With winds in the east and mist coming in, your heart will soar for this enchanting show – and yes, Mary Poppins will fly over The Muny!
Sweeney Todd Muny premiere! The spine-tingling American musical masterpiece makes its long-awaited Muny debut. Set in 19th century London, Sweeney Todd has captivated audiences around the world with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem. Considered to be one of the greatest scores in Broadway history, this eight-time Tony Award- winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at The Muny
Legally Blonde “Omigod You Guys,” Elle Woods returns! Based on the smash hit movie, Legally Blonde follows the transformation of quintessential blonde Elle Woods from sorority sister to Harvard Law graduate. Her journey of determination, self-discovery and finding true love receives its first Muny production in 11 years. Complete with a chihuahua, a bulldog and a UPS guy, The Muny is ready to “Bend and Snap” for a great time!
The Color Purple Muny premiere! Based on Alice Walker’s Pulitzer Prize-winning novel and Steven Spielberg’s landmark film, The Color Purple makes its long-awaited Muny debut! Featuring a Grammy Award-winning score infused with jazz, ragtime, gospel and African blues, this moving tale is a testament to the healing power of love, faith, resilience and sisterhood. Winner of the 2016 Tony Award for “Best Revival of a Musical,” this epic staging promises a joyous evening of courage, hope and healing.
Joseph and the Amazing Technicolor Dreamcoat Originally written by Tim Rice and Andrew Lloyd Webber as a children’s oratorio, Joseph and the Amazing Technicolor Dreamcoat has, in time, expanded to become one of the most beloved shows ever. The story of Jacob, his 12 sons, and the amazing Technicolor® adventures of Joseph features a multi-colored score of favorites including “Any Dream Will Do,” “Go, Go, Go Joseph” and “Close Every Door.” The first Muny production in a decade, audiences are guaranteed a night of big Muny family joy – with, of course, a megamix!
Muny Mission
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 104 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre. For more information about The Muny, visit muny.or
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
