By Lynn Venhaus

To see the transformative power of music first-hand, just be in an audience for Stages St. Louis’ production of “Million Dollar Quartet,” because you will watch as a crowd of adults become kids again.

On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at Sun Studios in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.

The man who gave them their start, Sam Phillips, deservedly known as “The Father of Rock ‘n Roll,” narrates this twist-of-fate tale, a true David vs. Goliath industry narrative featuring the star power of four future legends.

As impresario Phillips, Jeff Cummings is well-suited to play the country boy mogul with savvy instincts on hit-making, conveying equal parts passion and pride.

The cast’s remarkable full-throttle energy, showmanship, and musicality turned the Kirkwood Performing Arts Center’s Ross Family Theatre into a freewheeling and fun house party where the ready-to-rock crowd blissed out to the enduring rhythm of roots rock ‘n roll. The company, all seasoned professionals, many veterans of this show, looked like they were having so much fun performing together.

Perhaps I can speak for my fellow Boomers, as I felt we were transported back to sock hops, Teen Towns and listening to our transistor radios with earphones before bedtime. And couldn’t resist the urge to toe-tap and clap along, for the hits just kept on coming: “Hound Dog,” “Long Tall Sally,” “Great Balls of Fire,” “Who Do You Love,” “Sixteen Tons,” “Folsom Prison Blues,” and “I Walk the Line” among them.

Brady Wease as brash Jerry Lee Lewis. Photo by Phillip Hamer.

But it’s not merely a blast from the past — rather, a vivacious retelling of magical music moments in pop culture history. Music Director and Conductor David Sonneborn, who also plays the drums as session musician W.S. “Fluke” Holland, has splendidly brought out the best in everyone.

The joint was jumping, and it was a thrill to be a part of such a joyful celebration. There was a whole lotta shakin’ going on during the coda/extended curtain call, with the crowd on their feet for most of it — and singing along to “See You Later Alligator.”

Director Keith Andrews, who also choreographed Edward La Cardo as an unstoppable Elvis, marvelously captured the lightning-in-a-bottle aspect of four rock ‘n roll influencers for a perfect show, lovingly crafted and crisply performed by an ensemble who achieves synchronicity together but also stands out individually. It’s his sixth time directing this show, and his command of the material is evident.

This jukebox musical displays the heart, humor and overflowing talent of these scrappy guys who came from humble Southern beginnings, carved a place in history for themselves and put Sun Studios on the map.

Carl Perkins, who hadn’t been able to follow up “Blue Suede Shoes” with another hit, has a simmering resentment towards Elvis, for his performance on “The Ed Sullivan Show” and other grievances. He has a chip on his shoulder and a festering attitude, which Jeremy Sevelovitz carefully projects.

Jeremy Sevelovitz as Carl Perkins. Phillip Hamer Photography.

Carl’s brother, Jay, is one of the session musicians, and Chuck Zayas knows how to slap that bass, having been a founding cast member, and has been rockin’ out for more than 30 years in bands and on stage.

The story begins with the premise that rockabilly specialist Carl Perkins is there to record some new music with a brash piano player from Louisiana – Jerry Lee Lewis, whose swagger and desire to be the center of attention rubs him the wrong way. Brady Wease’s bravado blazes the stage as a boyish “The Killer” and his prowess pounding the keys is fun to watch.

With his deep voice and confident demeanor, Scott Moreau’s ease as Johnny Cash is noteworthy. He has played this role more than 1,000 times, and that experience shows. His way with the guitar, and impressive vocals are riveting. “Ghost Riders in the Sky” is one of the standouts, and his gospel influences are emphasized.

La Cardo embodies the young energetic Elvis, now a movie star too, who would prefer solid career advice rather than a chorus of ‘yes’ men. In this show, he brings a girlfriend along, and Shelby Ringdahl fits right in as Dyanne, belting out “I Hear You Knockin” and delivering a sultry “Fever.” At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer.

Besides the smokin’ hot beats, there is drama in between songs dealing with show biz and their personal relationships, just to create conflicts and tension.

The show’s original concept by Floyd Mutrix was solid gold, and it premiered in Florida in 2006.  A regional Chicago production was mounted in 2008, starting at the Goodman, then moving over to the Apollo, where it celebrated its 2,500th performance six years later. The show closed in 2016, ranking as the third-longest running show in Chicago theater history.

Scott Moreau as Johnny Cash. Phillip Hamer Photography.

Nominated for three Tony Awards — for Best Musical, Book by Colin Escott and Mutrux, and Best Performance by a Featured Actor, which was won by Levi Kreis as Jerry Lee Lewis, the show opened on Broadway in April 2010 and closed in June 2011, after having played 489 performances and 34 previews,

I first saw this on its national tour in 2013 at the Fox Theatre, and then The Rep staged a slick, exuberant production in 2017. While both were enjoyable and executed well, the Stages one seems the most spirited, with an extra oomph of pizzazz and far more nuance.

Not only is this ensemble aces, percolating on all cylinders, but the creative team has showcased its mastery – scenic designer Adam Koch for a vintage studio interior, costume designer Brad Musgrove – of course the quartet are in colorful sequined blazers for the grand finale!, the exceptional expertise of lighting designer Sean M. Savoie, and clear sound designed by Beef Gratz.

The vibrancy of the production is unforgettable, and you surely will sing a happy tune while leaving the building.

Jeff Cummings as Sam Phillips. Phillip Hamer Photography

“Stages St. Louis presents “Million Dollar Quartet” from Sept. 8 to Oct. 8 at the Kirkwood Performing Arts Center. For more information: stagesstlouis.org.

The iconic photo of Dec. 4, 1956. It hangs on the wall of Sun Records in Memphis (worth the tour!).

By Lynn Venhaus

Noteworthy for its fleet-footed cast and flawless execution, the rip-roaring romp “Clue” is a winning combination at Stages St. Louis.

In its first non-musical presentation since 1989, the company strikes comedic gold with a farcical whip-smart whodunit patterned after the classic murder mystery board game and based on the 1985 movie that has blackmail on the menu. I haven’t laughed this hard at live theater in a long time.

Is Professor Plum the guilty one with the candlestick in the Library or Miss Scarlet with the rope in the Ballroom? We will find out what really happened in this briskly paced 90-minute escapade that connects the charades, deceptions, and secret passageways during an unusual dinner party.

The hilarious hijinks kick off on a dark and stormy night in 1954, in a well-appointed Boddy Manor, located in a remote area of New England.

As the oddball characters cavort through the mansion’s rooms and corridors, this exceptional quick-witted ensemble shows why each performer is at the top of their game, deftly demonstrating skills in slapstick and impeccable comic timing. Together, they are a finely tuned troupe, zany like the original Monty Python’s Flying Circus in movement and delivery. Let the silly walks begin!

Photo by Phillip Hamer.

The six suspects are named according to the familiar game designed by Anthony E. Pratt and first manufactured by Waddington’s in England in 1949. Updated over the years, the current American edition, labeled “classic detective game,” is published by Hasbro, which bought the franchise from Parker Brothers in 1992.

The players’ task is to determine who murdered the game’s victim, in what room the crime took place, and which weapon was used, with cards and miniature props divvied up. Each player, representing a token color, takes on the role of either Colonel Mustard, Mr. Green, Mrs. Peacock, Professor Plum, Miss Scarlett, or Mrs. White, rolls the dice to move around the nine rooms, and collects clues to deduce the correct answer (which are secretly placed in a special solution envelope).

This stage play version, first performed in 2019, was written by Sandy Rustin, whose “The Cottage” opened on Broadway this summer. She adapted the screenplay by Jonathan Lynn (“My Cousin Vinny”), who also directed the movie.

The 1985 film, with Tim Curry playing the butler, was marketed with the gimmick of three different endings, and this version seems to jumble the endings’ best parts – wisely keeping the robustly delivered last line. New material was added by Hunter Foster and Eric Price.

As part of the merry menagerie, Mr. Boddy is the host who has been blackmailing the other dinner guests for years. Jeff Cummings is appropriately condescending and threatening, handing out gift-wrapped weapons to each, spelling out the dangers ahead. When he winds up dead, they become suspects. Their color-coded names are aliases, assigned to prevent real identities being exposed. It doesn’t appear that they are that innocent, and the plot thickens (insert menacing laugh here).

Whodunit? Photo by Phillip Hamer

In a virtuoso performance, Mark Price tickles the funny bone as the butler Wadsworth, a master manipulator who seems to be putting the puzzle together, but whose antics question everything we’ve seen and heard. With his rapid back-and-forth delivery and devil-may-care spirit dialed to 11, he is physically reminiscent of a younger Robin Williams in “Mork and Mindy.” He nimbly seizes control of every scene in the second act, earning breakout applause, and has the audience howling with laughter.

A Broadway veteran, Price is reprising his role from the Paper Mill Playhouse in New Jersey production in January 2022, postponed from a planned bow in ’20, delayed by the pandemic. The original direction by Casey Hushion is noted in the program, and this production is directed with tremendous zeal by Steve Bebout.

Bebout highlights each character’s eccentricities and keeps us guessing as to whodunit. The story structure isn’t as dependent on the characters as it is on the performances, and this cast is a marvel of perpetual motion and goofy quirks to keep us interested.

Could it be the self-important Mrs. Peacock, married to a U.S. senator accused of taking bribes? Flamboyant in blue, Zoe Vonder Haar struts around in fine fashion, exaggerating slurping soup and putting on airs.

Or is it the vampy Miss Scarlett, a smooth operator who runs an underground brothel in Washington D.C.? Diana DeGarmo, who has already impressed at Stages in “Always… Patsy Cline” and “Aida,” continues her hot streak, sashaying in a satiny red gown, sultry attitude to match.

Or the third suspicious woman, Tari Kelly as dramatic Mrs. White, who claims she is innocent in the death of her nuclear physicist husband. However, this international woman of mystery is hiding other secrets and motives, giving off a black widow vibe.

The men project peculiarities and appear not to be very smart, even Professor Plum, whose fall from grace includes a patient’s death. Looking all stuffed-shirt with purple bowtie, Graham Stevens is the annoying agitator.

Colonel Mustard, David Hess, on right. Photo by Phillip Hamer.

As Colonel Mustard, in his medal-detailed military jacket, David Hess seems clueless and not in sync with anyone else, evoking laughs through his obvious befuddlement.
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Mr. Green, who seems rather strait-laced and buttoned-up, has a terrific reveal sequence that is not worth spoiling, for Charlie Franklin brings the house down as this clever chameleon.

The help is mischievous and mystifying, with Lari White sassy and sexy in a skimpy French maid outfit, affecting a spot-on accent, too, and Leah Berry funny as the demanding, no-nonsense cook who doesn’t suffer fools and knows knife skills.

Cameron Jamarr Davis conveys authority and reliability as “The Cop” among other roles, and Cummings re-appears in minor parts as well.

As outstanding as the cast is, the production’s artisans have matched their vigor. Lee Savage’s production design creates rooms Agatha Christie and Sherlock Holmes would have been comfortable in, while lighting designer Sean M. Savoie’s expert shades of illumination provide key shadows and moods. Costume designer Brad Musgrove has captured each character’s personality through a color palette that defines their attire and accessories. Sound designer Beef Gratz’s superb atmospheric contributions make sounds ranging from thunderstorms to creaking doors an integral part of the story.

The zest evident in presentation is this show’s most attractive quality, the sheer thrill of watching a high-wire act without a net. Stages St. Louis leaves us smiling on a summer night, and I’m still chuckling reminiscing about what I saw.

“Clue” at Stages St. Louis. Photo by Phillip Hamer.

Stages St. Louis presents “Clue” from July 21 (previews) through Aug. 20 in the Ross Family Theatre at the Kirkwood Performing Arts Center, 210 E. Monroe St., in Kirkwood, Mo. For more information, visit: https://stagesstlouis.org.

Photo by Phillip Hamer.

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By Lynn Venhaus

A jubilant celebration of culture, community, and connection, “In the Heights” is a warm embrace emphasizing the meaning of home.

This Stages St. Louis production sizzles with its scrupulous staging and splendid ‘triple-threat’ cast. Director Luis Salgado, whose heart is big as the George Washington Bridge in New York City, makes the show ‘pop’ with his spirited direction and vibrant choreography.

The ensemble makes its mark individually — impressive as personalities but they come together as a whole, with a spark that lights up the stage like Fourth of July fireworks.

From the uplifting title song that introduces the cast, they will quickly endear because of their characters’ devotion to their friends and family, sharing heartwarming stories and creating a tapestry in their little corner of the world.

This version’s brilliant burst of energy is because of Salgado’s inspiration and his unwavering commitment to the musical that began 15 years ago. His effusive motto “Dare to go beyond” is apt here.

As a performer and emerging choreographer, Salgado was involved in the original work – with 118 performances off-Broadway in 2007 and nearly 1,000 on Broadway (2008-2010). He was assistant to three-time Tony winner Andy Blankenbuehler (“In the Heights,” “Hamilton,” “Bandstand”).

Amanda Robles, Marlene Fernandez and Ariana Valdes. Photo by Phillip Hamer.

Blankenbuehler had brought Salgado on board to give authenticity to the show’s movements and to help bring the creative team’s vision to life. He described Salgado as “passionate” and “inventive.”

Their mutual admiration society has resulted in Salgado using Blankenbuehler’s original choreography on the sensational ensemble numbers “In the Heights,” “96,000,” “Blackout” and “Finale.”

However, Salgado isn’t the only original connection involved at Stages.

Anna Louizos, Tony nominee for the show’s scenic design, designed the Ross Family Theatre’s richly textured set, creating the Washington Heights neighborhood that comes alive in a stunning recreation inside the Kirkwood Performing Arts Center.

This is an ideal setting for such an exuberant group sharing their hopes while struggling with everyday realities. “In the Heights” takes place over the course of three days, during a blistering summer heat wave in the barrio, which is on the brink of change.

Creator of the historic and cultural phenomenon “Hamilton,” Lin-Manuel Miranda’s first Tony-winning musical in 2009 was special because it had a specific sense of place and resonated with a universal story about people chasing their dreams.

Manuel honored his Latin heritage and cultural traditions as an American whose parents came from Puerto Rico, growing up in Washington Heights (where he still lives). He included the Dominican Republic, Cuba, Mexico, and Caribbean Islands as origins, too.

The pulsating score is a hybrid of Latin, urban, hip-hop and salsa beats but also features touching ballads. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009.

Ryan Alvarado grew on me as the hard-working, good-hearted Usnavi de la Vega, the owner of a local bodega who dreams of selling the store and moving to a tropical place where he feels he can be happy. He’s the lynchpin to all the action swirling around him.

Tami Dahbura as Abuela Claudia. Photo by Phillip Hamer.

His confidante, Abuela Claudia, who dispenses advice – and love – to the neighborhood denizens, is the heart and soul of the show, and Tami Dahbura stood out in her heart-tugging numbers, “Paciencia y Fe” (Patience and Faith) and “Hundreds of Stories.”

Isabel Leoni as Nina and Amanda Robles as Vanessa are high points, showcasing their outstanding voices. You feel a connection with their characterizations immediately.

Nina, the golden girl who landed a scholarship at Stanford University, was a role model for many but now she is disappointed with herself and feels she let everyone down. She delivers a poignant “Breathe” and a sentimental tribute “Everything I Know” with much passion.

Usnavi’s crush, hairdresser Vanessa, is someone who sees moving to Manhattan as a steppingstone to a better life. Robles soars in “It Won’t Be Long Now,” joined by Alvarado, who clearly wears his heart on his sleeve, and the whirlwind Luis-Pablo Garcia as his cousin Sonny.

Robles, Alvarado, Garcia. Photo by Phillip Hamer.

While the robust and oh-so-catchy “96,000” is Usnavi’s big number dreaming about winning the lottery, Robles shines in her part. Closer to the finale, Robles and Alvarado have sweet, tender and funny moments in “Champagne.”

The most moving song of all is “Alabanza” (Praise) in honor of Abuela Claudia, such love and respect expressed. It just may bring a tear to your eye.

Quiara Alegría Hudes wrote the musical’s original book, and it’s noteworthy regarding all the strong women role models, including Camila, Kevin’s wife and partner in a car service business, in addition to Abuela Claudia, Nina, Vanessa, hairdresser Carla and salon owner Daniela.

Tauren Hagans excels in her two solo numbers “Siempre” (Always) and “Enough” as Nina’s strong mom Camila, and the four younger women have fun with “No Me Diga” (You Don’t Say!).

 Jahir Lawrence Hipps is impressive as Benny, who works for Nina’s intense dad Kevin (Edward Juvier). But when he falls in love with Nina, that’s another story.

Leoni and Hipps. Photo by Phillip Hamer.

The duets featuring Hipps and Leoni are lovely – especially “When the Sun Goes Down” and they superbly lead the company on “When You’re Home” and “Sunrise.”

Juvier, a Stages veteran, with a St. Louis Theater Circle Award for Outstanding Supporting Actor in a Musical for “The Drowsy Chaperone” in 2017 and a nominee in “My Fair Lady” in 2014, was Bob Crewe in “Jersey Boys” last summer.

As the demanding dad Kevin, he showcases his vocal prowess in “Inutil” (Useless) and “Atencion” (Attention).

Comical relief is welcome when crowd-pleasers Cristian Rodriguez as Graffiti Pete and Michael Schimmele as Piragua Guy are on stage, as well as the salon’s Carla, firecracker Marlene Fernandez, and Ariana Valdes as the animated owner Daniela, who leads the buoyant “Carnaval del Barrio” (Neighborhood Carnival).

Fernandez, Schimmele and Valdes. Photo by Phillip Hamer.

And Garcia, who was memorable as Freddy in “The Karate Kid – The Musical,” is in a league of his own, as cheerful chatterbox Sonny, stealing practically every scene he’s in, eliciting laughs every time he’s on stage.

The sprightly ensemble includes Tavis Kordell Cunningham, Mauricio Villanueva Espinosa, Carmen Guynn, Sarah Hampton, Paola Hernandez, Karma Jenkins, Ricco Martin Jr., Jovany Ramirez, Joey Rosario and Carlita Victoria.

Music Director Walter “Bobby” McCoy keeps the tempo lively and brings out the emotional sincerity in the ballads, using the arrangements and orchestrations of Tony winner Alex Lacamoire and Bill Sherman.

As the conductor and a keyboard player, McCoy has a dynamic orchestra that flavors the Latin score with their expert musicianship in strings, woodwinds, brass, and percussion. Trumpet player Chris Miller brings such a great sound to “The Club/Fireworks” while the percussion’s driving beat is such a treat. Ovations for McCoy, Miller, associate music director and bass Alerica Anderson, Sean Andrews on second keyboard, Travis Mattison on guitar, Lea Gerdes on reeds, Evan Palmer on trombone, Charles “Chuck” Smotherson on drums and Peter Gunn on percussion.

Hagans and Juvier. Photo by Phillip Hamer.

Bethany “Beef” Gratz’s sound design is exceptional — smooth and crystal-clear, capturing not only three generations of rhythms but the ambiance of the neighborhood.

Costume Designer Brad Musgrove outfits the vivacious residents in casual, colorful summertime attire, with a few dress-up glam looks, while Sean M. Savoie’s lighting design is a striking enhancement on the day’s progression and the nighttime worries. 

Salgado’s joy regarding the material infuses the entire production, as he moves things at a vigorous pace from well-staged big numbers to intimate emotional scenes. Special mention to assistant director and associate choreographer Bryan Ernesto Menjivar and dance captain Megan Elyse Fulmer, for this show is a terrific example of teamwork and collaboration.

This uplifting show had me on my feet and humming the songs afterwards, putting the cast album back on rotation at home. If anything can change a mood, it is this 23-song collection and this exciting ensemble that aims for the heart and has us at “Hola!”

Amanda Robles as Vanessa. Photo by Phillip Hamer.

Stages St. Louis presents “In the Heights” from July 22 to Aug. 21 at the Kirkwood Performing Arts Center in Kirkwood, Mo. Performances take place in the Ross Family Theatre. For more information: www.stagesstlouis.org

Photo by Phillip Hamer

By Lynn Venhaus

Oh, what a night! Any time you can be joyfully swept up by the catchy hooks and upbeat sounds of the Four Seasons catalog is a good day.

Although the music is the big draw, the personal stories of bandmates Frankie Valli, Nick Massi, Bob Gaudio and Tommy DeVito combine for the irresistible musical “Jersey Boys.” The four lads from New Jersey’s rough-and-tumble journey through the music business is a fascinating rags-to-riches story, the quintessential American Dream tale.

In its Stages St. Louis premiere, the Tony Award winner comes alive in the Kirkwood Performing Arts Center’s intimate staging in the Ross Family Theater. The show runs through Oct. 24.

This can’t-miss combination overflows with energy and charm – and 30 songs, including their chart-topping hits “Sherry” in 1962, “Big Girls Don’t Cry,” “Who Loves You” and their last number one from 1976, “December 1963: Oh! What a Night!” The group sold 175 million records.

Directed with verve by Stages’ mainstay Michael Hamilton, with input from associate director Gayle Seay and assistant director Christopher Kale Jones, each number is vibrantly staged. Dana Lewis’ choreography is snappy and stylized.

The addition of live music at Stages, with the band perched atop of James Wolk’s grid set design, is a major plus. Music director Jeremy Jacobs kept up a peppy infectious beat with a tight band.

Wolk has efficiently used the space to set up different nooks conveying time and place, from recording studios to Las Vegas, with Sean M. Savoie’s savvy lighting choices expertly enhancing the designs, starting with streetlamps, and moving on to glitzy showbiz venues.

After it opened on Broadway in 2005, the musical became a juggernaut, winning four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design in 2006, and ran until 2017, with multiple resident companies in the U.S. and abroad, in addition to several national tours pleasing crowds for years.

“Jersey Boys” is currently the 12th longest-running Broadway show (4,642 performances in 11 years).

Stages has assembled a very capable quartet of smooth operators who mesh as a group –singing actors Christopher Kale Jones, Brent Michael DiRoma, Jason Michael Evans and Ryan Jesse are funny, appealing, good singers whose harmonizing brings a strong dynamic to the show.

Jones, as indefatigable lead singer Frankie Valli, pours his heart and soul into the role, with a comfortable falsetto and a passionate delivery. His rendition of “Can’t Take My Eyes Off You,” one of the show’s biggest moments, will give you goosebumps. He played Frankie on the first national tour.

Jason Michael Evans is an amusing Nick Massi, the quirky bass player, and he pulls off the deadpan delivery and crisp comic timing required of the role. Brent Michael DiRoma, who was so strong as Jerry in Stages’ “The Full Monty,” brings out the complexities of the swaggering troublemaker guitarist Tommy DeVito. He also had national tour experience, but in other roles.

The songwriting talents and keyboard prowess of young musical genius Bob Gaudio is charismatically portrayed by Ryan Jesse, who performed the role on Broadway and on tour.

Stages’ ensemble adroitly fills in the supporting roles: Edward Juvier is Bob Crewe and others, while Dereis Lambert, Jenna Coker-Jones, Nic Thompson, Brady Miller, Sarah Ellis, Donna Louden, Steve Isom, John Flack, Dena Digiacinto, Trevor James Berger, and Erik Keiser fluidly move the story along. The entire production has a close-knit feel.

They journey through backstage drama, in-fighting, inside show-business wheeling and dealing, and unsavory parts of personal and professional relationships.

Clever book writers Rick Elice and Oscar-winning screenwriter Marshall Brickman presented different points of view and broke the Fourth Wall, where characters talk directly to the audience. It’s a masterful touch.

The vintage outfits from several decades are crafted with flair by resident costume designer Brad Musgrove, who knows how to go way back into the time machine of early rock ‘n roll and sharply dress performers.

Because it resonates so well, “Jersey Boys” remains a blissful experience, a delightful jukebox musical with a smartly constructed book that features humor and heartache – not to mention it’s based on a remarkable true story. And those songs!

It was thrilling to be back together in a theater where you could feel the electric jolt on stage – and in the audience. I’ve seen this show, I think, seven times, and it is always a home run. Performers may be better than others, but such pizzazz. It never gets old.

Show features adult content, so viewer discretion.

“Jersey Boys” runs from Sept. 24 to Oct. 24. For information and tickets, visit www.stagesstlouis.org or call 314-821-2407.

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By Lynn Venhaus
Patsy Cline was that rare artist who made a deep connection with anyone who listened to her sing.

A similar effect happens with actresses Diana DeGarmo and Zoe Vonder Haar, who are a delightful combo of sweet and salty, smooth and sassy, silky and spirited, in the jukebox musical “Always…Patsy Cline,” now playing at Stages St. Louis through Sept. 5.

Raised in Georgia and now living in Nashville, DeGarmo has returned to her country music roots in a thoroughly engaging performance.

She sleekly inhabits Cline, who is considered the most popular female country singer in recording history. DeGarmo emulates Cline’s richly textured, emotive voice, and effortlessly delivers 27 numbers, including five with Vonder Haar, who plays Cline’s fan-turned-friend, Louise Seger.

DeGarmo, who was the runner-up on Season 3 of “American Idol” at age 16 in 2004, which Fantasia Barrino, 19, won (a total of 65 million votes were cast for both), has since pursued a music and musical theatre career, appearing on Broadway and in national tours.

Diana DeGarmo as Patsy Cline, Photographed by ProPhotoSTL

Previously in St. Louis, she was impressive as Doralee Rhodes in the first national tour of “9 to 5: The Musical,” which stopped at the Fox Theatre in February 2011, and also at the Fox in 2014 as the Narrator in the revival tour of “Joseph and the Amazing Technicolor Dreamcoat.” Her husband, Ace Young, was Joseph. (She met Young, who was on American Idol’s fifth season, when they were cast in “Hair” and have been married since 2013).

She is poised and commanding as she interprets one hit song after another, showcasing her range and control. The vocals on the ballads “Crazy,” “I Fall to Pieces” and “Sweet Dreams” are particularly lush, tugging on your heart strings.

She has fun changing tempos with the more down-home numbers, such as “Stupid Cupid” and “Shake Rattle and Roll.”

DeGarmo projects an elegance, which is enhanced by Brad Musgrove’s gorgeous vintage costume designs, and she is exquisitely lit by lighting designer Sean M. Savoie.

She has a dynamic chemistry with feisty firecracker Vonder Haar, the veteran fan favorite who has played Louise twice before. Vonder Haar won the St. Louis Theater Circle Award for Best Supporting Actress in a Musical for the first time (and would go on to win that same award for Stages’ “The Full Monty” two years later).

It’s a good match. Seger, a colorful Texas housewife, was a devoted fan who first saw Patsy on “Arthur Godfrey’s Talent Scouts” in 1957, when she won after singing “Walkin’ After Midnight.” Living near Houston, she attended the singer’s show at the Esquire Ballroom in 1961, and they connected as friends, writing letters and talking on the phone until the singer’s tragic death at age 30 in a plane crash in 1963.

Playwright Ted Swindley fashioned the interviews Seger did for the biographies “Patsy Cline: An Intimate Biography” and “Honky Tonk Angel: The Intimate Story of Patsy Cline” into the source material for his 1988 two-woman tribute revue, “Always…Patsy Cline,” which is the epitome of a crowd-pleaser. It is licensed by Cline’s family and estate.

Zoe Vonder Haar as Louise Seger, photographed by ProPhotoSTL

From Seger in “Country Weekly”: “The person inside me recognized the person who lived inside her. It was truly eerie.”

Patsy joined Louise and her friends and after the show accepted an invitation to Louise’s home for a late-night breakfast. “It was like I was living in a dream. There was Patsy Cline in my kitchen helping me fix bacon and eggs. She took her shoes off and wore an apron I gave her.

“She told me about her life, her hopes, her dreams. We discussed loves lost, loves found, loves yet to be.

“We talked about her troubled marriage and the pain she endured being away from her children. It was just two people baring their souls.

“We both sang and harmonized old Gospel songs and hillbilly tunes. We sat there and smoked and sang until 4:00 in the morning.”

Louise rushed Patsy to the airport, expecting never to hear from her again. But within two weeks, Louise received her first in what was to be many letters and phone calls they would exchange.

“I often would receive calls at 1:00 in the morning. She’d be singing in some town wanting a friend to talk to.”

Of course, this was 60 years ago, before entertainers had security, a ‘team’ and ‘people.’ It was just two women bonding at a kitchen table.

While Swindley took some poetic license, the story is true – a glamorous celebrity who grew up without privilege and her plain-spoken, music-lovin’ pal.

From the moment she sashays on to scenic designer James Wolk’s vintage 1950s-era kitchen set, Vonder Haar, a St. Louis treasure, is a funny and sincere Louise. She engages the audience as comic relief with her folksy charm, coming across like a neighbor joining you for a kaffee klatch.

This memoir, which opens the theater company’s 35th anniversary year, is the most popular show in Stages’ history. This is the third time it’s being presented, after back-to-back runs in 2013 and 2014, which demonstrates again how endearing and charming it is. It was as warmly received Aug. 11 as it was seven and eight years ago.

The cozy show, first at Stages’ former home at Kirkwood’s Community Center, then moved intact to The Playhouse at Westport Plaza, is opening their new venue, the Kirkwood Center for the Performing Arts. The Ross Family Theatre seats 529 comfortably.

Artistic Director Michael Hamilton has recreated the production, capitalizing on the actress’s strengths. The premise is simple – showing Cline singing at the Grand Old Opry and other locations, with Louise listening to her on the radio, which was a communication lifeline for people back then.

A simpler time, a touch of nostalgia, admiration for a career cut way too short, but spotlighting music that continues to warm hearts to this day.

The lively band, conducted by music director Jeremy Jacobs, who also plays the piano, is an expert blend of Steve Hitsman on steel pedal guitar, Dave Black on electric and acoustic guitars, Kevin Buckley on acoustic guitar and fiddle, Eric Grossman on bass and Joe Meyer on drums. Their tight sound is mighty in an alcove perched behind a scrim.

Original orchestrations for the band and vocals were crafted by August Eriksmoen and Tony Migliore.

While the songs take center stage, the fascinating tale of a close friendship between kindred spirits is what resonates, drawing an audience in, one who welcomes the warm embrace of harmony in music and life.

Diana DeGarmo as Patsy Cline, photographed by ProPhotoSTL

Stages St. Louis presents “Always…Patsy Cline” through Sept. 5, performance times vary, at the Ross Family Theatre inside the Kirkwood Performing Arts Center at 210 Monroe St. ASL interpreting and audio description by MindsEye will be available for the Aug. 20 show. For more information, call 314-821-2407 or visit www.StagesSt.Louis.org. Follow Stages on Facebook and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo by ProPhotoSTL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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