By Lynn Venhaus
Sometimes, we see magic happen under the stars in Forest Park. This summer, we saw a different kind of Muny Magic – but enchanted evenings nonetheless.

It took a global pandemic for the Muny to achieve its greatest magic trick ever – they transformed our isolation into a community through a live variety special.

And they did it with such hard work and passion. Using modern technology, incredibly creative professionals and tip-top talent from coast to coast, it was a huge undertaking, which was obvious to anyone who tuned in for even a fraction of an episode.

For the fifth Summer Variety Hour Live! on Monday, Aug. 17, the Muny supersized the presentation and it was a splashy grand finale, tugging on our heartstrings in a big but intimate way. So much genuine emotion in new works, in memories and archival footage that reminded us how special our outdoor theatre is, the largest and oldest one in the country.

Seeing Muny mainstay Beth Leavel perform her showstopper “Rose’s Turn” from “Gypsy” (2018) with the view from the wings! My heart was bursting. Tari Kelly leading the ebullient “Forget About the Boy” in “Thoroughly Modern Millie” (2012) and one of the all-time great musical theater numbers, ‘Sit Down, You’re Rocking the Boat” from last year’s “Guys and Dolls,” with the surprise appearance by Kennedy Holmes to hit those high notes. I was grinning ear to ear. The Mission: Feel-Good was on!

Zoe Vonder Haar, Orville Mendoza and Kennedy Holmes in “Guys and Dolls” – Photo by Phillip Hamer

For five episodes, the Muny reinvigorated its treasure trove of tradition, 102 years strong, to provide virtual entertainment that filled the void of a cancelled season. The collaborative spirit on display was inspiring.

Let’s face it, the summer has been dismal, especially with rising coronavirus cases in our bi-state region. More things shut down and were postponed in a never-ending stream of disappointments in 2020. But as a gift to “the Muny family,” the management and creative teams conceived a way to connect us. We all felt it, whether tuning in on Monday or catching the rerun on Thursday from July 20 to Aug. 17 as the evening twilight faded.

For a brief shining moment, it seemed like old times. The 8:15 p.m. start was a constant to look forward to in an uncertain year during an unprecedented public health crisis. With Executive Producer and Artistic Director Mike Isaacson’s bold and unique concept, and his ability to attract the talent he did, each episode was a captivating mix of tempo and tone, under the direction of multi-talented Michael Baxter.

Colby Dezelick

What an emotional palette we experienced, touching on why we love the Muny, from veteran performer Colby Dezelick’s touching original song, “I Will Be Your Home” — with a behind-the-scenes video love letter dedicated to his Muny family, to sweet Jenny Powers describing her feelings about flying above the audience as Mary Poppins in 2013, and how the staff took such good care of her. Straight to the heart.

And while seeing up-and-coming talent do what they do best is always enjoyable, feeling their sheer joy in performing is blissful. Watching St. Louis native and Broadway performer Richard Riaz Yoder use his exceptional talents to dance “Broadway Melody” using the Muny as his canvas – tap-dancing for a time in sneakers! – was breathtaking.

So was jubilant Jack Sippel’s choreographed dance number, the cheery “You Can’t Stop the Beat!” from “Hairspray,” which was performed by 19 Muny alums and sung by Nasia Thomas, Muny vet and Broadway performer in “Beautiful,” “Ain’t Too Proud to Beg” and soon, the revival of “Caroline, or Change.”

In the 2017 production of “A Chorus Line,” director-choreographer Denis Jones used young versions of the dancers in certain scenes, to emphasize their dreams and drive. On Monday, they showed the wistful “At the Ballet” number, which was performed by Holly Ann Butler as Sheila, Bronwyn Tarboton as Maggie and Caley Crawford as Bebe, with little ballerinas in view.

As lump-in-the-throat as that song is, nothing can match the show’s curtain call for its spectacular finish, and they recreated it for The Muny Centennial Gala, complete with fireworks. Such a thrilling moment to revisit.

The energy, enthusiasm and talent of the Muny Teens and Kids each episode was another heart-tugger. Because six teens were graduating, they had a special senior sendoff: Michael Harp, Cate Phillips, Michael Lee Jr., Fiona Scott, Jack Deters and Caitlin Chau sang “Our Time” from Stephen Sondheim’s “Merrily We Roll Along.” I have seen these kids grow up. Misty eyes.

“Worlds to change, and worlds to win Our turn, coming through.”

The Muny Kids’ adorable and confident youngsters mashed up “Come Alive” from the film “The Greatest Showman,” with songs by Oscar and Tony winners Benj Pasek and Justin Paul, with “A Little More Homework” from Jason Robert Brown’s “13.”

For comic relief, there was the fun “Munywood Squares” game show, good sports all, and jolly John Tartaglia reprising his Murray the Muny Raccoon schtick, making Isaacson laugh.

Mike Isaacson

Isaacson, who has been the visionary executive producer and artistic director since the 2012 season, named to the post in 2010, cares deeply about the Muny’s place in historic context and local lore, and with his Broadway experience, he’s able to give us quality casts, teams and a really dedicated staff.

Clearly wearing his heart on his sleeve as this summer’s host, he gave us something that we could enjoy on many levels and for many reasons. Isaacson has multiple Tony Awards and 24 Broadway shows and national tours to his credit. He makes things happen in a way that elevates the Muny in stature, boosting our civic pride, but also gains respect in the larger theatrical world. His reverence for the art form is obvious, and he has shown us, time and again, the possibilities of what the Muny can accomplish.

That connection that he spoke of, all the people who came together without hesitation, all the selfless devotion, a renewed sense of purpose – it felt very real and elicited a teary farewell.

I think, like “Field of Dreams,” Forest Park and the Muny are mystical places. After all, musical theatre is a constant in our lives, like baseball. We want to believe that in a time of everything turned upside down, of norms being shattered, that there exists a place we feel safe, happy, loved. That sharing theater and music brings us together like no other art form.

So, the Muny Variety Hour gave us the opportunity to be in the company of performers who love the Muny like it is a family, a home. That theme was repeated over and over. And that’s what we are craving in these anxious times.

And in Colby’s song: “When it’s dark, I’ll be the light.”

Beth Malone

Another almost spiritual song was the centuries-old tune and Muny season-ender tradition “Auld Lang Syne,” sung by Beth Malone, who accompanied herself on acoustic guitar. Beautiful and bittersweet.

The ties that bind us, recalling happy golden days of yore. “Meet Me in St. Louis” appeared again in the line-up – of course. Yes, it’s schmaltzy, but its inclusion of the 1904 World’s Fair, which has impacted our lives and region ever since those seven months, and the work preceding it, make it a nostalgic chestnut.

Married couple and Muny performers Erin Dilly and Stephen R. Buntrock sang a lovely duet, “You and I,” from their home. They appeared as Mr. and Mrs. Smith in the 2018 production, the Centennial season finale.

Maggie Kuntz, a Muny vet and two-time winner of the Best Actress Award from the St. Louis High School Musical Theatre Awards, sang the iconic “The Trolley Song” live from under the Culver Pavilion with polish and panache.

Dan De Luca and Emily Walton in “Meet Me in St. Louis” Photo by Phillip Hamer

And then in the sentimental sweet spot, they played “The Skinker’s Swamp” picnic scene featuring Emily Walton as Esther and Dan DeLuca as John Truitt. The video projection was The Palace of Fine Arts, now the St. Louis Art Museum, under construction in a muddy field.

How many times have we been in the shadow of our treasured landmarks?

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, the Muny and Forest Park remain crown jewels that we cherish.

And the Summer Variety Hour Live! reinforced our past, present and future. I’ll meet you at the Muny next summer. Looking forward to greeting the Muny family once more. “Through the years, we’ll always be together, if the fates allow.”

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.