Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

By Lynn Venhaus

A glorious, glamorous, and grand gem of a good-time show, “Anything Goes” celebrates everything I love about musical theater – big splashy dance numbers, sophisticated songs, light-hearted comedy and dreamy romance.

And it’s everything Muny audiences have become fond of over the years, reminding us why this 106-year-old institution is a source of civic pride and family tradition in St. Louis.

With inspired choreography by Jared Grimes, sharp-witted direction by Marcia Milgrom Dodge, sumptuous musical direction by Ben Whiteley, and many shining standouts in a beguiling cast, its charms are limitless.

While Cole Porter’s beloved breezy romp has been a crowd-pleasing show five times before, since its local 1940 debut, this fresh interpretation is a spectacular introduction – or re-introduction – to one of the all-time greats of the American theatre.

It’s been 25 years since it was here. “You’re the Top,” “Friendship” and “I Get a Kick Out of You” remind us of Porter’s legendary wit and cultural impact. And that showstopping title song that closes out Act One? That’s the pinnacle every creator strives for, and Muny magic made Grimes’ vision happen with lots of happy feet and sweat equity. Kudos to sound designers John Shivers and David Patridge for the rat-a-tats and more.

From left, George Abud, Kimberly Immanuel, Jay Armstrong Johnson, Lara Teeter and Ann Harada. Photo by Phillip Hamer.

Simply put, the laugh-out-loud experience made people happy – smiles abounded, and a spring was in our step as we exited for the last time this summer of 2024. Talk about a jovial way to chase the blues away!

Not only did the weather provide a beautiful night for the season’s frisky finale, but even the super blue moon cooperated with a special moonglow. It was if we were all aboard the S.S. American, a luxury ocean liner bound for London, forgetting our troubles and being whisked away to a time of technicolor Hollywood musicals filmed on an MGM lot.

The escapist setting – as reinforced through stunning hues of azure, blue, aqua and turquoise – is 1934, post-Great Depression and post-Prohibition. It is also a period where headline-hogging criminals were treated as celebrities (Public Enemies!), and evangelists were also media darlings. Hence, some barbed social satire zingers.

The creative team’s impeccable attention to detail might be the most impressive takeaway of the evening. Each artisan’s handiwork is indelibly noted in the clever construction on every crevice of that expansive stage.

Adrianna Hicks and the company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

This classic’s vitality was showcased in everything from Rob Denton’s resplendent lighting design — a thunder-and-lightning storm! — to Tristan Raines’ luxe costume design, with innovative video designer Kylee Loera’s exquisite art deco nods meshing splendidly with award-winning Edward E. Haynes Jr.’s transporting scenic design.

An extraordinary ensemble broadly delivered high-seas hijinks with the zesty cheekiness of the Marx Brothers and the grace of Fred Astaire and Ginger Rogers, balancing lush vocals with peppy dance routines and snappy repartee. Grimes’ steps seemed to have an extra flair added to the choreography, which was striking in execution. Another special nod to production stage manager Kelsey Tippins for the show’s zippy flow.

The performers couldn’t be more endearing — as if you’re watching a marathon on Turner Classic Movies, only it exhilarates like only live theater can produce.

Credit is overdue for the casting choices by associate artistic director Michael Baxter, who worked closely with the Telsey office (Jimmy Larkin and Alex Cortinas), and artistic director and executive producer Mike Isaacson, because these are noteworthy smart decisions, everyone well-suited for the roles from chorus to principals.

The refurbished book by Timothy Crouse and John Weidman keeps the wacky framework first established by P.G. Wodehouse and Guy Bolton in 1934 and revised by Howard Lindsay and Russel Crouse in 1962 but erases problematic cultural stereotypes without missing a beat.

Jay Armstrong Johnson and Kimberly Immanuel in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Timothy Crouse, an American journalist and writer, wrote the new book that was used in the acclaimed 1987 (Patti LuPone) and 2011 (Sutton Foster) revivals that both won Tony Awards. The Muny is using his 1987 Lincoln Center version. He is the son of playwright Russel Crouse.

Dodge, who imbued a vintage vibe like mashing up “A Night at the Opera,’ “Duck Soup” and “The Court Jester,” leaned into the comic chaos of mistaken identities and pesky entanglements. The performers obliged with quick-witted quips, silly slapstick and actual belly laughs. (Hilarity ensued with Moonface Martin and a missing dog “Cheeky” – you just must see it.)

Newcomer Kevin Chamberlin’s Moonface impressed mightily as his considerable comic gifts became apparent. A three-time Tony nominee, he has a long list of film and television credits, including as the butler Bertram on the Disney Channel’s sitcom “Jessie.”

He was a terrific scene partner for Adrianna Hicks, who sparkled as gun moll Erma. Making a vivacious debut, she was exuberant in her solo “Buddie, Beware.” Hicks played Sugar in “Some Like It Hot” and Aragon” in “Six” on Broadway.

Kimberly Immanuel personified sweet and conflicted Hope Harcourt, a debutante who has fallen for Billy Crocker, who is trying to be respectable working on Wall Street but is something of a rake. She’s an elegant dancer and polished in delivering ballads.

Jeanna de Waal and George Abud in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Immanuel paired beautifully with romantic hero Jay Armstrong Johnson, who has vividly brought to life iconic roles at the Muny like Jack Kelly in 2017’s “Newsies,” Barnaby Tucker in 2014’s “Hello, Dolly!” and Billy Lawlor in 2016’s “42nd Street.”

His accomplished dancing, singing and acting skills illustrated Billy Crocker’s personality well, not unlike what you expect in Gene Kelly.

Their “Easy to Love” and “All Through the Night” were wistful and touching, while “It’s De-Lovely” showed off a merry side.

While the talent has multiple triple threats, perhaps the performer making the most of his stage time was a delightful George Abud as Sir Evelyn Oakleigh, a stuffed shirt royal who quickly warms up to American customs. His befuddled but gallant Oakleigh is reminiscent of both Danny Kaye and British comic actor Terry Thomas.

Anchoring this crisp and snappy group was Jeanna de Waal as the saucy and cosmopolitan nightclub singer-evangelist Reno Sweeney. She could belt, she could swagger, she could wisecrack – and she could spellbind with dazzling tap-dancing moves.

Last seen in the title role of “Mary Poppins” here in 2022, she revealed new strengths. And looked mighty fine in designer Kelley Jordan’s stylish blonde wig and Raines’ glittery garb. She looked and moved like Carole Lombard.

Fan favorites Lara Teeter wildly exaggerated inebriated Ivy League businessman Elisha J. Whitney and Ann Harada was swift in feigning outrage and nimble physicality as the social climbing socialite Mrs. Evangeline Harcourt.

Eric Jordan Young in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Eric Jordan Young, a dandy Cogsworth in last summer’s “Disney’s Beauty and the Beast,” was the ship’s captain, recalling Gavin MacLeod’s Captain Stubing on “The Love Boat.”

Kristen Grace Brown, Candace Hatakeyama, Bethany Ann Tesarck and Danielle Jackman strutted superbly as Reno’s Angels – Purity, Chastity, Charity and Virtue, as did Carina-Kay Louchiey as trumpet blower Gabriel.

As the lively scallywags Spit and Dippy, Spencer Jones and Joe Capstick were a memorable addition.

Portraying sailors and other roles were C.K. Edwards, Michael Harp, Colin Bradbury, John Manzari, Cole Newburg, Lamont Brown, Alaman Diadhiou, Ryan Lambert, and Alex Hayden Miller. Lauralyn McLelland was tasked with playing “Woman in Bathchair.”

“Anything Goes” is both the icing and the cherry on top of an outstanding Muny season that’s been marked by an overwhelming sense of joy and community in every musical this 106th season.

As everyone bid adieu in a bittersweet farewell, a rousing curtain call summed up what’s singular about the Muny: it’s a communal feeling that can’t be duplicated and only happens under the stars, right here in St. Louis.

Kevin Chamberlin (left) and Colin Bradbury in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

The Muny presents Cole Porter’s “Anything Goes” Aug. 19 – 25 at 8:15 p.m. nightly on the outdoor stage at Forest Park. For more information: muny.org.

The company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Re-imagined ‘Camelot’ is Bold, Innovative, Adventurous at The Muny

Re-imagined ‘Camelot’ is Bold, Innovative, Adventurous at The Muny

By Lynn Venhaus

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.

Photos by Phillip Hamer

Crowd-pleasing ‘The Sound of Music’ Delivers Comfort and Joy at Muny

Crowd-pleasing ‘The Sound of Music’ Delivers Comfort and Joy at Muny

By Lynn Venhaus

This much I know is true: “The Sound of Music,” created during the golden age of musicals — (and the reason it’s referred to as a golden period is crystal clear), is such a crowd-pleaser that it will never fall out of favor.

The Muny’s latest creation of the evergreen 1959 Rodgers and Hammerstein classic drew 7,847 on opening night, and you could feel the joy in the air. With the arrival of Alpine weather in St. Louis, it was also a pleasurable experience outdoors.

By the time Bryonha Marie Parham, as Mother Abbess, finished her powerful and poignant rendition of “Climb Ev’ry Mountain,” which closed the first act, the crowd leapt to its feet with thunderous applause. At curtain call, a hearty standing ovation began early and when Kate Rockwell, radiant as the sunny Maria Rainer, took her bow, the cheers were deafening.

The tension-filled book by Howard Lindsay and Russel Crouse, based on the real-life story of widowed Captain von Trapp of the Austrian Navy, his budding romance with governess Maria, who cares for and tutors his seven children, and how they flee after the Third Reich takeover of their country in 1938, provides dramatic and emotional depth.

Through this last collaboration of influential composers Oscar Hammerstein II and Richard Rodgers, they’ve integrated some of their best songs — The Sound of Music boasts their most popular hits – to guarantee widespread appeal. Then, add the iconic Oscar-winning 1965 film, which cemented its place in pop culture history.

This is the 11th time in 57 years that the Muny favorite has been presented in Forest Park, and the first since 2010. The experienced creative team has honored the beloved musical by not varying from a traditional approach – why mess with a time-honored story or the lush score?  and the lush score but keeping it fresh with rising talent and new outlooks.

Freshened up with rising talent and new outlooks, Director Matt Kunkel has capably emphasized the show’s major arcs of love, faith and courage.

Music Director Ben Whiteley smoothly conducts the velvety string-laden score, reminding everyone why we know all the words and music to “Do-Re-Mi,” “My Favorite Things,” “Edelweiss” and the title song.

Elizabeth Teeter and Andrew Alstat. Photo by Phillip Hamer.

With many exceptional voices, the ensemble comfortably handles some of the most enduring standards in the American theater.

While some casts are more dynamic than others in Muny productions, striking a delicate balance in tone with nuns and Nazis, the women lead the way here.

And not just on stage, but behind-the-scenes. For the first time in Muny history, Shelby Loera is the lead lighting designer on a show. In 103 seasons. Bravo for breaking that ceiling!

Caite Hevner took charge of the video design and Beth Crandall choreographed the sophisticated party dances and the peppy kids’ numbers. Paige Hathaway was the scenic designer, using the new trees as a backdrop.

Costumes were designed by Tristan Raines, a familiar fashionista at the Muny, and the wedding scene finery was a standout.

As usual, the von Trapp children steal the show. You expect the actors playing Liesl (Elizabeth Teeter), Friedrich (Victor de Paula Rocha), Louisa (Amelie Lock), Kurt (Parker Dzuba), Brigitta (Jillian Depke), Marta (Abby Hogan) and Gretl (Kate Scarlett Kappel) to be endearing, but these kids are not only supremely talented but project professionalism on stage.

And they harmonize beautifully – especially their fun “The Lonely Goatherd” number during a frightening thunderstorm and the always special “So Long, Farewell.”

As the eldest girl, Teeter, daughter of local theater legend Lara Teeter, demonstrated that she is a poised and polished performer wise in years.

She has appeared on Broadway with Helen Mirren in “The Audience” and as Jane Banks in “Mary Poppins,” not to mention cute-friendly roles at the Muny, including Flounder in “The Little Mermaid” and Gretl in the 2010 “The Sound of Music.”

An accomplished dramatic actress, she can be seen as fragile Laura in “The Glass Menagerie” at the Tennessee Williams Festival in St. Louis Aug. 19-29.

With their clear confident voices, Teeter and Andrew Alstat, as Rolf, deliver a strong “Sixteen Going on Seventeen.” Unfortunately, she is saddled with an unrealistic-looking brown wig, an odd choice, which overwhelms her face.

Kate Rockwell, von Trapp children, Michael Hayden. Photo by Phillip Hamer.

Another distraction is that Michael Hayden does not fit the Captain von Trapp role as we’ve become accustomed to over the years –typically imposing and dashing. A Tony nominee for “Judgment at Nuremberg,” who also has Shakespeare credits, Hayden obviously is a noteworthy performer, but something was “off,” and he certainly didn’t click with Rockwell like Georg and Maria should. (I wondered if he was ill? There is usually an underlying reason.). He seemed tentative in spots and wasn’t comfortable with the guitar on “Edelweiss.”

In addition, his suits appeared ill-fitting and the coat of his dress uniform he wore at the wedding was way too long. This is a rare misfire from the Muny costume shop, normally known for their crisp tailoring.

He’s not the worst Captain von Trapp I’ve seen. That distinction goes to the wooden and unprepared George Peppard, yeah the guy in “Breakfast at Tiffany’s,” in 1982. However, I have heard that “Dallas” star Ken Kercheval tops that list in a 1993 version, where he had to use the book.

Costumes were designed by Tristan Raines, a familiar fashionista at the Muny, and the wedding scene finery was a standout.

Two bright spots are fan favorites Jenny Powers and John Scherer. The elegant and statuesque Powers glides across the stage as Elsa Schraeder, also known as the Baroness, and has a lovely duet, “How Can Love Survive?” with Scherer as Max, the cynical impresario.

The pair are an effortless match. Powers has been one of the Muny’s most durable leading ladies – as “Mary Poppins,” Morticia in “The Addams Family,” Abigail Adams in “1776,” Tanya in “Mamma Mia!” and Guinevere in “Camelot,” to name a few.

Scherer, known for his impeccable comic timing, has been in “Kinky Boots,” “Young Frankenstein,” “Spamalot” and “The Addams Family.”

Fine supporting work is carried out by David Hess as the dutiful butler Franz and St. Louis actors Michael James Reed as the imperious and threatening SS officer Herr Zeller, Leah Berry as skeptical head of the postulants Sister Margaretta, April Strelinger as stern housekeeper Frau Schmidt, and versatile Jerry Vogel doing triple duty as the officiating priest at the wedding, Baron Elberfeld and Admiral von Schreiber.

But the show belongs to the delightful Rockwell, so memorable in “Tarzan” and “Beauty and the Beast” during the past decade. She’s a bona fide star, pitch perfect as the spunky and big-hearted Maria. It’s a graceful and winning performance that easily captured the audience’s heart.

Whether it’s a fond childhood memory or a family favorite passed down through generations, “The Sound of Music” pleased the theatergoers ready to be enchanted.

Its inspiration was intact, too – go climb those mountains!

Photo by Phillip Hamer

“The Sound of Music” runs Aug. 3-9 at the Muny outdoor stage in Forest Park. Tickets can be purchased in person at the box office, online at muny.org or by calling 314-361-1900, ex. 1550.

The remaining shows of the 2021 season are Seven Brides for Seven Brothers (Aug. 12 – 18), On Your Feet! (Aug. 21 – 27) and Chicago (Aug. 30 – Sept. 5). Emerson is the season sponsor. For more information, visit muny.org. 

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.  

Jenny Powers and John Scherer. Photo by Phillip Hamer

Jaunty and Joyous ‘Guys and Dolls’ Opens Revitalized Muny’s 101st Season

Jaunty and Joyous ‘Guys and Dolls’ Opens Revitalized Muny’s 101st Season

By Lynn Venhaus
Managing Editor
Broadway’s glorious past merges with The Muny’s dazzling state-of-the-art
present in “Guys and Dolls” for a sensational start to the second century that
bodes well for the future.
What an ideal show to show off the new stage and other upgrades made possible
through the Muny’s Second Century Campaign!

As impressive as the changes set out to be, all the spiffy
new elements made this endearing show sparkle – the redesigned stage allowed
the action flow smoothly, the sound was crystal clear (designers John Shivers
and David Patridge) and the lighting systems’ enhanced illumination by designer
Rob Denton and the expanded LED screens, with video designs by Nathan W.
Scheuer, were eye-catching. Director Gordon Greenberg was able to incorporate
the new downstage lifts into scenes. Overall, an A+ effort.

Besides the successful revelation, the weather was
tailor-made for the 101st season opener June 10. A crowd of 7,677 enjoyed
one of Broadway’s most delightful golden-age classics, filled with Frank
Loesser’s peppy and hummable musical numbers, sweet romance, and colorful
characters based on Damon Runyon’s short stories and given zip by the late
comedy writer Abe Burrows.

“Take Back Your Mink”Jaunty and joyous, “Guys and Dolls” combines hustling high rollers and honorable holy rollers in the bustle of the fabled Times Square, their intentions clashing when the gamblers want to be lucky and the evangelists want to save souls. Paul Tate dePoo III’s vibrant scenic design of neon signage and advertisements reflects a flashy bright lights, big city vibe that pops in every scene.

Once dubbed “the perfect musical comedy” by a critic and I
wholeheartedly agree, the Muny proved how evergreen the show can be, now in its
eighth time here and 15 years since the last one. The talent made sure this
first bicentennial production was a crowning achievement by integrating all the
new-fangled improvements seamlessly.

Zoe Vonder Haar, Orville Mendoza, Kennedy Holmes. Photo by Philip Hamer.Greenberg bathed this frothy concoction in the warm glow of
nostalgia while emphasizing the humor and elevating the romance. The high-spirited
cast injected it with zing through crisp and snappy movements, whether it was a
sharply choreographed number – those elastic dancers in “Crapshooters Dance”
and “Havana” made it fun — or the wise-guys singing Nathan Detroit’s praises
in “The Oldest Established.”
First-time Muny co-choreographers Lorin Latarro and Patrick O’Neill intertwined
different styles with energy and precision, and Music Director Brad Haak freshened
the songs, with arrangements by Larry Blank. Musicians were under a covered pit
for the first time, carrying the upbeat tempos well.
The creative team focused on the original 1950 roots and the rock-solid cast cheerfully
immersed themselves in this idiosyncratic world. One must accept its now dated
story as a period piece to fully appreciate the relationships. Calling women
“tomatoes” and “broads” is no longer acceptable, and no one in contemporary
times would, but this is from a bygone era – and displays how different men and
women roles were back then.

“Guys and Dolls” took Damon Runyon stories about New York
City from the 1920s and 30s, namely “The Idyll of Sarah Brown” and “Blood
Pressure,” with a nod to “Pick the Winner,” and radio comedy writer Abe Burrows
boosted Jo Swerling’s original script by giving the distinctive characters
Runyon’s unique vernacular, a mix of formal speech with slang. Damon, a
newspaperman and sportswriter, favored writing dialogue for gamblers, hustlers,
actors and gangsters.

However, this Runyonland appears more innocent. Detroit, the hapless but lovable mug behind the biggest crap game in NYC, keeps his adorable girlfriend Adelaide waiting for him to marry her after 14 years. The prim and proper Sarah Brown falls in love with the suave Sky Masterson in an opposites-attract storyline.

The script makes all of this seem logical and then throws in merry men named Benny Southstreet and Rusty Charlie, and it’s a surefire winner, especially with Kevin Cahoon hilarious as Harry the Horse and so is Brendan Averett as Big Jule.

From the first bars of the opening number “Fugue for
Tinhorns” to “The Happy Ending” finale, this cast connects with each other, and
ultimately, the audience.

As the sophisticated ladies man Sky Masterson, Ben Davis is
a welcome presence on the Muny stage, continuing his successful run of classic
male leads after Curly in “Oklahoma!” and Emile in “South Pacific.” He has
palpable chemistry with Brittany Bradford, who is one of the best Sarah Browns
I’ve ever seen (sometimes, the actors playing these different types don’t gel,
but this pair does). Their clashing couple delivers velvety-smooth ballads.

Bradford is quite a special talent, genuine in acting and a
splendid soprano. Her breakout number, “If I Were a Bell,” shows her
versatility. Their “I’ve Never Been in Love Before” superbly blends their
voices, another standout moment, and his sleek “My Time of Day” rendition was
terrific.

Davis propelled “Luck Be a Lady” to be one of the evening
highlights, aided by the crackerjack ensemble.

St. Louisan Kendra Kassebaum lights up the stage as Miss
Adelaide, and wow, what a home-grown triple threat. Bubbly and bouncy, she displays
impeccable comic timing in her fully dimensional lived-in performance.

She’s a fitting and funny foil for wacky Nathan, well-played by Jordan Gelber. Their “Sue Me” was on point, and “Adelaide’s Lament” is confident and comical. She leads the Hot Box Girls in a vivacious “A Bushel and a Peck” and “Take Back Your Mink.” (Tristan Raines’ costumes fit each role appropriately, but those purple-sequin gowns draped with the gray furs are stunning.)

Kassebaum and Bradford are a dynamic duo in “Marry the Man
Today” (just don’t wince at those lyrics).

The best scene, the second act showstopper that puts its indelible stamp on “Guys and Dolls,” is “Sit Down, You’re Rockin’ the Boat.” A marvel of movement and pure jubilation, this version is made even more special by the surprise appearance of Kennedy Holmes, the Muny Kid who placed fourth on “The Voice” in 2018, belting out the usual General Cartwright solo. (Zoe Vonder Haar has replaced Doreen Montalvo as General Cartwright),

Orville Mendoza fits, well, nicely, as Nicely-Nicely
Johnson, who leads the number, and is dandy in his duet with Jared Gertner as
Benny in the title number “Guys and Dolls.”

As Arvide Abernathy, Ken Page has a twinkle in his eye and adds
poignancy to the “More I Cannot Wish You” number sung to his granddaughter,
Sarah. This is his 41st appearance at the Muny – and little-known
fact, he played Nicely-Nicely in the 1976 Broadway revival.

The musical has been revived two more times, in 1992 and
2009, with the 1992 version starring Nathan Lane and Faith Prince the most
acclaimed, winning four Tony Awards including Best Revival and running until 1995,
tallying 1,143 performances. The original “Guys and Dolls” won five Tony Awards
in 1951, including Best Musical, and has been a favorite among regional, school
and community groups for decades.

That renowned 1992 version’s spunk is evident in this Muny
production, but the cast makes it their own. They put a fresh sheen on the
characters, imbuing them with heart and humor, and it never sags.

This production is worth rejoicing about, starting out the
summer in swell fashion.

The Muny presents “Guys and Dolls” June 10 – 16 nightly at 8:15 p.m. in Forest Park. For tickets or more information, visit www.muny.org

Photos by Phillip Hamer.

Complete Cast, Design and Production Team for Muny’s ‘Guys and Dolls’ Announced

Complete Cast, Design and Production Team for Muny’s ‘Guys and Dolls’ Announced

Ken Page to Star in his 41st Muny Show

The Muny announced today its complete cast, design and production team for Guys and Dolls, the first show of its second century, June 10 – 16. Guys and Dolls is proudly sponsored by Wells Fargo Advisors.

“We soar into our second century with one of the most beloved musicals of the last century,” said Muny Artistic Director and Executive Producer Mike Isaacson. “I can’t wait to see this amazing production on our beautiful new stage. Luck be a producer, indeed.”

Joining the previously announced Ben Davis (Sky Masterson), Brittany Bradford (Sarah Brown), Jordan Gelber (Nathan Detroit) and Kendra Kassebaum (Miss Adelaide) are Ken Page (ArvideAbernathy), Doreen Montalvo (General Cartwright), Orville Mendoza (Nicely-Nicely Johnson), Jared Gertner (Benny Southstreet), Brendan Averett (Big Jule), Kevin Cahoon (Harry the Horse) and Rich Pisarkiewicz (Lt. Brannigan). A high-rolling ensemble completes this cast, including Calvin Cooper, Darien Crago, Colby Dezelick, Tyler Eisenreich, Whitney G-Bowley, Berklea Going, Julie Hanson, Jeff Kuhr, Alicia Lundgren, Erin N. Moore, Jevares Myrick, Michael Santomassimo, Michaeljon Slinger, Matthew Steffens, Keith Tyrone, Amy Van Norstrand, Jerry Vogel and Sharrod Williams. The company will also be joined by the Muny Kid and Teen youth ensemble.

As previously announced, Guys and Dolls is directed by Gordon Greenberg and co-choreographed by Lorin Latarro and Patrick O’Neill with music direction by Brad Haak.

This production includes scenic design by Paul Tate dePoo III, costume design by Tristan Raines, lighting design by Rob Denton, sound design by John Shivers and David Patridge, video design by Nathan W. Scheuer and wig design by Leah J. Loukas. Production stage manager is Nancy Uffner.

Ben Davis

BEN DAVIS (Sky Masterson) Muny: Jesus Christ Superstar (Pilate), Oklahoma! (Curly); South Pacific (Emile), Spamalot (Galahad). Ben was most recently seen as Cosmo Constantine in New York City Center’s Encores! Call Me Madam, opposite Carmen Cusack. Broadway: 2003 Tony Honor for La Bohème (Marcello), Dear Evan Hansen (Larry), Violet (Preacher), A Little Night Music, Les Misérables(Javert and Enjolras), Thoroughly Modern Millie (Trevor Graydon). Tours: The Sound of Music (Georg von Trapp), Spamalot (Galahad). Regional: Kiss Me, Kate (Fred/Petruchio) at The 5th Avenue Theatre. UK: BBC Proms Kiss Me, Kate (Fred/Petruchio). Concerts: Philly Pops, Boston Pops, LA Philharmonic, RTÉ and many others. Film/TV: Blue Bloods, A Hand of Bridge, The Magic Flute, 30 Rock, Numb3rs. www.benjaminjaydavis.com

Actor | New York | Headshot| Brittany Bradford

BRITTANY BRADFORD (Sarah Brown) Muny debut! Brittany was recently seen in Roundabout Theatre Company’s production of Merrily We Roll Along, staged by the critically-acclaimed Fiasco Theater. She made her Broadway debut last fall as Ophelia in Bernhardt/Hamlet opposite Janet McTeer. Additional credits: For Colored Girls… (Public Theater), Flyin’ West (Westport Country Playhouse), Family Resemblance (Eugene O’Neill), The Profane and Taming of the Shrew (Chautauqua Theater Company), A Midsummer Night’s Dream (Ten Thousand Things Theater), Neighbors, AvenueQ and Next to Normal (Mixed Blood Theatre), Ragtime and Stick Fly (Park Square Theatre). 2018 graduate of The Juilliard School, Group 47. Credits: Father Comes Home from the Wars, Hoodoo Love, Triumph of Love, King Lear, Cymbeline, Christina Martinez and The Marriage of Bette and Boo. Co-Founder of HomeBase Theatre Collective. www.brittany-bradford.com

JORDAN GELBER (Nathan Detroit) Muny debut! Broadway: Sunday in the Park with George, Elf the Musical (Buddy), All My Sons, Avenue Q (original cast, special Outer Critics Circle Award). Off-Broadway: John Guare’s Nantucket Sleigh Ride (Lincoln Center Theater), Mike Leigh’s 2000 Years, Avenue Q, The Joke, Birth and After Birth. TV: Elementary, Mr. Robot, Mindhunter, Insatiable, Boardwalk Empire, Nurse Jackie, The Good Wife, Rescue Me, Ugly Betty, first three Law & Order series (recurring on SVU), The Sopranos, 100 Centre Street. Film: (upcoming) The Kitchen, Bleed for This, Dark Horse, The Taking of Pelham 1 2 3, Before the Devil Knows You’re Dead, Everyday People (IFP/Gotham Award nominee for Breakthrough Acting), Riding in Cars With Boys, Changing Lanes. BA, Stanford University; MFA, NYU Tisch Graduate Acting (2000 Laura Pels Award). www.JordanGelber.com

KENDRA KASSEBAUM (Miss Adelaide) Muny: A Chorus Line (Val). On Broadway, Kendra originated the role of Janice in the Tony-nominated production of Come From Away as well as Sam in Leap of Faith. She played Glinda in Wicked on Broadway, in San Francisco and on the first national tour (Helen Hayes nominee). Other New York: The Receptionist (MTC) and the Tony Award-winning, Grammy-nominated production of Assassins, both directed by Joe Mantello. Kendra made her Broadway debut in Rent. For the Roundabout, she performed the role of Petra in A Little Night Music starring Vanessa Redgrave and Natasha Richardson. Kassebaum’s regional appearances include Actors Theatre of Louisville, The 5th Avenue Theatre, ACT, Ordway and Florida Stage. Film: The Other Woman (with Natalie Portman and Lisa Kudrow).

Ken Page will be in his 41st Muny show

KEN PAGE(Arvide Abernathy) is proud to be part of the 101st season of The Muny. This will be his forty-first show on the stage and his fourth year as “the voice” of the theatre. Ken made his Broadway debut as Nicely-Nicely Johnson in the all-black revival of Guys and Dolls, receiving the Theatre World Award for his performance. This year, he received a Lifetime Achievement Award from The St. Louis Arts & Education Council and directed a sold-out run of Love, Linda with Max & Louie Productions. Recent/upcoming: live-to-film concerts of Disney’s The Little Mermaid (Sebastian) at the Hollywood Bowl,Grumpy Old Men (La Mirada Theatre) and the UK live-to-film tour re-creating his role of Oogie Boogie in The Nightmare Before Christmas. 

DOREEN MONTALVO (General Cartwright) Muny debut! Broadway: On Your Feet! (Gloria, original Broadway cast); In the Heights (original Broadway cast, Drama Desk Award). Off-Broadway: Curvy Widow (Heidi, Westside Theatre), Giant (Lupe, The Public Theater), Flashdance The Musical (Louise), Mamma Mia! (Tanya); In the Heights (Camila, Westport Country Playhouse), American Mariachi(Denver Center/Old Globe), La Lupe (Lupe, Puerto Rican Traveling Theatre), In the Heights (37 Arts), Havana Under the Sea (Cecilia, INTAR Theatre). TV/Film: Law & Order, Elementary, Madam Secretary, The Tale of Timmy Two Chins, Smash, All My Children, One Life to Live. Recordings: American Soul/Latin Heart, Disney’s Moana soundtrack. Live: 54 Below, Joe’s Pub, The Metropolitan Room, The Duplex, Green Room 42. www.doreenmontalvo.com

ORVILLE MENDOZA (Nicely-Nicely Johnson) is thrilled to be back at The Muny where he got his Equity card 25 years ago in The King and I. Other Muny: Miss Saigon (2001), The King and I (2006), Godspell (2009). Broadway: Peter and the Starcatcher, Pacific Overtures. Most recently, the world premiere of The Heart of Rock and Roll (Old Globe, coming to Broadway). Previously, he toured with Small Mouth Sounds (Ars Nova). Off-Broadway: Found (Atlantic Theater Company), Pacific Overtures, Passion (Classic Stage Company); Romeo and Juliet, Timon of Athens and Road Show all at The Public Theater/NYSF. He’s worked all across the U.S. from La Jolla Playhouse to Long Wharf Theatre. TV: The Blacklist, Law & Order: CI and many commercials. Drama Desk nominee and Barrymore Award winner. www.orvillemendoza.com

JARED GERTNER (Benny Southstreet) Muny debut! Jared is best known for playing Elder Cunningham in The Book of Mormon on Broadway, on the first national tour and in London (Olivier nomination). Other New York: The 25th Annual Putnam County Spelling Bee (Broadway) and Ordinary Days (off-Broadway, premiere). Regional: Repertory Theatre of St. Louis, Cincinnati Playhouse, Goodspeed, The Fulton, Cape Playhouse and Sacramento Music Circus. Television: Mom, Modern Family, 2 Broke Girls, Supernatural, Superior Donuts, How I Met Your Mother, Marvel’s Agent Carter, Ugly Betty, The Good Wife, American Dad, Family Guy and the popular Broadway-themed web series, Submissions Only. Jared also starred in an NBC pilot called How We Live. Film: Nightmare Cinema(upcoming), Smallfoot and Pup Star. Education: NYU’s Tisch School of the Arts. Twitter: @JaredGertner Instagram: @Jaredgertner1

BRENDAN AVERETT (Big Jule) is excited to make his Muny debut. Off-Broadway: Hamlet (Waterwell), Sam and Dede (Custom Made Theatre/59E59), Titus Andronicus (NY Shakespeare Exchange), The Killer, A Midsummer Night’s Dream (TFANA), As You Like It (Shakespeare in the Park), Massacre: Sing to Your Children (Rattlestick), Hamlet (Gallery Players), Passion Play (Epic Theatre Ensemble). Tours: Guys and Dolls. Regional: The Comedy of Errors, Kiss Me, Kate (Hartford Stage), Romeo and Juliet(Actors Theatre of Louisville), Of Mice and Men (Cincinnati Playhouse in the Park), Cyrano de Bergerac, The Tempest (Theatricum Botanicum), Henry V (California Shakespeare Company), Bloody Poetry, The Alchemist (Everyman Theatre), Measure for Measure, Guys and Dolls, The Swanne: Pt. III(Stratford Shakespeare Festival of Canada). TV/Film: Law & Order: SVU, Trapped in the Closet, Blossom. Former Associate Producer for NYSX’s The Sonnet Project.

KEVIN CAHOON (Harry the Horse) Muny: The Wizard of Oz and Spamalot. Broadway: The Wedding Singer, Chitty Chitty Bang Bang, The Lion King, The Rocky Horror Show revival and The Who’s Tommy(debut). Off-Broadway: original Hedwig and The Angry Inch, How I Learned to Drive (Second Stage), The Foreigner (Roundabout, Lortel nomination), The Shaggs (Playwrights Horizons), The Wild Party (Manhattan Theatre Club), Hair and Babes in Arms (NY City Center Encores!). Regional: The Old Globe, Guthrie, Williamstown. TV: A Series of Unfortunate Events, Glow (upcoming), Nurse Jackie, Elementary, NCIS, Modern Family, The Mentalist, The Good Wife, CSI, Odd Mom Out, Six Degrees, Black Box, The Royale, Law & Order (original/CI). Film: I Am Michael, Mars Needs Moms, The Thing About My Folks, Curse of The Jade Scorpion. Debut album: Doll (OutMusic Award).

RICH PISARKIEWICZ (Lt. Brannigan) Muny 101 marks Rich’s 38th season on the Muny boards, appearing in over 80 productions, including last season’s An Evening with the Stars and Annie. He has appeared regionally with The Fox Theatres (Atlanta and St. Louis), Dallas Summer Musicals, Kansas City Starlight, and locally with Stages St. Louis, Shakespeare Festival St. Louis, Repertory Theatre of St. Louis, The Black Rep, Westport Playhouse and Opera Theatre of Saint Louis. He has also enjoyed working with the Variety Theatre in several productions, most recently The Wizard of Oz. Upcoming: Man of La Mancha (Stages St. Louis). 2019 is his 41st year in professional theatre beginning with 1776 at Summerstage in 1979.

Link for more information: muny.org/guys-and-dolls.

About the show:

Guys and Dolls is based on a story and characters of Damon Runyon with music and lyrics by Frank Loesser and a book by Jo Swerling and Abe Burrows. 

Considered by many to be the perfect musical comedy, Guys and Dolls gambles with luck and love during a time when Broadway was rampant with wise guys, mission girls and Lindy’s cheesecake. This all-time Broadway classic features a high-rolling score, including “Luck Be a Lady,” “If I Were a Bell” and “Sit Down, You’re Rocking the Boat.” With this Muny favorite, everyone’s a winner!

The seven shows in the 2019 Muny season are: Guys and Dolls (June 10 – 16), Kinky Boots (June 19 – 25), 1776 (June 27 – July 3), Rodgers + Hammerstein’s Cinderella (July 8 – 16), Footloose (July 18 – 24), Lerner and Loewe’s Paint Your Wagon (July 27 – August 2) and Roald Dahl’s Matilda (August 5 – 11). For more information, visit muny.org.  

Season and single tickets are currently on sale. Muny gift cards for the 101st season are available online and at The Muny Box Office. MetroTix is the only official online point-of-purchase vendor for The Muny. For more information, visit muny.org or call (314) 361-1900.

‘Meet Me in St. Louis’ Crystallizes Past, Present and Future at Muny

‘Meet Me in St. Louis’ Crystallizes Past, Present and Future at Muny

By Lynn Venhaus
Managing Editor
By wrapping up its Centennial Season with a sweet nostalgic slice of Americana, the Muny has tugged at our hearts and reminded us to treasure our traditions.
This “Meet Me in St. Louis” makeover is a richly textured tapestry significant to St. Louis – one that you can see and feel. With a freshly revised book and new orchestrations, the Muny has connected the ordinary Smith Family’s quaint story to emotionally resonate through the ties that bind us.
A tight-knit cast and tip-top crew wore their hearts on their sleeves opening night, offering a gift to the region that spends its summers in the nation’s oldest and largest outdoor theater. You could sense the love for our town onstage, backstage and in the audience.

The Smiths’ upper-middle class life at 5135 in Kensington Avenue was not different than countless others, but through their typical goings-on, they faced change, and that impending family transition from their comfortable routine to the uncertainty of a big metropolis is what drives their 1903-1904 story through seasons along the Mississippi River.
Sally Benson’s memoirs, “The Kensington Stories.” eventually became the beloved classic movie musical “Meet Me in St. Louis.” Even with its MGM-Hollywood pedigree, that unique turn-of-the-century site-specific history makes it ours alone – not Kansas City, Chicago or Indianapolis.
That civic pride resulted in the Muny presenting stage versions in 1960, 1965 and 1977 – before Broadway adapted it in 1989, and a variation has been staged four more times, including a dull one its last time in 2009.
The stage adaptation wasn’t special enough, and not even close in comparison to the movie. When the film opened in 1944, it became the studio’s biggest hit next to “Gone with the Wind” and nominated for four Oscars, including Best Song (“The Trolley Song”). Margaret O’Brien won a Juvenile Academy Award as Tootie. The film is now preserved in the National Film Registry (Library of Congress) and 10th on American Film Institute’s Greatest Movie Musicals in History list.
It’s closing line, “Right here in St. Louis,” became the Muny’s tagline for their 100th anniversary, and the show’s inclusion inevitable.
But this production has some surprises in store. To make this one memorable, Artistic Director and Executive Producer Mike Isaacson called on Gordon Greenberg to revamp the book by Hugh Wheeler. Greenberg is a veteran Muny director whose writing work includes the “Holiday Inn” Broadway adaptation.
He has inserted many local references to heighten the hometown feel. He had us right away when Grandpa talks about the St. Louis Cardinals beating the Chicago Cubs. Other mentions of neighborhoods and long-distance phone calls to Clayton were big crowd-pleasers.
No matter how corny you think the romantic entanglements are, the Smith kids’ excitement about seeing their hometown prepare to become the center of the universe is contagious.
The simple framework of children growing up is secondary to the time and place, as our forefathers are honored for their vision that included the biggest World’s Fair yet, and the first Summer Olympics in the U.S. And we continue to enjoy the fruits of those labors.

The world was watching when the Louisiana Purchase Exposition celebrated the 100th anniversary of the U.S. expansion under Thomas Jefferson. More than 60 countries and 43 states participated from April 30 to Dec. 1 in Forest Park and nearby locations. So many contributions of long-lasting impact came from those seven months in 1904, and the work preceding it.
That’s what director Marcia Milgrom Dodge brings out as the characters express love for the city and family, friends and neighbors during daily routines and holiday rituals.
Mr. and Mrs. Smith (real-life married couple Stephen R. Buntrock and Erin Dilly) have five children: Rose, Esther, Alonzo Jr. “Lon,” Agnes and Tootie (Liana Hunt, Emily Walton, Jonathan Burke, Elle Wesley and Elena Adams, all in Muny debuts). Anna Smith’s father, retired doctor Grandpa Prophater (local legend Ken Page) lives with them. Alonzo Sr. is a lawyer and they live comfortably enough to afford a housekeeper, Katie (Kathy Fitzgerald).
This cast injected individual pizzazz into a show that’s still boxed in by the period’s social mores. Let’s face it, the schmaltz factor is high, and the two oldest girls’ boy troubles are trivial.
There is the potential to view the characters as spoiled in the way the older daughters maneuver the guys and bratty Tootie causes mayhem while they all whine about moving to New York City, but if they didn’t gripe, we wouldn’t have any dramatic conflict, would we? And the performers are winsome.
Rose’s intended fellow, the earnest Warren Sheffield, is well-played by Michael Burrell, and Dan DeLuca, as the proverbial boy-next-door John Truitt, matches Emily Walton’s adventurous zest as Esther.
Jonathan Burke is an impressive Lon Jr., getting ready for Princeton and dating the worldly Lucille Ballard (St. Louis regular Madison Johnson, looking swell in a Gibson hairstyle). He is a marvel of movement in the dance number, “The Banjo,” innovatively staged by choreographer Josh Walden. Jeff Jordan is a good sport as a gangly uncoordinated dance partner, Pee Wee Drummond.
Music Director Charlie Alterman glides through old standards and the stand-out numbers written by Hugh Martin and Ralph Blane – “The Boy Next Door,” “The Trolley Song” and “Have Yourself a Merry Little Christmas,” which Walton beautifully delivers.
An earlier song list was trimmed to thankfully cut the bloat, and John McDaniel’s new orchestrations provide some zing. McDaniel, a St. Louis native, is a Grammy and Emmy-winning composer, conductor, pianist and producer. He was the band leader on Rosie O’Donnell’s talk show from 1996 to 2002 and has returned to conduct the St. Louis Symphony Orchestra five times and worked on “Pirates!” during the Muny’s 2012 season.
They included a dandy song Rodgers and Hammerstein wrote but cut from the movie, “Boys and Girls Like You and Me.”

Supporting player Ben Nordstrom’s spotlight moment was delightful, as he sang “Under the Anheuser Bush” as the Christmas Ball band singer.
(Fun fact: That is a popular beer garden song commissioned by the brewery in 1903, and an instrumental version was used in the 1944 movie).
The vibrant vintage look sharpened the focus, with outstanding work by scenic designer Michael Schweikardt and video designer Matthew Young, who highlighted the bygone era with beautiful vistas.
Costume designer Tristan Raines and wig designer Leah J. Loukas immersed the players in exquisite detail. The youth ensemble’s Halloween costumes provided merriment as they scampered through the crowd.
Lighting designer Rob Denton spectacularly illuminated the World’s Fair, which elicited audible appreciation. Sound designers John Shivers and David Patridge captured the old-timey feel.
In two extraordinary moments, “Meet Me in St. Louis” crystallized the past, present and future of our crown jewels — Forest Park and The Muny, all in the shadow of our treasured landmarks.
The “Skinker’s Swamp” picnic scene, where video projection showed The Palace of Fine Art (now the St. Louis Art Museum) under construction, along with the Ferris Wheel, in a muddy field. Awestruck Esther and John rode that famous trolley to his baseball practice first.
The grand finale was breathtaking – as the anticipation of the World’s Fair built, to reveal the Smith Family standing on a bridge overlooking the Grand Basin, with thousands of festive lights. It was a vivid tableau that continued in a fireworks-festooned curtain call.
Sometimes, we see magic happen under the stars in Forest Park, just as our ancestors did in the 20th century. Hope about the future has been a running theme in all seven shows this season, and “Meet Me in St. Louis” became the cherry on top.
After the fireworks light up the sky for the last time Aug. 12, we move onto the second century.
Look around the park now – majestic remnants mark our heritage. It’s a stunning sight, recalling happy golden days of yore, as is the Muny’s love letter to the community we cherish.
This unabashedly sentimental production conjured up many personal memories and feelings about what Forest Park, the Muny and St. Louis mean to me. I don’t think I was alone in this regard, judging the audience’s reaction
“Meet Me in St. Louis” is presented from Aug. 4 to Aug. 12 nightly at 8:15 p.m. at The Muny in Forest Park. For more information or for tickets, visit www.muny.org.
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Photos by Phillip Hamer