The Muny Enthralls with Glorious, Vibrant ‘Rent’ Premiere

The Muny Enthralls with Glorious, Vibrant ‘Rent’ Premiere

By Lynn Venhaus

Measure your life in love.

Simple advice from Jonathan Larson, the musical genius behind the “Rent” phenomenon, whose tragic death on Jan. 25, 1996 – from an undiagnosed aortic aneurysm, after the final dress rehearsal, meant he never saw the impact his words and music had worldwide. He ran out of time, but his life’s work lives on forever.

Especially the part about how we can’t control our destiny. That underlying poignancy is part of the passion and the power of his landmark rock opera that finally graces the Muny stage 27 years after it produced a seismic shift in popular culture.

It’s time, and the Muny makes the most of those moments so dear in a grand staging that honors Larson’s compassionate vision with the dramatic operatic scale this modern take on Giacomo Puccini’s “La Boheme” deserves.

A celebration full of life, this touchstone production’s creative team is exactly the right fit, showcasing tender beauty and pure joy. Director Lili-Anne Brown, who brought us the exceptional “The Color Purple” last year, focuses on the humanity, dignity and acceptance that is such a potent part of this revolutionary musical.

Set in the “Alphabet City” part of New York City’s East Village, over the course of one year, impoverished young artists and outcasts live through the HIV/AIDS epidemic during the late 1980s, choosing to love over fear. This cast maintains the raw, realistic appeal, making sure it rings true.

The eight principal performers make an indelible impression, their vitality thrilling to witness, and their luxurious vocals a testament to their talent and technical skills. “You’ll See,” “No Day but Today,” and “Will I?” with strong supporting cast mates become earworms that will stay in your mind for days.

When their vocal prowess is spotlighted through Jermaine Hill’s vibrant music direction – what an exhilarating job the orchestra does! – it’s wondrous. 

Hill was a part of the stellar “The Color Purple” collaborators, as were scenic designer Arnel Sancianco, who has fashioned a striking movable apartment building tower, and video designer Paul Deziel, whose work stands out, with Mark’s cinema verité footage and the humorous bits of celebrity minutia in the news scroll.

Vincent Kempski is a dynamic Roger, bringing the grit and rock musician edge to “One Song Glory” and “Your Eyes.” He and Lincoln Clauss, as documentary filmmaker Mark, are a comfortable pair of roommates, with effective bravado in “Rent” and “What You Own.” Clauss was a memorable Tobias in last summer’s “Sweeney Todd,” and leads as the pragmatic narrator here.

Sparks fly when Ashley De La Rosa, as drug-addicted exotic dancer Mimi, meets Roger, and their duets are superb: “Light My Candle” and “Without You” especially. She exhibits a confident demeanor, rocking the over-the-knee turquoise patent leather boots and smoothly gliding around the stage to choreographer Breon Arzell’s moves.

Adrian VIllegas as Angel. Photo by Phillip Hamer.

Adrian Villegas perfectly embodies the life force that is flamboyant one-of-a-kind drag queen Angel Dumott Schunard, delightful in “Today 4 U.” As scene-stealing as they are, what’s most remarkable is Terrance Johnson’s heart-is-full portrayal of philosophical tech-savvy activist-professor Tom Collins, who falls in love with Angel.

He was brought in to assume the role because the original cast member Evan Tyrone Martin took ill. Johnson and Villegas appear like they’ve been doing the show together for a long time, duet on a heartfelt “I’ll Cover You” and with others for a spirited “Happy New Year.” And Johnson’s vocals on “Santa Fe” and solo snippets in other songs are sumptuous.

Lindsay Heather Pearce, who played Elphaba in “Wicked” on Broadway, can belt with the best of them, and shows it on live-wire performance artist Maureen’s “Over the Moon” and “Take Me or Leave Me.” Tre Frazier has the thankless task of playing sellout Benjamin Coffin III, friend turned foe.

Special shout-out to ensemble-mates Julia Yameen (Mark’s mom), Shelby Brown (Joanne’s mom), Jhardon Dishon Milton (Joanne’s dad), and Erica Stephan (Roger’s Mom) as the parents heard on the voice mails.

Among the many highlights is “La Vie Boheme,” the ebullient, defiant Act 1 closer that features characters finding their voices in a number that defines community. And fun name drops! (Pee-wee Herman!).

Seasons of Love. Photo by Phillip Hamer.

After intermission, when you hear the iconic piano chords and the entire ensemble files out to present the signature song, “Seasons of Love,” it is delivered with tremendous strength and feeling, creating a sublime contemporary “Muny Moment.” I will admit to moist eyes. Just hearing the divine Anastacia McCleskey crush that power-ballad solo, her voice ascending into the stratosphere, is goosebumps-time.

As Celie in last summer’s “The Color Purple,” she won the Outstanding Lead Actress in a Musical Award from the St. Louis Theater Circle in April. She plays Maureen’s attorney girlfriend Joanne Jefferson with genuine charm.

Costume designer Raquel Adorno has outfitted the cast appropriately in era streetwear, but my only quibble is I miss Mark’s maroon and blue sweater with his striped scarf. At times, it was hard to keep Mark and Roger separate. But Angel’s glitzy attire was eye-popping.

The sound had issues when the music was louder than the performers, where I was sitting, but I wondered if it was better elsewhere in the amphitheater.

Those people not familiar with the show could have had trouble figuring out action, so I recommend reading up on the show beforehand. I finally saw Puccini’s opera a few years ago, and was struck at how closely it resembled the “Rent” characters, except in a different century and country – Paris in 1830. The life-and-death themes, nevertheless, are universal.

Roger and Mimi. Photo by Phillip Hamer.

 While AIDS is no longer a death sentence, that period of uncertainty was harrowing and horrifying, and Larson’s stark look at loss – and homophobia — still resonates.

The show captured a specific time and place, but its pathos was always identifiable. After all, we’ve just been through several years of a devastating global health emergency and are currently losing thousands to an opioid crisis.

As a struggling artist for years, Larson knew the world he wrote about, based on a concept by Billy Aronson. Among his legacy, he urged us to cherish each of the 525,600 minutes we’re given every non-Leap year. Posthumously, Larson went on to win the Pulitzer Prize for Drama and three Tony Awards (musical, book, score).

“Rent” ran for 12 years on Broadway, has had countless touring shows for 25 years, a 2005 film adaptation, and a live television presentation in 2019.

No matter how many times I hear this score (and I know every word after heavy playlist rotation of the original Broadway cast double-CD recording), I am moved by how timeless each song is.

We are living in the Twilight Zone, only now America is well past the millennium. If we are fortunate, we know love and appreciate friends.

This exceptional cast makes us feel each emotion expressed, and I mean really feel the connections with an unmistakable chemistry and a reverence for the material.

The eight principals who moved to Broadway’s Nederlander Theatre April 29, 1996, were lightning in a bottle: Anthony Rapp as Mark Cohen, Adam Pascal as Roger Davis, Daphne Rubin-Vega as Mimi Marquez, Tony winner Wilson Jermaine Heredia as Angel, Jesse L. Martin as Tom Collins, Idina Menzel as Maureen Johnson, and the more ‘outsider’ characters –Fredi Walker as Joanne Jefferson and Taye Diggs as Benjamin Coffin III.

They caused a commotion, inspiring devotion. Their performances made the ordinary extraordinary and galvanized a generation. They changed their lives, and in the process, other Gen Xers.

They made it possible for others, especially ones who go against the grain, to be an “us” instead of a “them.”

Photo by Phillip Hamer.

Cut to 2023, and Gen Zers are now post-9/11 babies. Can “Rent” still strike a chord? It may no longer shock, but it can awe.

“Rent” still matters. It has the ability to connect on a personal level for all sorts of different reasons.

Take it from me, a Boomer Rent-head who saw it live on its first national tour, shared it with my oldest son as he entered his 20s, and consider the night I saw Anthony Rapp and Adam Pascal reprise their roles in 2009 one of the best nights of live theater ever (the electricity and the energy was off-the-charts). I’ve seen it so many times, I’ve lost count. I think it’s 11, and until the Muny Saturday night, I hadn’t seen a professional company perform it since the 20th anniversary tour in 2016. That music still holds a spell.

The Muny production is a triumph in every way, giving oxygen to an eternal flame, and a rite of passage, moving the cultural institution forward. Watching it under a moonlit sky was glorious, a stirring shared experience with thousands of other Rent-heads and a captivated Muny audience.

As Larson reminds us, there really is no day but today, as life is ours to miss.

‘La Vie Boheme,’ Photo by Phillip Hamer.

The Muny presents “Rent” Aug. 4-10 nightly at 8:15 p.m. on the outdoor stage in Forest Park. For more information, visit www.muny.org.

(Notes: For more about Jonathan Larson, see the 2021 musical film “Tick, Tick…Boom!” currently streaming on Netflix. Directed by Lin-Manuel Miranda, who said “Rent” changed his life when he first saw it as a teenager, it features an Oscar-nominated performance by Andrew Garfield as the young songwriter trying to get noticed.

Anthony Rapp’s 2006 book “Without You: A Memoir of Love, Loss, and the Musical Rent” is a worthy read.)

Mark and Joanne. Photo by Phillip Hamer

Bouncy ‘Little Shop of Horrors’ is freaky, geeky fun at The Muny

Bouncy ‘Little Shop of Horrors’ is freaky, geeky fun at The Muny

By Lynn Venhaus

A mod, madcap rock musical, “Little Shop of Horrors” is a perfect palate cleanser after two serious prestige productions this season. The Muny merrily delivers this bright bouquet of quirky black comedy to ride out an inevitable midsummer St. Louis heat wave.

A pleasant evening of escapist entertainment, the campy cult classic shows why it is an enduring ‘little engine that could’ – a zippy two-hour musical that puts the bop in doo wop and delights with kooky characters while glossing over what is potentially icky with a lightness of being.

It is, after all, a horror comedy – and one loosely based on a cheesy 1960 movie meant to be a goofy cautionary tale about the atomic age. Designed to satirize science fiction, B-movies, the Faustian bargain and even musical comedy, the appeal of “Little Shop of Horrors” has now reached multiple generations.

Perhaps a maniacal plant that feeds on human flesh and blood doesn’t sound appealing, but in its fourth presentation and the first one since 2011, the Muny’s creative team knows how to get it just right, winning us over with the show’s lively tempo and unpretentious yet irreverent attitude.

Maybe when you discover Audrey II, the freakish carnivorous plant picked up by botanically curious Seymour in Chinatown during a solar eclipse, is a dastardly schemer from outer space that takes over Seymour’s life, it’s more palatable.

Nicholas Ward. Photo by Emily Santel.

“Two-eys” hearty appetite for destruction is the catalyst for Seymour blooming where he’s planted — providing him with a taste of fame and opportunities, the allure of celebrity leading to a possible livin’ large lifestyle that he’s been longing for – a dare to dream scenario.

And let’s talk about that spectacular centerpiece of the show – the Venus flytrap-like plant that grows to epic proportions is a doozy, a marvel of engineering and innovation designed by James Ortiz. (I was fortunate to see this puppet designer’s remarkable work in the recent Broadway revival of “Into the Woods,” and this guy’s got game.)

His neon green one-of-a-kind otherworldly monstrosity was created just for the Muny run. Four puppeteers impressively guide this mean green machine, with astonishing mobility credited to Travis Patton as “Audrey II Manipulation.” Just watching Patton move with Swiss-watch precision is fascinating, and he deservedly takes a bow during the curtain call.

The bloodthirsty, pushy character is voiced by Nicholas Ward with devilish charm. His “Feed Me (Git It)” is saucy, and his “Suppertime” is unsettling, those robust pipes a delight to hear – even if Audrey II’s endgame is world domination. Of course Ward played Mufasa in “The Lion King” on Broadway. You may recall his impressive vocal performance as Caiaphas in “Jesus Christ Superstar” here in 2017.

The fact that this intimate show feels comfortably at home on the Muny stage is a major achievement, for striking the right tone between playful and offbeat with fear and murder is not easy to do given the source material, and its unconventional backstory. It’s far more complicated than it appears, and this small cast and crew make it appear effortless.

What first became a low-budget Roger Corman horror B-movie in 1960, featuring an unknown Jack Nicholson as a masochistic dental patient (cut out of stage version) and written by Charles Griffith, was turned into an off-Broadway musical sensation penned by none other than those cheeky composing pals Howard Ashman (book and lyrics) and Alan Menken (music) in 1982.

Turned into a movie musical in 1986, the stage version finally made it to Broadway in 2003. It was revived off-Broadway in 2019, with the top-shelf cast of Jonathan Groff, Tammy Blanchard and Christian Borle.

Now household names, the late Ashman and Menken’s star rose with their Disney collaborations – “The Little Mermaid,” “Beauty and the Beast “and “Aladdin.” After Ashman’s death in 1991, Menken wrote music with other lyricists to maintain a Hall of Fame career – “Newsies,” “Pocahontas,” “The Hunchback of Notre Dame” and “Hercules” among a long list that has earned 8 Academy Awards, 11 Grammy Awards and 1 Tony (4 nominations).

Menken, unintentionally, is being showcased this season with three productions – “the kids’ show” “Beauty and the Beast” and closer “Sister Act,” displaying his range.

The Urchins and the Dentist. Photo by Phillip Hamer.

This Ashman-Menken score shows their compatibility, sense of humor, understanding of music history, and the ability to change styles fluidly. (For a deeper dive into their beginnings, “Howard” is a terrific documentary available streaming on Disney+).

Director Maggie Burrows keeps the pace crisp and snappy, as she did in “On Your Feet!” and last year’s “Legally Blonde,” and so does her collaborator, choreographer William Carlos Angulo. Along with music director Andrew Graham, they added the oomph to Ashman-Menken’s genial numbers. Orchestrations are by Robert Merkin and vocal arrangements by Robert Billig.

The high-spirited ensemble frolics with glee. The two leads are polished pros with strong voices – three-time Tony nominee Robin De Jesus and reliable Muny favorite Patti Murin are smoothly in sync as florist shop co-workers, genuine in song and performance. They sing from the heart in the romantic ballad “Suddenly, Seymour,” and have a good time with “Closed for Renovation” and “Call Back in the Morning.”

Working hard as the sweet and lovable dork Seymour, De Jesus draws us in to the poor orphan’s tough life on Skid Row, but the dead-end hasn’t hardened him to hope, even though he appears hapless. He’s craving change, noticeably so in “Grow for Me.”

Undeterred, he won’t stop trying to win over Audrey, the love of his life who feels unworthy of anyone’s affection. Without a shred of self-esteem, she is the victim of an awful, abusive boyfriend, which is the other ‘horror’ (after all, the title is plural). She delivers a heartrending “Somewhere That’s Green.”

Audrey II and Audrey. Photo by Phillip Hamer.

De Jesus’s humanity as conflicted Seymour comes through. And that’s usually a component evident in all his performances. He was last seen here as the title character in the pre-Broadway tryout of “Aladdin” in 2012. The original Sonny in “In the Heights,” for which he was Tony-nominated, he also scored a nomination as housekeeper Jacob in “La Cage Aux Folles” and Emory in “The Boys in the Band” stage play revival. He reprised his role in the 2021 Netflix movie.

I first noticed him in the underrated indie gem, “Camp,” from 2003, as one of the young misfits at a performing arts summer camp. In 2021, he played opposite Andrew Garfield as Michael in the Lin-Manuel Miranda directed “tick, tick…Boom.”

Murin is an affable Audrey, just as she has engaged here as Paulette in last year’s “Legally Blonde,” as Ariel in “The Little Mermaid” and Roxie in “Chicago,” both in 2011. She originated the role of Princess Anna in Disney’s “Frozen” on Broadway.

Tony winner Michael McGrath gives shop owner Mr. Mushnik an edge, for he treats Seymour shabbily but does have comical lines. A longtime Muny performer, he won a Tony for “Nice Work If You Can Get It,” and was nominated for “Spamalot.”

The ensemble sparkles, especially Taylor Marie Daniel, Kennedy Holmes and Stephanie Gomerez as the Urchins girl group, an R&B trio honoring the Brill Building/early Motown songwriters with the names Chiffon, Crystal, and Ronnette.

They bring the pizzazz as the Greek chorus, harmonious and spunky in the Prologue, “Skid Row (Downtown),” “Da Doo,” “Don’t It Go to Show Ya Never Know,” and “Dentist!”

Philip Hamer photo.

The meaty roles in supporting parts are one of the show’s selling points. Ryan Vasquez kills it as the sadistic dentist Orin Scrivello. He’s absurdly exaggerated in this plum part, especially in “Now (It’s Just the Gas).”

And he’s very funny as gaudily dressed assorted characters in the second act, showing a good-sport sense of humor in his Muny debut — and quite a range for an actor who played Alexander Hamilton and various founding fathers in “Hamilton” on Broadway.

The costumes are sensational, an integral part of the atmosphere. Costume Designer Leon Dobkowski created blasts from the past with the Urchins’ flashy fashions, and bosom-enhancing skin-tight outfits worn by Audrey that look like they were purchased from Frederick’s of Hollywood.

He also selected suitable nebbish attire worn by Seymour and Mushnik, and Kelly Jordan’s wig design also aided the retro look. Dobkowski won two St. Louis Theater Circle Awards for “Seussical” and “The Wiz,” and he has such a fun-loving eye.

The scenic design by Kristen Robinson is a striking grungy streetscape of an area that has seen better days, and an effectively shrewd interior of Mushnik’s Flower Shop, which includes subtle changes as the business prospers, and well-chosen pieces reflecting the economic fortunes. She tells the story well depicting those touches.

Greg Emetaz’s video design is seamless, deftly enhancing the set design and story progression with strong visuals.

This is a swiftly paced musical with a zest for fantasy, yet grounded in a dark side that is still amusing after all these years.

Photo by Philip Hamer

The Muny presents “Little Shop of Horrors” July 25-31 at 8:15 p.m. on the outdoor stage in Forest Park. For more information, visit: www.muny.org.

The Muny’s Electric, Elegant ‘West Side Story’ Aims For The Heart

The Muny’s Electric, Elegant ‘West Side Story’ Aims For The Heart

By Lynn Venhaus

Bursting with vitality, The Muny’s latest heart-tugging interpretation of “West Side Story” emphasizes its potency as a cultural snapshot and the exceptional elegance of its buttery vocals.

Arthur Laurents’ 1957 contemporary slant on Shakespeare’s “Romeo and Juliet” brims with pulse-pounding tension as rival ethnic gangs, The Jets and Sharks, fight on the mean streets of Manhattan’s pre-gentrified Upper West Side while you root for forbidden yet fairy-tale hopeful love.

As the star-crossed lovers Tony and Maria, Christian Douglas and Kanisha Feliciano will break your heart and their lush vocals will melt it. Their duets “Tonight” and “One Hand, One Heart” are exquisite, as is standout Douglas exuberant in “Maria” and projecting the longing in “Something’s Coming.”

The timeless music score again demonstrates its power as one of the greatest American musicals of all-time. Some 66 years earlier, Leonard Bernstein’s supple orchestrations and 27-year-old Stephen Sondheim’s brilliant lyrics forged unforgettable songs – including poignant “Somewhere,” vibrant “America,” propulsive “The Jet Song,” comical “Gee, Officer Krupke” and the fervid “Cool.”

The Jets. Phillip Hamer photo.

Rob Ruggiero seamlessly directs the musical with compelling urgency, stressing the emotional weight of an ‘us vs. them’ culture clash, an ingrained blind hatred that fuels the tumultuous turf wars of entrenched ‘white’ lower-class locals vs. Puerto Rican immigrants.

As is his custom, Ruggiero is a master at stripping down a show to its essentials, deconstructing a piece and making us see it through new eyes. He’s been the go-to guy for definitive productions of “Sweeney Todd” (2022), “Gypsy” (2018), “Hello, Dolly!” (2014) and “South Pacific” (2013) at the Muny, and transplendent productions of Sondheim’s “Sunday in the Park with George” and “Follies” at The Repertory Theatre of St. Louis.

When the musical first debuted on Broadway, while spellbinding and integrating those visionary dance scenes, audiences didn’t know how to take such a dark story that resulted in two major characters killed off before intermission. Tragedy wasn’t a forceful plot point in those golden era musicals – hence, “The Music Man” defeating it for Best Musical at the Tony Awards.

Photo by Phillip Hamer.

However, through the years, its appeal has grown, and several Broadway revivals have enhanced its stature, including a heralded 2009 reworking, with contributions by Lin-Manuel Miranda for more Latino authenticity.

The landmark 1961 film, the top-grosser that year, was nominated for 11 Academy Awards, and won 10, including Best Picture, making it the record-holder for movie musicals. The film is second only to “Singin’ in the Rain” on American Film Institute’s list of Greatest Movie Musicals.

Sixty years after its release, director Steven Spielberg reimagined this gritty street symphony in 2021, earning critical acclaim and seven Oscar nominations, with Ariana DeBose winning Best Supporting Actress as Anita.

The film first captured my heart on the big screen, as a reissue in fall 1968 before being sold to television, and I was immediately entranced at age 13. After multiple repeat viewings, a special anniversary DVD, and devouring all sorts of behind-the-scenes materials, it still holds my heart.

Jerusha Cavazos as Anita, center. Phillip Hamer photo.

While the original hasn’t aged well in the millennium with a predominantly white cast, bad makeup and some dubbed voices, it does capture a moment in time, and the 2021 adaptation corrected the egregious.

Eager to experience the magic again, this electric production did not disappoint Sunday night. The last Muny one, in 2013 with Kyle Dean Massey and Ali Ewoldt, was epic and became my gold standard, so a high bar. Let’s just say the Muny has come a long way since the first time I saw it there in 1982, as a season ticket holder, with Barry Williams, aka “Greg Brady,” as Tony. Ah, those old days of stunt casting.

This is the ninth time “West Side Story” is at the Muny, and retains its grip with such vigor, alive with possibility. It draws out the sadness because optimism is thwarted by ill-fated violence.

This run coincides with the 60th anniversary of the Muny’s first staging in 1963. It returned for a two-week run in 1967, and was seen again in 1982, 1990, 1995, 2000, 2005 and then 10 years ago.

While some of the dialogue is insipid in that ‘50s daddy-o way, the stage musical continues to take me to my happy place as my all-time favorite. It does still pack an emotional punch in its truth and remains relevant today.

Why did this version make me fall in love with it all over again, after seeing it countless times on tour, in regional, community and youth theaters? Let me count the ways.

the Jets vs Sharks. Phillip Hamer photo.

Jerome Robbins’ original stylized dance numbers are precisely reproduced by choreographer Parker Esse – the enthralling “Prologue,” “Dance at the Gym,” “America,” and “Cool” and the muscular, balletic ensemble leapt on the ginormous stage in breathtaking fashion. The staging of the “Somewhere” dream ballet pulls the heartstrings, enhanced by Grace Marie Rusnica’s affecting vocal.

It’s a thing of lyrical and kinetic beauty to see those polished, passionate performers burn bright with red-hot intensity. Their version of the “Tonight” Quintet and Chorus is magnetic.

Arguably, there is not a better musical score, and the numbers are admirably delivered. Music Director James Moore is such a graceful conductor that a few bars into the overture, and his artistry has you hooked with his expertly orchestrated pieces. You may recall his luxurious skills in conducting Sondheim before – “Sweeney Todd,” “Gypsy,” and the last “West Side Story.” He makes you feel the music.

Performers familiar with their role’s challenges boost the show’s dynamics. Yurel Echezarreta is the seething, smoldering Bernardo, and it’s his seventh “West Side Story,” including Spielberg’s movie.

In his fifth Muny show, Kyle Coffman brings the heat as a limber Riff, the cocky, driven leader of the Jets and Tony’s best friend “womb to tomb.” He was Ice in Spielberg’s movie and part of the 2013 ensemble.

Making her Muny debut, Jerusha Cavazos is a fiery Anita, and along with her lissome dancing, she conveys a solid chemistry with Feliciano’s Maria, including the sublime duet, “A Boy Like That/I Have a Love.”

Caylie Rose Newcom is a feisty Anybodys, the tomboy Jet, and Ethan David Steph as hothead Action, Ethan Van Slyke as greenhorn Baby John and Daniel Assetta as explosive A-rab are also notable.

Ken Page as Doc. Phillip Hamer photo.

Local actors elevate the standard “adult” roles, with revered Muny all-star Ken Page touching as the kind, frustrated Doc, Tony’s boss and drugstore owner. Versatile veteran Michael James Reed portrays Lt. Shrank with a disquieting hostile edge and what a pleasure to see outstanding dramatic actor James A. Butz making his Muny debut as the sweaty, ineffectual Officer Krupke.

Ann Beyersdorfer’s scenic design is a striking urban jungle grid, depicting the decaying tenements that would be later torn down for Lincoln Center and such. Her set pieces – the dress shop, Doc’s drugstore – are smartly detailed, and both fluid and functional. Beyersdorfer is from Belleville, Ill., and this is her third show at the Muny, after this season’s opulent “Beauty and the Beast” and last year’s earthier “Camelot.”

Other noteworthy designs include the vintage costumes from Gail Baldoni, who has selected specific muted color palettes for the Jets and the Sharks and crafted a stunning white dress as Maria’s iconic outfit for the dance. Her bright fuchsia-violet shades for the Sharks’ girls in the “Mambo” and “America” scenes are eye-catching and enliven the dances.

And John Lasiter’s lighting design takes us from sweltering summer playgrounds to moonlit fire escapes to desolate concrete battle grounds while Shawn Duan’s video design punctuates exteriors and interiors.

“West Side Story” endures as a idealistic love story dashed by the gut-punch of tragic circumstances of gang war because of the reality we live. At a time when we hear of tribal sparring daily across the nation, this story is a reminder that decades after this social commentary pointed out what misguided hostilities can lead to, this musical provides a glimmer of hope that fists won’t stay clenched, and headlines won’t point out another young gun-related death.

Whether you have never seen it or have sat under the stars mesmerized multiple times, this season’s “West Side Story” entices – it has a significant snap and pop to it, and the care involved in its presentation is perceptible. We may be dreamers, but love is a powerful tool. And these soaring vocals will give you goosebumps.

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Somewhere. Grace Marie Rusnica sings. Phillip Hamer photo.

The Muny presents “West Side Story” nightly at 8:15 p.m. from July 15 to 21 on the outdoor stage in Forest Park. For more information, visit muny.org.

Dance at the Gym. Amy Maier photo.

Muny’s Gambit Showcases Virtuoso Talents in Stylish, Daring ‘Chess’

Muny’s Gambit Showcases Virtuoso Talents in Stylish, Daring ‘Chess’

By Lynn Venhaus

What was that?

A stunning showcase featuring some of the most passionate voices ever on a St. Louis stage, “Chess” is a love triangle, dramatic duel, a singular experience – and an extraordinary achievement for The Muny and its loyal audience.

For those not familiar with the show, either in concert or as musical theater, you are not alone. Those in-the-know cool kids had often waxed rhapsodic about the rock-symphonic score – and now we know why.

The 1986 rarely seen/performed pop opera, with music by Benny Andersson and Björn Ulvaeus of ABBA, and lyrics by Tim Rice (“Jesus Christ, Superstar” and “Evita”), concerns a clash of world powers at an international chess tournament.

Set during the highly charged ‘80s political atmosphere of the Cold War, the mind games between rivals Soviet Union and the United States escalate. Tensions are high, and so are the stakes. And then a fight develops over a woman that further complicates matters.

Most people know “Chess” only for its catchy pop hit, “One Night in Bangkok,” which was an MTV staple and now heard on classic radio stations (and fun fact, sung by Murray Head, the original Judas in “Jesus Christ Superstar.”) Its checkered history has become grist to the backstage mill, especially concerning the troubled book.

Principal characters of “Chess” Photo by Philip Hamer

Initially a concept album in 1984, it opened as a theatrical piece in London two years later to much acclaim, and ran for three years. With an altered book, moved to Broadway in 1988, where it flopped (ran only for two months). A revival was staged in London’s West End in 2018, and now the Muny is doing what has been described as “mostly the London version” after other revisions over the years.

It is risky to bring something so different and uncommon to St. Louis audiences and mount it on the 102-foot-wide outdoor stage, where generations have delighted in the civic traditions and traditional productions for 105 years.

That, in itself, is a challenge, and the amount of care to create a compelling piece was evident in the collaboration between director and choreographer Josh Rhodes, music director Jason DeBord and the design dream team of Edward E. Haynes Jr. (scenic), Emily Rebholz (costumes), Rob Denton (lighting) and Alex Basco Koch (video).

Because this introduction was handled in such a spellbinding way, we all won. I still don’t know any more about chess than when I took my seat, but that’s OK. That’s not the point. And you don’t need to know anything either to marvel at the stylized look, the silky vocals, and the creative team’s bold choices.

This is not your mom’s “South Pacific” or even Andersson-Ulvaeus’ “Mamma Mia!” And from the reaction of the crowd, people were fine with that. The audience seemed genuinely excited to see something new to them, and they leaned in, responding with ovations that swelled more with each musical number.

Photo by Phillip Hamer

All around me, people were rapt – captivated by the political intrigue, the global playing field, the thorny romance – in other words, epic gamesmanship. When the boom opened to reveal an expansive, inventive set design, people applauded, and it grew from there.

The complex storyline isn’t the easiest to follow, and sometimes, the context is lost because of the ‘80s being the state of play. If you don’t understand the root of the hostilities, then it can appear to have a whiff of pretention.. (If you think about it, does mirror the decade!). It’s very helpful to read a synopsis ahead of time.

But what made this production something special were the leads – gifted with world-class talent, their powerful vocals soared into the night sky, and they hit the emotional beats to make the action matter.

John Riddle, a Muny veteran recently seen as Raoul in “The Phantom of the Opera” on Broadway, is sensational as the Russian grandmaster Anatoly Sergievsky. Among his many moments, he induced chills in the one-act finale solo, “Anthem,” giving his head vs. heart country dilemma depth.

When he falls in love with the Hungarian-born Florence, the remarkable Jessica Vosk reaches new heights. She wowed as Elphaba in “Wicked” on Broadway and as the Narrator in The Muny’s “Joseph and the Amazing Technicolor Dreamcoat” last year and has an exceptional voice.

John Riddle as Anatoly Sergievsky. Photo by Phillip Hamer

Their duet, “You and I” is simply gorgeous, and along with Jarrod Spector, as the flashy American grandmaster Frederick Trumper, their “Mountain Duet” is when the games really begin.

Vosk also wows in an intense “Nobody’s Side” with the ensemble, and in the conflicted “Heaven Help My Heart.”

In his second show this summer, Spector is quickly becoming a fan favorite. He was last seen in the season opener “Beautiful: The Carole King Musical” as Barry Mann, for which he was nominated for a Tony. He is well-cast as the brash, arrogant American whose cockiness and hot temper provoke controversy, and delivers a strong “One Night in Bangkok” ensemble number as well as his solo, “Pity the Child.”

Speaking of fan favorites, Tony nominee Taylor Louderman, who grew up in Bourbon, Mo., and has graced the Muny stage multiple times throughout her young life, isn’t seen until the second act. She plays the pivotal role of Anatoly’s wife, Svetlana, and history has its eyes on her. Looking fabulous in a beautiful white dress, she owns the stage in “Someone Else’s Story,” and is heartbreaking, along with Vosk, in “I Know Him So Well.”

Experienced Muny performer Phillip Johnson Richardson as The Arbiter (president of the International Chess Federation) is a formidable presence while Rodney Hicks, as Freddie’s financial administrator/secret CIA agent Walter De Courcey, and Tally Sessions, as part of Anatoly’s team and a KGB agent Alexander Molokov, stir up trouble and orchestrate double-crosses.

At Thursday night’s performance, unruffled associate music director Michael Horsley smoothly conducted the orchestra with a firm hand.

The design team’s concepts are striking, giving the show a certain look and attitude. Edward E. Haynes Jr., who won a St. Louis Theater Circle Award for his Gaslight Square inspired set of “Smokey Joe’s Café,” has created eye-catching geometric grids and continues a checkerboard theme throughout the pomp and circumstance of the European and Asian settings (Merano, Italy, and Bangkok, Thailand specifically).Video designer Alex Basco Koch’s work is integral here, with multimedia incorporated into the presentation.

With its dramatically operatic arc, moments of levity are few, but plunging back into ‘80s fashions is fun, especially spotting power suits and shoulder pads. Costume designer Emily Rebholz has made members of the ensemble look like they stepped out of Robert Palmer’s “Addicted to Love” music video, with their belted black mini dresses adorned with white collars.

Taylor Louderman, center. Photo by Phillip Hamer.

It was a smart move for The Muny to partner with the Saint Louis Chess Club and World Chess Hall of Fame for this presentation – after all, St. Louis was the site of the first official world championship in 1886 and home to many devotees. (Stop by their Central West End location for free exhibits and tours).

Although the characters are fictional, supposedly the American is loosely based on champ Bobby Fischer while the Russian is a composite of Viktor Korchnoi and Anatoly Karnov. Book writer and lyricist Tim Rice had a Cold War musical for awhile on his radar, fascinated by the 1972 “Match of the Century” between Fischer and Boris Spassky, and that adds context too.

For those who remember the Cold War, “Chess” taps into the two world powers trying to manipulate to gain the upper hand, and in the Reagan years, when the U.S.’s strong anti-communist agenda swelled after the Iran Hostage Crisis and other international trouble spots.

Sixty years after I learned to ‘duck and cover’ during the Cuban Missile Crisis, Russia is a constant thorn in the U.S. side and is at war with Ukraine. The more things change, the more they remain the same.

As a commentary on strategizing geopolitics and propaganda, “Chess” is interesting, but as a bittersweet love story, has more emotional heft. Already in the record books as the largest production of a “Chess” revival, the chief pleasure in The Muny’s grand, inspired staging is the powerhouse vocals.

In sports terms that we can all identify with, The Muny knocked it out of the park, giving us a dandy night to remember.

The ensemble of “Chess.” Photo by Phillip Hamer.

The Muny presents the musical “Chess” July 5-11 at 8:15 p.m. on the outdoor stage in Forest Park. For more information: muny.org.

Photos by Phillip Hamer

“One Night in Bangkok.” Photo by Phillip Hamer.

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

‘Disney’s Beauty and the Beast’: Believe in Muny Magic

By Lynn Venhaus

The fourth time is indeed the charm. Infused with extra Muny Magic, this “Disney’s Beauty and the Beast” makes you believe in happily ever after.

Under the brilliant direction of John Tartaglia, this imaginatively staged, and elegantly crafted musical will make you laugh out loud and shed a tear, for it grabs your heart in the opening number “Belle” and never loosens its grip on your emotions until the final bow.

This beloved romantic fantasy has endured since the 18th century, first as a French fairy tale, then as a 1946 film by Jeanne Cocteau where an arrogant prince is cursed to spend his days as a hideous monster but has a chance to regain his humanity by earning a young woman’s love.

In 1991, modern audiences fell in love with Disney’s 30th animated feature that went on to make history as the first animated feature to be Oscar-nominated for Best Picture. With its Academy Award-winning original score and touching title song, the script was tailor-made to be adapted into a stage musical, which happened in 1994, and played on Broadway for 13 more years. Screenplay writer Linda Woolverton is credited with the book and Tim Rice wrote additional lyrics, and the stage version has become a global sensation.

A bona fide classic with its iconic characters, lush score and engaging blend of romance, comedy, and drama, Muny audiences have enjoyed presentations in 2005 (the attendance record holder for nearly five years), 2010, and an outstanding one in 2015.

Because it’s a perennial family favorite, honestly this production didn’t have to be as good as it is – because we’d be enchanted anyway, and all those little girls who showed up in yellow gowns wouldn’t be disappointed.

Photo by Phillip Hamer

Yet, this is an extraordinary effort. The best one to date under the stars is inspired because Tartaglia knows how to spark joy. An expert at finessing humorous moments with a flair for the dramatic, Tartaglia showcases his versatile talents as a director and his experience as a musical comedy performer. After all, he joined the Broadway company as Lumiere in 2006.

A true visionary, Tartaglia has brought out the whimsy, charm, sense of family, and genuine feelings in this Disney classic. On this stage before, he’s directed “Shrek,” “Matilda,” “Annie,” Disney’s “Tarzan,” “Wizard of Oz” and last year’s “Mary Poppins.”

A puppeteer and “Sesame Street” alumni, he’s best known as a creative and Tony-nominated star of the original Broadway cast of “Avenue Q.” He’s played memorable roles at The Muny, including the Genie in the pre-Broadway tryout of “Aladdin” in 2012, The Cat in the Hat in “Seussical” in 2014 and won the St. Louis Theater Circle Award as Outstanding Supporting Actor in a Musical as Hysterium in “A Funny Thing Happened on the Way to the Forum” in 2017.

He loves the Muny and the Muny loves him, and we are the richer for this mutual admiration society. His ability to create one-of-a-kind storytelling outdoors shines through, from the pep in the step of the ensemble to his dazzling use of pyrotechnics.

Incorporating a cast of 85 in super-sized renditions of the showstopper “Be Our Guest” and an amusing, rousing “Gaston,” the creative team is in sync and up to the challenge. Choreographer Patrick O’Neill and associate choreographer Bryan Thomas Hunt go for big and bold, and music director Ben Whiteley, who has held the Muny baton for all four “Beauty and the Beast” shows, brings out all the textures in the timeless songs by Alan Menken and Howard Ashman.

The performers have put their heart and soul into this show, from an acrobatic Tommy Bracco cavorting as buffoonish LeFou to Debby Lennon’s virtuoso vocals as excitable diva Madame de la Grande Bouche.

Ashley Blanchet as Belle. Photo by Phillip Hamer.

Ashley Blanchet is the epitome of a Disney Princess. As the lovable independent Belle, she is a savvy combination of sweet and spunky, heart-tugging in a glorious “Home” and the hopeful “A Change in Me.” The way she stands up for herself is refreshing.

As the imposing, bitter Beast, Ben Crawford’s rich, robust voice is one of the evening’s most pleasant surprises, and he brings a depth of yearning and regret to the role that’s palpable. Even under his involved make-up, you feel his change from a sullen prince cursed for being cavalier and haughty to someone trying to change for the better. His powerful “If I Can’t Love Her” brought down the house to close the first act.

Crawford has portrayed the legendary Phantom on Broadway, but his last role at the Muny hardly tipped us off to his capabilities, for he played the cruel and cocky Chuck in “Footloose” four years ago. He and Blanchet have a believable chemistry, carrying off the opposites attract tension and tenderness with touching sincerity.

The castle’s support staff provided crowd-pleasing antics, with the delightful duo of Kelvin Moon Lo as kind-hearted candelabra Lumiere and Eric Jordan Young as fussy butler-turned-mantel clock Cogsworth leading the pack.

While good-natured Ann Harada has the comedic chops and warmth to play motherly cook Mrs. Potts, her rendition of the Oscar-winning title song is shriller than satisfying as a major moment.

Michael Hobin is an adorable Chip, and Holly Ann Butler has fun as the saucy Babette. The group’s rendition of “Human Again” is a wistful beauty.

Blanchet, Claybourne Elder. Phillip Hamer photo.

Broadway veteran Claybourne Elder is a standout as swaggering narcissist Gaston, emphasizing the blowhard’s ridiculous vanity while eventually turning into a spiteful, vicious bully, first targeting Belle’s eccentric dad Maurice (Harrison White). When Belle slapped him, the crowd erupted in applause.

A highly skilled visual design team has crafted a stunning castle and quaint Old-World village, with Belleville, Ill., native Ann Beyersdorfer’s opulent scenic design, Greg Emetaz’s expressive video design and Jason Lyons’ effective lighting design. The only thing that felt out of place was a jarring depiction of Gaston losing his footing in the climactic fight scene on screen.

Accenting the characters are Robin McGee’s luxurious and intricately embellished costume designs and Ashley Rae Callahan’s period wig designs. McGee, who grew up in Highland, Ill., designed the 2015 show, but didn’t rely on any previous outfits this time, and elevated the looks here with an accomplished team of seamstresses working overtime in the costume shop. Belle’s pillowy, shimmering ballgown is jaw-dropping.

Noteworthy are the puppet designs by Dorothy James and Andy Manjuck, especially in making the scary wolves’ eyes glow bright red as they roamed the woods.

This lavish production has all the elements to succeed as an unforgettable evening of entertainment, especially for a wide audience. Typically, the ‘children’s show’ introduces a new generation to the unique experience the Muny offers..

On Friday night, it appeared to win over many youngsters who remained rapt through the entire two acts – particularly one young man a few rows in front of me. His view was blocked by a rather large adult at curtain call, so he moved to the aisle to stand and cheer.

He made me smile wider, recalling watching other youths mesmerized over the years (reviewing since 2009). I’m one of those kids who first came with my grandmother, about 10 years old, awestruck by the grandeur. How many of us became forever fans that way?

The Muny triumphs once more with a deluxe and endearing “Disney’s Beauty and the Beast,” a heart-warming reminder that we get to connect again because of this 105-year St. Louis tradition. Don’t miss your chance to get sprinkled with pixie dust on a splendid summer evening.

Be Our Guest. Phillip Hamer Photography.

“Disney’s Beauty and the Beast” runs from June 22 to 30 in Forest Park, nightly at 8:15 p.m. For more information, visit www.muny.org

Notes: Show sponsor Ameren and The Muny are promoting Ready Readers, a nonprofit supporting literacy, by collecting new and gently used children’s books, suitable for readers aged 12 and under. A table has been set up near the box office so that patrons can drop off books before the show.

For a deeper dive into the Disney Animation Renaissance, the documentary “Waking Sleeping Beauty” is currently streaming on Disney +, as is the poignant documentary “Howard,” which honors the late lyricist Howard Ashman for his tremendous contributions to music. He died at age 40 from AIDS complications, in 1991.

Phillip Hamer Photography.

The company of Beauty and the Beast. Phillip Hamer Photography

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

By Lynn Venhaus
A jubilant celebration of a Hall of Fame career, “Beautiful: The Carole King Musical” tells the story of how a remarkable singer-songwriter found her voice and influenced a generation.

But it is as much about others who are woven into the history of early rock ‘n roll, and those catchy tunes that have a good beat and you can dance to them, as it is an everlasting tribute to the most successful songwriter of the last half of the 20th century.

King wrote such memorable hits as “I Feel the Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” and the title song.

For Boomers, this is the soundtrack of our lives. For other generations, it’s a blast from the past and an introduction to the stories behind the music, and for all, it’s an example of the transformative power of music.

As one of four premieres for The Muny’s 105th season, it was a crowd-pleasing way to open, especially during a stretch of gorgeous weather. I thought it brought fresh air into the venerable institution, for presenting a show from the last decade that has all the makings of a new classic.

Photo by Phillip Hamer

King’s rise to stardom is ideally suited for the Muny, and their interpretation of this jukebox musical is dynamic, slickly staged by director Marcia Milgrim Dodge.

Featuring 26 bouncy pop hits and unforgettable ballads, the music score moves the story along, and music director Charlie Alterman honors that timeless sound with tremendous skill and verve.

Interestingly, there is a Muny connection — Paul Blake produced the Broadway show and he was the Muny’s executive producer for 22 years, until his departure in 2011.

Popular on Broadway, “Beautiful” played for 2,418 performances from Jan 12, 2014, to Oct 27, 2019, nominated for seven Tony Awards and won two – Jessie Mueller as Carole and sound design. Two national tours have played at the Fabulous Fox in St. Louis, in 2016 and 2019.

And the Muny’s creative teams and cast didn’t miss a beat.

With every number performed with gusto, you could feel the audience’s joy in the waves of recognition as patrons named that tune. “”Oh!” followed by cheers and applause.

The most frequent comment I overheard was “I didn’t know she wrote all those songs!”

That, indeed, is an engaging calling card for this well-constructed musical, which features a witty book by Douglas McGrath to accompany the American song catalogue.

Photo by Phillip Hamer

Born Carol Klein, the chart-topping music legend grew up in Brooklyn and then fought her way into the record business as a teenager. She met Gerry Goffin, her match in life and love, at Queens College, and they were married for 10 years, from 1959 to 1969. By the time she was in her 20s, she was flourishing as a songwriter in the fabled Brill Building, churning out hits for the biggest rock ‘n roll acts — Gerry’s words and her music.

It wasn’t until her personal life unraveled that she finally managed to find her true voice, culminating in her landmark solo “Tapestry” album in 1971, which won four Grammys – including Record, Song and Album of the Year — and went on to be one of the greatest selling albums of all-time.

The addition of Cynthia Weil and Barry Mann to the story of Goffin and King makes this musical more than one-note, and with performances by the acts who recorded the songs — The Drifters, The Chiffons and The Shirelles, it’s a sentimental walk down memory lane. Muny hometown favorite Kennedy Holmes shines belting out “The Loco-Motion” as their baby sitter, Little Eva.

Using a moving labyrinth skyscraper grid, scenic designer Ryan Douglass shows the inner workings of the fabled Brill Building, at Broadway and 49th St. in New York City.

That’s an important part of music history, and in this musical. A hit-making music factory, the Brill Building was not only home to Goffin-King and Mann-Weil, but also Burt Bacharach-Hal David, Mike Lieber-Jerry Stoller, and Jeff Barry-Ellie Greenwich.

Between them, they penned scores of hits for the girl groups and teen idols who dominated radio airwaves after Elvis joined the Army in 1958 and before The Beatles ushered in the British Invasion in 1964. But also, still formidable duos beyond with the ‘now sound.’

Using the LED screens, video designer Kylee Loera replicated old-timey television where we watched the popular acts in black-and-white.

Sara Sheperd is a warm and winsome Carole, charting her growth from shy but talented teen to a strong, independent solo artist whose “Tapestry” album released in February 1971 was a landmark achievement – more than 25 million copies sold and longest run on Billboard chart by a female artist.

When the character discovers her worth after heartache and pain, it’s a thrilling moment.

Steven Good emphasizes how gifted and how troubled Gerry Goffin was. (Goffin died in 2014 at age 75, and did see “Beautiful” on Broadway before he passed. He and Carole married three more times in their lives.)

Jackie Burns and Jarrod Spector are sensational as Cynthia Weil and Barry Mann, the songwriting team in the next cubicle, and the competitiveness resulted in many standards that defined the rock era.

Spector, who originated the role on Broadway, nails Mann’s character quirks with aplomb, stealing the show.

John Battagliese and Mike Schwitter as The Righteous Brothers brought the house down with a soulful “You’ve Lost That Lovin’ Feeling.”

There’s also strong support from Noah Weisberg as mentor and boss Don Kirschner, and Sharon Hunter as Carole’s nagging mom Genie

The emotional journey isn’t an easy one, and the book ends in 1971, glossing over some events and not following up what happened as a coda. This tale is focused on the King-Goffin relationship and the work, highlighting the changing times for frames of reference.

The fashions by Tracy Christensen smartly captured the era whereas J. Jared Janas has selected the right hairstyles for the appropriate times and situations.

Savor this satisfying, fun, vibrant musical in its Muny premiere, where it will make you feel ‘Home Again’ for another summer.

“Beautiful: The Carole King Musical” opens the 105th Muny season, with performances at 8:15 p.m. nightly June 12-18. For more information, visit www.muny.org.

Photos by Phillip Hamer

The Muny and Classic 107.3 Announce Partnership For Programming

The Muny and Classic 107.3 Announce Partnership For Programming

The Muny and the award-winning Classic 107.3 announced today a partnership for programming. The partnership will begin on Monday, June 12, 2023. Two separate shows are planned for 2023-2024.

First on the schedule, to coincide with The Muny’s 2023 Season, is “Muny Post-Show Conversations,” a half-hour program where listeners can learn the behind-the-scenes details and fun facts on how “Muny Magic” is created for each production. Immediately following each performance, audience members, St. Louisans, and listeners around the world can tune in to Classic 107.3 FM (or 96.3 HD-2) to join hosts Julie Schuster and Gavriel Savit for the inside scoop from actors, designers, creatives, and Muny team members about what it takes to put on The Muny’s epic shows.

Peel back the petals of Audrey II in Little Shop of Horrors to see what lies within. Follow the moves involved when two St. Louis cultural partners come together for a production of Chess. Reveal the secrets of the enchanting costumes in Disney’s Beauty and the Beast. Listeners will discover all this – and more – when they tune in to “Muny Post-Show Conversations” this season!

Along with interviews, “Muny Post-Show Conversations” will feature a segment called Rooted in St. Louis, where local contributors to the production are featured. Episodes will also highlight Muny Moments, where listeners can hear what it is like to be an usher, a member of guest services, a member of the administrative staff, a part of the concessions team, and more!

“We are thrilled to partner with this outstanding station, which promotes the arts in St. Louis so expertly. This adds another layer of experience for our guests as they leave each show,” said President and CEO of The Muny, Kwofe Coleman. He continued, “I am looking forward to tuning in on my ride home!”

“Classic 107.3’s focus is the incredible arts institutions in St. Louis, and summertime at The Muny is one of our region’s most treasured traditions,” said Julie Schuster, CEO and General Manager of Classic 107.3. “We can’t wait to bring some of that ‘Muny Magic’ to the airwaves for Muny audience members as well as our regular listeners!”

Tune in to Classic 107.3 FM (or 96.3 HD-2) each night immediately following the show for an entertaining half-hour, seven days a week during The Muny season. The episodes will also be featured on the Classic 107.3 website, classic1073.org.

Beginning in late August, the program will shift to a weekly hour-long program called “The Muny Hour.” This weekly show will become a roundtable for the arts, exploring hot topics in St. Louis and on Broadway and the state of the arts in St. Louis and beyond. It will also feature selections from notable cast recordings; discussions about actors, creatives, and significant productions; and what’s new in theatre. Details about “The Muny Hour” broadcast times will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Single tickets and gift cards to The Muny’s 105th Season are on sale now online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

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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 and welcome over 350,000 theatregoers each summer. Now celebrating 105 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

Classic 107.3, The Voice for the Arts in St. Louis, was created in 2013 by people who believe a vibrant arts and cultural scene is essential for our community to thrive, with a mission to enrich the cultural landscape of St. Louis through the programming and outreach efforts of a nonprofit classical music station.

For more information about The Muny, visit muny.org. For more information about Classic 107.3, visit classic1073.org.

Sara Sheperd Headlines Muny Cast of ‘Beautiful: The Carole King Musical’

Sara Sheperd Headlines Muny Cast of ‘Beautiful: The Carole King Musical’

The Muny has announced that Sara Sheperd, Jackie Burns, Jarrod Spector, Steven Good, Noah Weisberg and Sharon Hunter will star in the kickoff to The Muny’s 2023 season, Beautiful: The Carole King Musical, June 12-18, 2023. The inspiring true story is led by director Marcia Milgrom Dodge, choreographer Patricia Wilcox, associate choreographer Kelly Liz Bolick, with music direction by Charlie Alterman. Beautiful: The Carole King Musical is proudly sponsored by Emerson.

“Carole King’s music and story have been an inspiration to millions,” said Muny Artistic Director and Executive Producer Mike Isaacson, “this is a thrilling group of artists to bring her journey to powerful life on our stage. Sweet inspiration indeed.”

Sara Sheperd

SARA SHEPERD (Carole King) Muny: Legally Blonde (Vivienne Kensington), Les Misérables, The Pajama Game, Hello, Dolly!; Irving Berlin’s White Christmas, The Wizard of Oz. Broadway: Beautiful: The Carole King Musical (OBC), Paradise Square, Cry-Baby. National tour: Beautiful (Carole King), Legally Blonde (Kate/Chutney). Regional: Oliver! (Nancy, Human Race Theatre Company), Funny Girl (Fanny Brice, Drury Lane), Little Women (Jo March, Engeman Theater). Sara is so excited to be back at The Muny, where her professional career began, getting to play this iconic role.

JACKIE BURNS (Cynthia Weil) is Broadway’s longest running Elphaba in Wicked. She replaced Idina Menzel on the national tour of If/Then and was also a part of the original Broadway company. Other credits include the Tony Award-winning revival of Hair (OBC) and Rock of Ages (original off-Broadway company).

Selected regional theatre credits include Pittsburgh Civic Light Opera, Paper Mill Playhouse, Alley Theatre, Broadway Sacramento, Casa Mañana and George Street Playhouse. Film/TV: Set It Up, The Magnificent Meyersons, Power Book II: Ghost; The Great Wall of Warren. Jackie has sung all over the world with Grammy and Tony Award-winning composer Frank Wildhorn. She most recently completed a successful run as the title character in the new musical Cowboy Bob and the leading role in the new musical A Walk on the Moon.

Jarrod Spector

JARROD SPECTOR (Barry Mann) Broadway: Les Misérables (Gavroche), Jersey Boys (Frankie Valli), Beautiful: The Carole King Musical (Barry Mann, Tony nomination), The Cher Show (Sonny Bono). New York: Hamlet (Hamlet). National tours: Les Misérables, Jersey Boys. Regional: Piece of My Heart (Bert Berns, New York Stage and Film), Presto Change-O (Michael, Barrington Stage), Roman Holiday (Irving Radovich, Golden Gate Theatre), The Cher Show (Sonny Bono, Nederlander Theatre), Bruce (Steven Spielberg, Seattle Rep). TV/Streaming: Halston, Wormwood, A Killer Party, The Kate (in concert, playing himself, Regional Emmy nomination). Jarrod tours the country with his critically acclaimed solo concerts and duet performances with his wife, Kelli Barrett, and has released two solo albums.

STEVEN GOOD (Gerry Goffin) Broadway: Waitress (Dr. Pomatter), Escape to Margaritaville (Mr. Utley, u/s Tully). National tour: Waitress (Dr. Pomatter). Regional: Lend Me a Soprano (Leo, Alley Theatre, world premiere), Austen’s Pride (Mr. Darcy, 5th Avenue Theatre), Grey Gardens (Ahmanson), Prometheus Bound and Once (American Repertory Theater), Woyzeck (Santa Barbara Ensemble Theatre). Film/TV: Younger (Rob Davis), The Blacklist (NBC), A Neighbor’s Vendetta (Tubi), Nightmare Nurse (Lifetime), Notorious (ABC), Hart of Dixie (WB). Education: MFA (Acting) Harvard, Moscow Art Theatre, A.R.T.; BFA (Music Composition/Classical Voice) UC Santa Cruz.

NOAH WEISBERG (Don Kirshner) Muny: Bye Bye Birdie, Grease, Damn Yankees, Joseph…Dreamcoat, Meet Me In St. Louis. Broadway: Legally Blonde, South Pacific, Enron, Elf. National tour: Charlie and the Chocolate Factory (Willy Wonka). New York: Two Gentlemen of Verona (Shakespeare in the Park). Regional: Calvin Berger (Calvin, George Street Playhouse, Original Cast Recording), Diner (Delaware Theatre), Enter Laughing (Wallis Annenberg Center). TV: NBC’S Emmy-winning Zoey’s Extraordinary Playlist (Danny Michael Davis), Showtime’s Super Pumped (Quentin), Modern Family (Brett), Major Crimes, Law & Order, K.C. Undercover, Wisdom of the Crowd, The Good Wife, iCarly, Franklin & Bash, Team Umizoomi, Bad Teacher, Bones, The New Normal, JoJo’s Circus, Cashmere Mafia, Law & Order: CI; Kenny the Shark, Love Monkey, Indoor Boys, Snowy Day, Charlie’s Big Flight, Doonce. Film: Zoey’s Extraordinary Christmas. Weisberg wrote and directed the award-winning films Thank You Kindly and What’s Life Got to Do with It? Education: NYU. 

SHARON HUNTER (Genie Klein) is thrilled to be making her Muny debut! Off-Broadway: The House of Bernarda Alba (Gene Frankel Theatre), Bad Seed (Nicu’s Spoon Theater), The House of Blue Leaves (Gallery Players), The Picture of Dorian Gray (Robert Moss Theatre). Regional: Imaginary Theatre Company, Jake’s Women (Karen, Moonstone Theatre Company), Working (Waitress, Hot House Theatre), Falsettos (Trina) and Hello Muddah, Hello Faddah! (Sarah, New Jewish Theatre). Sharon has maintained an active cabaret career in both New York (Metropolitan Room, Don’t Tell Mama) and St. Louis (The Monocle). Sharon is the Producing Artistic Director and Founder of Moonstone Theatre Company in St. Louis, where she directed critically acclaimed productions of Proof, Barefoot in the Park and Grand Horizons. She just directed Gloria: A Life at New Jewish, and last season’s highly successful Dear Jack, Dear Louise. Later this summer she will star in Moonstone’s production of The Sound Inside.

Carole King and Gerry Goffin

About the show:

An inspiring true story of a music legend, Beautiful: The Carole King Musical takes you on an unforgettable journey of a remarkable career. A tapestry of creativity and innovation, Carole King paved the way for female artists for generations to come. The musical’s Grammy Award-winning album features over two dozen pop classics including “It’s Too Late,” “You’ve Got a Friend” and “I Feel the Earth Move.”

The Telsey Office is the official casting partner for The Muny. Full casting will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny has announced that Bryonha Marie, Mamie Parris, James T. Lane, Alan H. Green, Thom Sesma, Meredith Aleigha Wells, Madeleine Doherty, Katy Geraghty, Brandon Espinoza, F. Michael Haynie and Darron Hayes will star in the divine musical comedy Sister Act, August 14 – 20, 2023. The grand finale to The Muny’s 2023 Season will be directed and choreographed by Denis Jones, with associate choreographer Barry Busby and music direction by Sheilah V. Walker. Walker will also conduct.

“To head directly to the obvious, this cast is heaven,” said Muny Artistic Director and Executive Producer.  “We are so inspired that so many great talents will be creating our “Sister Act.”   Our prayers have indeed been answered.”

Bryonha Marie

BRYONHA MARIE (Deloris Van Cartier) Muny: The Sound of Music (Mother Abbess) and A Little Sondheim Music (Powell Hall). Broadway: Prince of Broadway, The Book of Mormon, After Midnight, The Gershwin’s Porgy and Bess, Ragtime. Off-Broadway/NY: Promenade (NY City Center Encores!), Candide (Carnegie Hall), NY Philharmonic’s Show Boat and Sweeney Todd (Beggar Woman), Ragtime (Lincoln Center). Tour: Falsettos. World premiere: Dave (Arena Stage, 2019 Helen Hayes nominee), Prince of Broadway (Tokyo Orb). A 2022 Jeff nominee for her performance in Life After, Bryonha has appeared regionally, most recently as Mrs. Lovett in the Signature Theatre production of Sweeney Todd, directed by Sarna Lapine, The Gershwin’s Porgy and Bess (ART), Ragtime (Kennedy Center), The Civil War (NETworks), Hair (Broadway Sacramento), Dreamgirls (Effie White, North Shore), Little Shop of Horrors (Berkshire Theatre Group) and many more. TV: The SpongeBob Musical: Live on Stage!; Madam Secretary, Show Boat and Sweeney Todd (Live from Lincoln Center).

MAMIE PARRIS (Mother Superior) Muny: Paint Your Wagon (Cayla Woodling), Hello, Dolly! (Irene Molloy) and Joseph… Dreamcoat (Narrator). On Broadway, Mamie is perhaps best known for her iconic rendition of Memory from the recent revival of Cats. Other Broadway: School of Rock, Ragtime, The Drowsy Chaperone, On The 20th Century and 110 in the Shade. Off-Broadway: Anything Can Happen in The Theater (plus cast album), Pump Boys and Dinettes (Prudie). Tours: Wicked (Elphaba), 9 to 5 (Judy), Legally Blonde. Regional: Paper Mill Playhouse, Arena Stage, The Old Globe, Goodspeed, Pittsburgh CLO and more. Film/TV: A Standup Guy, State of Affairs, The Blacklist and The PBS Great Performances 50th Anniversary special. Audiobook narrator and lauded symphony soloist.

JAMES T. LANE (Eddie Souther) is from Philadelphia. Muny: Chicago (Billy Flynn), Disney’s The Little Mermaid (Sebastian). West End: The Scottsboro Boys, A Chorus Line. Broadway: Chicago (Billy Flynn), Kiss Me, Kate (Paul), King Kong, The Scottsboro Boys (Ozie Powell/Ruby Bates), A Chorus Line (Richie Walters). National tours: Ain’t Too Proud – The Life and Times of The Temptations (Paul Williams), Jersey Boys. Regional: Guys and Dolls (Nicely-Nicely Johnson), Mary Poppins (Bert), The Wiz (Tin Man) and more. Lane also created and performed in Triple Threat, a “play that moves and sings.”

Alan H. Green

ALAN H. GREEN (Curtis Jackson) Broadway: Charlie and the Chocolate Factory, School of Rock, Sister Act and Play On! Original Cast Albums include his Broadway shows as well as Broadway Bounty Hunter, Freaky Friday and Carols for a Cure. First national tours: 25th Annual Putnam County Spelling Bee, Swing!; Smokey Joe’s Cafe. International: Miss Saigon (sung in German). Recent Regional: The Griswold’s Broadway Vacation (5th Avenue Theatre), The Karate Kid (Stages St. Louis), A.D. 16 (Olney Theatre). TV: Almost Family, Unforgettable, Murphy Brown, 30 Rock, Peter Pan Live!; Law & Order: SVU; Guiding Light and lots of national commercials. Awards: Outstanding Lead Actor in a Musical (Berkie), Best Performer in a Streamed Musical (BroadwayWorld). BA in Vocal Performance from Rice University. Board Member and Associate Artist at Barrington Stage Company.

THOM SESMA (Monsignor O’Hara) made his Muny debut in 2013 as Jafar in Disney’s Aladdin. He has numerous credits at Repertory Theatre of St. Louis, where he appeared in Sweeney Todd, A Little Night Music, Dinner with Friends and where he directed Life (x) 3. Elsewhere, he was most recently seen in Oliver! (New York City Center Encores!), followed by the world premiere production of Madeline Myers’ Double Helix (Bay Street Theatre, Sag Harbor, NY). Other recent New York credits include A Man of No Importance (Classic Stage Company), Letters of Suresh (Second Stage, Lortel Award nomination), Unknown Soldier (Playwrights Horizons) and Ghosts (Williamstown/Seattle Rep). Broadway/National tour credits include: The Times They Are A-Changin’; Disney’s The Lion King, Titanic, Miss Saigon, Man of La Mancha, Search and Destroy, Nick & Nora. Select TV credits: Instinct, The Good Wife, Madam Secretary, Gotham, Jessica Jones.

MEREDITH ALEIGHA WELLS (Sister Mary Robert) made their national tour debut in Dr. Seuss’ How the Grinch Stole Christmas!, marking the first performance in a Broadway national tour by a wheelchair user. They have also toured their original one-person musical Dysfunctioning Just Fine (Purple Skies Playwright Award) across the northeast. Off-Broadway: Various readings with New York Theatre Workshop. Regional: Teenage Dick (Buck, Seattle Rep), Disney’s The Little Mermaid (Atina, Music Theater Works), Blue Roses (Laura Wingfield, Rec Room Arts), Shrek (Ugly Duckling, Beck Center) and Cleveland Public Theatre. Other appearances include Dance St. Louis, CounterBalance, OhioDance Festival, Boston’s Symphony Hall, Playhouse Square, Ailey Citigroup Theater, The Macy’s Thanksgiving Day Parade, and the Luminous Festival in Beijing, China. In 2020, Meredith started their newsletter, Message in a Bottle, where they continue to spread chronic illness awareness and help others through sharing their experience as a queer disabled performer.

MADELEINE DOHERTY (Sister Mary Lazarus) Broadway: Les Misérables (Ensemble, u/s Madame Thenardier, dance captain), A Christmas Carol (Char Woman, original cast), The Producers (Hold Me Touch Me, original cast), Sister Act (Sister Mary Teresa, original cast), Gigi (u/s Mamita/Alicia, original cast/revival), Charlie and The Chocolate Factory (Grandma Georgina, original cast). Off-Broadway: Romance, Romance (original cast), A Time for Singing (York Theatre). Six national tours, over 50 regional theatres, one son, one grandson, four step-kids, five step-grandkids, one dog and three unions.

Katy Geraghty

KATY GERAGHTY (Sister Mary Patrick) was most recently seen as Little Red in Into the Woods on Broadway as well as the national tour. Other Broadway credits include the original cast of Groundhog Day, as well as the pre-Broadway run of & Juliet in Toronto. Select Regional: Hairspray (Tracy Turnblad), Bliss (Princess Carmella, world premiere, 5th Avenue), Shrek (Gingy). TV: Modern Love and Sing It On.

BRANDON ESPINOZA (Pablo) Muny: Grease (Danny Zuko, Director/Choreographer: Denis Jones). Broadway: SpongeBob SquarePants, Tuck Everlasting, Gypsy, Big, Les Misérables, The Will Rogers Follies. Off-Broadway: The Visitor (Public Theater), Substitution (Playwrights Realm), Scarcity (Atlantic Theater Company), Tea and Sympathy (Keen Company), Captains Courageous (Manhattan Theater Club; Drama League honoree/nominee). Regional: The Rembrandt (TheaterWorks Hartford), Anna in the Tropics (Director/Playwright: Nilo Cruz, Miami New Drama, 20th anniversary production), On Your Feet! (Paper Mill Playhouse), The Way of the World (Director/Playwright: Theresa Rebeck; Folger Theatre), A View from the Bridge (Director: Ivo van Hove; Goodman Theatre). Current TV: Power Book III: Raising Kanan (Detective Garcia, Starz). Other TV: The Blacklist (NBC), Law & Order: Organized Crime (NBC), The Equalizer (CBS), FBI (CBS), The Leftovers (HBO), The Following (Fox), The Mysteries of Laura (NBC), The Carrie Diaries (CW).

F. MICHAEL HAYNIE (Joey) most recently starred as Olaf in the North American Tour of Frozen. Broadway: Wicked, Charlie and the Chocolate Factory, Holler If Ya Hear Me. Off-Broadway: Carrie (MCC), Dogfight (Second Stage) and others. Regional: Quasimodo in The Hunchback of Notre Dame (Ogunquit), Found (PTC) and more. TV/Film: Jesus Christ Superstar Live in Concert (NBC), Peter Pan LIVE! (NBC), Not Fade Away (Paramount).

DARRON HAYES (TJ) Muny: Joseph and the Amazing Technicolor Dreamcoat. He recently returned home to the states after playing Pharus in the Australian Premiere of Choir Boy. Australian Theatre: The National Theatre of Parramatta. Off-Broadway/New York: The Gospel According to Heather, Notes from Now, Love Around the Block. Regional: Asolo Repertory Theatre, Music Theatre Wichita, Two River Theater, New London Barn Playhouse, and JAG Productions where he premiered in the first ever all-Black Production of Next to Normal. University of North Carolina School of the Arts 2017. Penn State Musical Theatre 2021.

About the show:

Based on the smash hit film, Sister Act is a heavenly musical comedy that proves nothing can stand in the way of sisterhood! Disco diva Deloris dreams of fame and fortune, but is she prepared for the way she receives it? Songs inspired by Motown, soul and disco, including “Take Me to Heaven,” “Fabulous, Baby!” and “Raise Your Voice,” this score is sure to raise your spirits. The grand finale to the Muny season promises to be divine!

Music by Alan Menken, Lyrics by Glenn Slater, Book by Cheri Steinkellner & Bill Steinkellner, Additional Book Material by Douglas Carter Beane. Based on the Touchstone Pictures Motion Picture, Sister Act, written by Joseph Howard.

The Telsey Office is the official casting partner for The Muny. Full casting and design team will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

The Muny Announces Starring Cast of ‘Disney’s Beauty and the Beast’

The Muny Announces Starring Cast of ‘Disney’s Beauty and the Beast’

The Muny announced April 27 that Ashley Blanchet, Ben Crawford, Claybourne Elder, Ann Harada, Kelvin Moon Loh, Eric Jordan Young, Holly Ann Butler, Tommy Bracco, Harrison White, Debby Lennon and Michael Hobin will star in the magical production of Disney’s Beauty and the Beast, June 22 – 30, 2023.

A Muny family favorite, guests will be dazzled with spectacular sets and costumes from the creative team, led by director John Tartaglia, with choreography by Patrick O’Neill and music direction by Ben Whiteley. Disney’s Beauty and the Beast is proudly sponsored by Ameren.

“What a thrilling, joyous cast, one sure to create true enchantment,” said Muny Artistic Director and Executive Producer Mike Isaacson. “We all can’t wait to delight thousands of Muny lovers each night with the beloved Disney classic. Be Our Guest, indeed!”

Ashley Blanchett

ASHLEY BLANCHET (Belle) Broadway: Waitress (Dawn), Frozen (u/s Elsa), Beautiful (Little Eva), Annie (Star To Be), Memphis. Recent select regional productions include The Sound of Music (Maria, Paper Mill Playhouse) and Oklahoma! (Ado Annie, Pittsburgh Civic Light Opera). 

This spring, she was Miss New Hampshire in the world premiere of the new musical The Bedwetter, written by Josh Harmon, Adam Schlesinger and Sarah Silverman. Film/TV: The Equalizer, The Good Fight, Better Nate Than Ever (Disney+) and the voice of Raquelle in the award-winning animated short film Are You Okay? Proud alumna of University of Michigan and The Walnut Hill School in Natick, MA.

BEN CRAWFORD (Beast) Muny: Footloose (Chuck), Titanic (Frederick Barrett), Oliver! (Bill Sikes). Broadway: The Phantom of the Opera (Phantom, 35th Anniversary), Charlie and The Chocolate Factory (Mr. Salt), On the Twelfth Century, Big Fish (Don Price, u/s Edward), Shrek (Shrek) and Les Misérables (u/s Jean Valjean, Javert). Off-Broadway: Irma la Douce (Persil-Le-Noir/Mec) and Merrily We Roll Along (Terry) for Encores!; Jasper in Deadland (Prospect Theatre).

National tour: Guys and Dolls (Sky Masterson). Regional: Evita (Che, Studio Tennessee), 110 in the Shade (Starbuck, Ford’s Theatre), Big Fish (Don Price, u/s Edward, Oriental Theatre), South Pacific (Luther Billis, Ogunquit Playhouse), Next to Normal (Madden, Pioneer Theatre), Assassins (John Wilkes Booth, Arizona Theatre Company), Shrek the Musical (Shrek Standby, Seattle 5th Avenue Theatre), Oklahoma! (Jud Fry, Atlanta Theater of the Stars) and A New Brain (Gordan Schwinn, Arizona Onstage Productions). Concerts: Carousel (Billy Bigelow) with Rochester Philharmonic, and Hello, Dolly! (Cornelius) and Yuletide for Indianapolis Symphony.

Claybourne Elder

CLAYBOURNE ELDER (Gaston) was most recently seen on Broadway as Andy in the Tony Award-winning revival of Company with Patti LuPone. He is a Drama Desk and Lucille Lortel Award nominee, known for his Broadway performances in Bonnie and Clyde, Sunday in the Park with George and Torch Song. He also appeared in Sondheim on Sondheim at the Hollywood Bowl, Road Show at the Public Theater, Do I Hear A Waltz? at NY City Center Encores!; Allegro at Classic Stage and Venice at the Public Theater. Other roles include George in Sunday in the Park with George, Giorgio in Passion, Tony in West Side Story, Joe in Angels in America, Curly in Oklahoma!; and Wolf/Cinderella’s Prince in Into the Woods. TV/Film credits include John Adams on The Gilded Age, The Carrie Diaries, FBI, Bad Cupid and the video game Grand Theft Auto V.

ANN HARADA (Mrs. Potts) has appeared at The Muny in High School Musical, 42nd Street, Mamma Mia!; Gypsy and Matilda. She is best known for playing Christmas Eve in Avenue Q on Broadway and London’s West End. Other Broadway: Into the Woods, Rodgers & Hammerstein’s Cinderella, Les Misérables, 9 to 5, Seussical, M. Butterfly. Recent off-Broadway: Dear World, Fairycakes, Emojiland, I Married an Angel, Pacific Overtures, Brooklynite. TV: Schmigadoon!; Smash, Blue Bloods, The Jim Large.

Kelvin Moon Loh

KELVIN MOON LOH (Lumiere) Muny Debut! Broadway: Beetlejuice The Musical (Otho), SpongeBob SquarePants, The King and I (Lincoln Center 2014), Side Show (2013 Revival). Select Theatre: Here Lies Love (Public Theater), Pacific Overtures (Classic Stage Co.), American Idiot (first national tour). Regional: Utah Shakespeare Festival, Pioneer Theatre Company, Houston TUTS, Arvada Center for the Performing Arts, La Jolla Playhouse, The Kennedy Center, Gateway Playhouse, North Shore Music Theatre, Kansas City Starlight, National Asian Artists Project. TV: Only Murders in the Building. Kelvin can be heard as a vocalist in the movies Spirited; Lyle, Lyle, Crocodile; and The Greatest Showman. He appears as Perch Perkins in the movie version of SpongeBob SquarePants The Musical. NYU Steinhardt.

ERIC JORDAN YOUNG (Cogsworth) Muny: Joseph and the Amazing Technicolor Dreamcoat (2022). Broadway: Ragtime (1998), Ragtime (2009), The Look of Love, Chicago and Seussical. Select off-Broadway and regional credits include Neighbors, Dessa Rose, Little Fish, Side Show (Helen Hayes Award), Ragtime, Jesus Christ Superstar, Sammy & Me. National tours: Chicago, Ragtime, Dreamgirls. Las Vegas: Cocktail Cabaret, Rock of Ages, Vegas! The Show; Shakin’; Chicago, Starlight Express.

Holly Ann Butler

HOLLY ANN BUTLER (Babette) Muny: Holiday Inn (Lila Dixon), Annie (Lily St. Regis), A Chorus Line (Sheila). Broadway/off-Broadway: Diana (Sarah Spencer), Come From Away, On the Town, How to Succeed In Business Without Really Trying, Grease, Happiness, Anyone Can Whistle. Tours: Evita, Shrek, Jersey Boys. Regional: The Royal Family of Broadway (Barrington, world premiere), The Honeymooners (Paper Mill Playhouse), Thoroughly Modern Millie (Drury Lane, Jeff Award nomination). Film/TV: Diana the Musical, A Holiday Spectacular, Spirited, SeaQuest 2032, Figure It Out.

TOMMY BRACCO (Lefou) Broadway: Disney’s Newsies (Spot Conlon, OBC), Pretty Woman: The Musical (Giulio, OBC) and A Chorus Line (Mike Costa, NY City Center Encores!). In addition to theatre, Tommy has a love for reality TV and competed on CBS’ Big Brother and MTV’s The Challenge.

HARRISON WHITE (Maurice) makes his Muny debut in Disney’s Beauty and the Beast. Broadway: The Lion King and Sarafina! West End: Smokey Joe’s Cafe. Off-Broadway: A Good Swift Kick and Romance in Hard Times at the Public Theater. Other credits include Dreamgirls, Seussical, Jesus Christ Superstar, The Full Monty, Gulls, Miss Saigon, It’s A Wonderful Life; Purlie, Ain’t Misbehavin’; Five Guys Named Moe, Once on This Island, as well as world premieres of Ray Charles Live and Sister Act. TV: The Villains of Valley View, The Underground Railroad, Kenan, Danger Force, The Kominsky Method, Fresh Off the Boat, How To Get Away With Murder, This Is Us, 9-1-1, Modern Family and many more. Film: Mermaid, I Got the Hookup 1 and 2, The Way You Look Tonight, Waiting in the Wings 1 and 2, Opening Night, The Muppets, Se7en. Proud member of AEA since 1988.

DEBBY LENNON (Madame de la Grande Bouche) is thrilled to be a part of The Muny’s 105th Season. Muny credits: Chicago (Standby Matron Mama Morton/Mary Sunshine), Mary Poppins (Miss Andrew), Sweeney Todd, The Sound of Music, Singin’ in the Rain (Dora Bailey), Oliver!; Cinderella on Ice, South Pacific, Annie, Fiddler on The Roof and Show Boat. St. Louis Theater Circle Awards for Grey Gardens (Edith/Little Edie, Best Actress in a Musical) and Souvenir: A Fantasia on the Life of Florence Foster Jenkins (Best Actress in a Comedy). She looks forward to playing the role of Mother in Union Avenue Opera’s upcoming production of Ragtime. Debby celebrates 23 years as director of The Webster University Jazz Singers and is an adjunct professor of voice at Webster University in St. Louis, MO.

MICHAEL HOBIN (Chip) is honored to make his debut this summer at The Muny as a member of the principal cast in Beauty and the Beast. His favorite and recent roles include Ralphie (A Christmas Story), Bruce (Matilda), Young Luke (The Lightning Thief: The Percy Jackson Musical), Jeter (Footloose) and Olaf (Frozen Jr.). He has performed with Gateway Center for Performing Arts, Shooting Star Productions, Stages Performing Arts Academy and Kirkwood Youth Theatre. Michael is a member of the Muny Kids Touring Troupe. He studies voice with Dr. Philip Woodmore and dance training at Gateway Center for Performing Arts.

About the show:

Be our guest and bring the entire family for an enchanting night under the stars! Disney’s Beauty and the Beast reminds us to look for the beauty within. With a dose of Muny Magic, this production will bring all your favorite fanciful characters to life, with spectacular sets and costumes. Join Belle, the Beast, Mrs. Potts, Cogsworth, Lumiere and all the spellbound characters of the fabled castle in a summer celebration for any age!

Music by Alan Menken, Lyrics by Howard Ashman & Tim Rice and Book by Linda Woolverton.

The Telsey Office is the official casting partner for The Muny. Full casting and design team will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.