By Lynn Venhaus

Stephen Sondheim’s lush and richly layered score is flawlessly presented by music director Leah Schultz and an extraordinary 12-piece orchestra, with touching ensemble harmonies to match, setting apart Stray Dog Theatre’s fresh and clever “Into the Woods.”

Since the musical was first produced in 1986 before going to Broadway the next year, audiences have found new ways to see the message behind this beguiling gem: No one is alone.

 Starting with its deceptively simple concept featuring familiar fairy tale characters interacting, the second act swerves into much darker territory. For they are desperately seeking happily ever after, but not transforming their lives until they change their selfish, foolish, and childish ways. But eventually, hope emerges after harsh occurrences.

The roster from Brothers Grimm and Charles Perrault’s centuries-old literary works includes Little Red Riding Hood, Cinderella, Jack and the Beanstalk, Rapunzel, and the childless couple from Thumbelina.

The themes involving parents and children touch on responsibility, morality, and the consequences of wishes to beautiful, emotional effect. (I expect to get misty-eyed in multiple scenes.)

“Nice is different than good.” It is a very grown-up tale that becomes more profound with each viewing and the passage of time, yet its structure isn’t predictable. The complexities of this insightful tale resonate 26 years later, which has been crucial to this show’s staying power.

That’s the genius of Sondheim’s collaboration with book writer and director James Lapine. They both won Tony’s – for score and book – but that year the top prize went to “The Phantom of the Opera.”

(If we’re mentioning prizes, the 2002 revival won the Tony for Best Musical Revival, a London West End revival in 2010 won the Olivier Award, and the most recent Encores! revival in 2022 that was so popular it extended its run multiple times, closing on Jan. 8, won the Grammy Award for Best Musical Theatre Album – and expect Tony nominations this spring.) Clearly a show that gets better with age, as long as the humanity is displayed.

Before Disney revised fairy tales, many were dark, and upon second glance, it’s not all cuddly forest animals and talking birds. However, director Justin Been recognized the whimsy and the playfulness, which he focuses on, with some snark. That helps considerably on the small intimate stage – yet he does not gloss over the less-than-merry, adding that necessary depth.

The library setting, with well-placed bookshelves, designed by Been and Dominic Emery, gives it a different perspective. The program lists the place as “an old library on the fringes of our memory.” And the time – “Maybe yesterday, could be tomorrow.” Been’s staging adroitly moves the characters physically to convey their power plays. And they leap off the pages, as this cast has no trouble breaking the fourth wall.

The narrator (Jon Hey) introduces four groups of characters – Cinderella (Maggie Nold) wishes to go to the festival, Jack (Shannon Lampkin Campbell) wishes that his cow Milky White would give milk, a baker and his wife (Tyler Luetkenhaus and Margaret Stall) want to have a baby, and Little Red Riding Hood (Grace Langford), wants to visit her grandmother.  

The baker’s neighbor is a witch (Jennelle Gilreath Owens) who has been pulling the strings from bitterness. A curse she cast has made them infertile because his father stole her vegetables, including magic beans. Her own mother cursed her, making her old and hideous. In turn, she took the baker’s father’s child, Rapunzel (Dawn Schmid).

The Witch makes a deal – bring her four ingredients “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” in three days’ time – and she’ll reverse it.

And we’re off “Into the Woods” on the rugged journey, where there is more chicanery afoot. Nobody is who they appear to be. Will they find out if what they’ve always wished for is what they truly want? They will lie, cheat, and steal to achieve their goals, but when the going gets tough, realize they must work together. The characters learn that they must carry each other, or the show will not resonate as deeply.

The 14-member cast fluidly follows its course, with some roles typically doubled. Most display crisp comic timing and strong vocals at the same time, although some characters aren’t that amusing (Jack’s mom, the tragic Rapunzel, and the rather generic roles of Granny and Cinderella’s Mother).

The Wolf, Little Red. Photo by John Lamb

As the petulant Little Red Riding Hood, Grace Langford brings out the girl’s brattiness, and then learns some things: “I Know Things Now.”

The ever reliable and assured Jon Hey plays both the Narrator and the Mysterious Man, who slithers out of owning up to responsibility. And his occasional jig must be a nod to Rumplestiltskin.

This time, though, Cinderella’s Prince and the Wolf, are played by separate characters. Agile Drew Mizell and animated Sarah Polizzi humorously step into the princes (Cinderella’s and Rapunzel’s) and as Cinderella’s awful stepsisters Florinda and Lucinda. It may be stunt-casting, but it works.

In fact, the broader the comedy, the more fun the performer has. It’s a treat to see comical Michael Wells return to the Tower Grove Abbey stage in multiple roles, for he is deliciously wicked as the Wolf (“Hello, Little Girl”), then portray Cinderella’s father, Prince’s steward and make hilarious sound effects as the crying baby.

The splendid Jennelle Gilreath Owens takes a more cynical, less menacing approach to the diva role of the Witch, which suits her, delivering a disconcerting “Last Midnight” and dynamic “Children Will Listen.” Her dialogue stings – especially such memorable lines as “I’m not good; I’m not nice; I’m just right” and “I was just trying to be a good mother.”

Other standouts include Tyler Luetkenhaus and Margaret Stall as the Baker and Baker’s Wife, both making noteworthy debuts. They breezily sail through “It Takes Two,” while their signatures “Moments in the Woods” and “No One Is Alone” are superb.

Bringing out the baker’s flaws, Luetkenhaus adds a layer of deceit that’s not always there, and you sense that the couple is truly working through their issues as the characters. It’s not always as superficial as some of the other characterizations. They delve into the hearts and minds.

Shannon Lampkin Campbell is a spunky yet naive Jack the Giant Killer, robust in “Giants in the Sky.” Been has moved the physical confrontation between the giant’s wife, steward and Jack’s mom (Laura Lee Kyro) offstage, which accounts for less fireworks. Yet, Milky White is as funny as ever, with its goofy, squatty, small appearance.

Photo by John Lamb

Just as she showed in “A Little Night Music,” Madeline Black has a regal bearing and her speech pattern accents the haughtiness of Cinderella’s stepmother. Granny and Cinderella’s mother are handled competently by Jennifer Clodi, who also voices the frightening Giant and his livid Wife.

The princess roles are capably filled by Dawn Schmid as distraught Rapunzel and Maggie Nold as tormented Cinderella, bringing out their characters’ insecurities.

The ensemble appears to be having fun together and has the silky-smooth voices to meet their major moments. It’s such a pleasure to hear the sublime Sondheim sung as intended.

Schultz has conducted the orchestrations by Jonathan Tunick with expert finesse, nimbly leading Marie Brown and Paul Rueschhoff on cello (alternating performances), Mo Carr on trumpet, Chuck Evans on viola, Steve Frisbee on violin, John Gerdes on horn, Lea Gerdes on flute, piccolo and reed, Mike Hanson on percussion, Ian Hayden on reed, and M. Joshua Ryan on bass through Sondheim’s recurring motifs. They are strategically placed among the bookshelves, a savvy touch.

Sarah Gene Dowling’s colorful wig design enhances the fantasy storybook world, pairing well with Eileen Engel’s character-appropriate costume design.

Jacob Baxley’s sound design is crystal clear, and Tyler Duenow’s lighting design effectively sets the moods.

And because the songs are so exquisitely rendered, moments will linger. The second act is aural perfection, connecting the story threads into a magical experience that is awe-inspiring.

Photo by John Lamb

Stray Dog Theatre presents “Into the Woods” March 30 – April 22 at 8 p.m. Thursdays through Saturdays, with additional performances at 2 p.m. on Sunday, April 2 and Sunday, April 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking. Additional information and ticket reservations: Call (314) 865-1995. Visit www.straydogtheatre.org.

The 3/31, 4/7, 4/14, and 4/21 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Audio Description: The 4/16 performance will be Audio Described by MindsEye. Audio Described performances are suitable for audience members who are blind or partially sighted. Please note that if you are interested in participating in the audio description of this performance you will need to call the Box Office to order your ticket. Please announce that you would like to reserve a pair of headphones for the Audio Description.

Jack, Baker, Cinderella. Photo by John Lamb

By Lynn Venhaus
With magic to do and the ‘Lou turning its lonely eyes to them, the Muny blazed another trail Monday with its introduction of “The Muny Summer Variety Hour Live!”

The first episode was a nifty package of show tunes, personalities, bouncy sing-a-longs, behind the scenes with dedicated staff and several special live moments, all shared on social media in real time by an audience spanning coast to coast. (Latest figures: 25,000 tuned in!).

Oh, what a treat to be reminded of what makes the Municipal Opera so special for 102 years – and not only because it is the oldest and largest outdoor theater in the country, but because it is “our Muny,” right here in St. Louis. And summer isn’t really summer until the Muny opens.

Two of our hometown’s greatest showmen – Lara Teeter and Ken Page – entertained us in royal fashion, with Tony nominee Lara recreating a vintage musical dance he called “Take Me Away!” as his fleet feet took him throughout the great expanse of the Muny grounds one sunny day. He was joined by his son Charlie in the segment.

And live, from the Culver Pavilion, with four musicians socially distanced, the regal Ken Page sang “Memory,” the signature song from “Cats,” in a showstopper that was one for the ages. Night had fallen, and this stage legend gave an emotional powerful rendition. Chills. Leaky eyes.

Add it to the countless memorable Muny moments we have experienced over the years, even though it was remote. We all felt it sitting in our living rooms.

When host Mike Isaacson, Muny executive producer and artistic director, began this maiden voyage from backstage, he said: “We are together in real time.” He is always mindful of being entrusted with the Muny legacy.

I literally burst into tears. I didn’t realize how badly we, well me, needed such a pick-me-up. Oh sure, I have been a realist as to the why, but still wistful: “This would be opening night at the Muny,” I said to myself June 15, remembering the rainbow that came out after intense rainstorm right before the opening of ‘The Wizard of Oz” in 2016.

Tammy Duensing and I at the Muny 2017

And there are those Facebook memories that pop up, recalling how I felt about a production or selfies with my frequent Plus One, Tammy Duensing, whose belting rendition of the national anthem always gets compliments from the people in the seats around us.

In a year that is all about Plan B while trying to be safe and adapt to unprecedented times during a public health crisis, this savvy move to online specials was a ‘next best thing’ scenario, a balm for disappointment. And spoiler alert – this starburst of a show is longer than an hour (thank you!) and it has a 7-minute intermission. What a grand night for singing! And dancing. And laughs.

What a jolly time the “Munywood Squares” trivia interlude was, hosted by the outstanding director Gordon Greenberg, with such good sports as E. Faye Butler, Ann Harada, Vicki Lewis, John Scherer, Christopher Sieber, Steve Rosen, Raymond J. Lee, all Muny favorites. I was able to see contestants staffer Jaclyn Sales and Leon Dobkowski for the first time, who has designed some of the best costumes in recent years (Tarzan! The Wiz! Hairspray! Mamma Mia! Seussical!) and on the panel Jeffrey Schecter (Schecky) when he is not a whirling dervish being Scuttle or Cosmo or filling in as Pseudolus in “Forum.” And J. Harrison Ghee, who was so memorable as Lola in “Kinky Boots” last summer, looked like a million dollars. No signs of Quarantine 15.

E Faye Butler in “The Wiz.” Photo by Phillip Hamer

Because the world turned upside down six months ago when the coronavirus spread became a global pandemic, life as we know it has changed in nearly every aspect. “The new normal” means live theater is on hold, for the most part, and that meant postponing the Muny’s 102nd season line-up to 2021. While the extended break is another sad sign of many life changes in 2020, that didn’t stop the creative minds churning to see how little bits of summer tradition could be rescued.

Online programming became the go-to, and the Cast Party reunion gatherings on Monday were a wonderful opportunity to connect with people who have given me a great deal of joy that is etched in my memories. The Muny TV YouTube channel is a treasure trove of spectacular dance moments and lustrous voices on a warm summer night. They brought us the Muny Magic concerts from the Sheldon, which were a showcase for the incredible talent that graces the Muny stage, and exciting show/cast announcements the past few years.

Using playful retro colors and designs, this “Summer Variety Hour” throwback to 1970s staple TV programs was a merry way to celebrate the good times we share with family and friends – only they used modern technology to make it happen. Zoom and other virtual platforms have been our saving grace during the lockdown.

Through the Brady Bunch grid of the Zoom, The buoyant Muny Kids sang “Happiness” from “You’re a Good Man, Charlie Brown,” demonstrating the exuberance of young talent. Not to be outdone, the gifted and energetic performers, often seen in the ensemble, under the helm of the Colby Dezelick Dancers, came together from their home spaces, to perform a lively “We Go Together” from “Grease.” Colby’s been a fun fixture on the Muny stage – last seen as Angie the Ox in “Guys and Dolls” and the doctor in “Matilda” in ’19.

Muny veterans Jen Cody and Hunter Foster, who have been married for 23 years, performed “The Doctor Is In,” from “You’re a Good Man, Charlie Brown.” Scenes of their past work – including Jen as the Grandma in “The Addams Family” with Puggsley (Michael Harp) in one of that show’s funniest exchanges, and Hunter in a new production of “Pirates!” were shown.

Of course, you couldn’t have a Muny show without displaying the exquisite voices that fill the back rows of the 11,000 seats, and Emma Degerstedt as Ariel certainly did in the inspired “The Little Mermaid” in 2017, one of my favorite productions in the past decade. Her “Fathoms Below/Where I Belong” evoked my water-colored memories of a sweet shimmering show. It was lovely to see the lithe Muny ensemble dancers as well.

Ashley Brown, a Muny player during her college years who originated the role of “Mary Poppins” on Broadway, has a glorious voice, as exemplified in “The Sound of Music” and “Cinderella” at the Muny. She sang “Climb Ev’ry Mountain” from her mother’s home in Florida, as her infant daughter napped.

Through archived clips, we saw a rousing “A Brand New Day” from the resurgent “The Wiz” in 2018, featuring Danyel Fulton as Dorothy, Jared Grimes as the Scarecrow, James T. Lane as the Tin Man and Darius de Haas as the Cowardly Lion. And “Lida Rose” from “The Music Man” with the Barbershop Quartet of Ben Nordstrom, Adam Halpin, J.D. Daw and Joseph Torello harmonizing beautifully.

Mamie Parris and Matt Bogart in “Paint Your Wagon” Photo by Phillip Hamer

To close, 18 cast members of last summer’s reimagined robust “Paint Your Wagon!” sang a vigorous “How Can I Wait?” from all over America, including leads Matt Bogart and Mamie Parris, and supporting players Omar Lopez-Cepero, Bobby Conte Thornton, Maya Keleher, Allan K. Washington, Andrew Kober, Austin Ku, Raymond J. Lee, Rodney Hicks and others. What a perfect song to end an enchanted evening with hope and love. (And it knocked the score of “Hamilton,” which has been playing on constant loop in my brain, since July 3, out and became my new ear worm. Go to Muny TV to hear Mamie Parris in the show.)

This monumental effort to pull all these segments together is applause-worthy – and the hours it took to plan and executive I can only imagine. Everyone was in high spirits – connecting us all in a new, and welcome, way.

If you missed the first one, you have one more opportunity to see it, for Episode 1 will be re-broadcast at 8:15 p.m. Thursday, July 23. There will be four more episodes shown every Monday, then repeated Thursday. On Wednesdays, they will announce the plans for the next episode on social media.

I took this photo during the Birthday Bash, when we could go on stage. May 2018.

We are not sitting under the stars in Forest Park, but Munygoers share a special bond, and this endeavor was a unique experience that brought back fond memories. Like many of you, I have a lifetime of them, starting when my grandma took me when I was 10, a poor kid from a big family in Belleville, watching live theater in wide-eyed wonder. Theater would become a major part of my life, and my appreciation began across the river on those warm summer nights.

One of my favorite things about Episode 1 was how they highlighted the many employees who make Muny nights happen by their tremendous commitment to this outdoor slice of theater heaven. There is such passion in their work. I enjoyed the back story of triple-threat Corbin Bleu, as Don Lockwood in the splendid “Singin’ in the Rain” in 2018, getting to dance in the rain for the first time in his rubber shoes, as told by production manager Tracy Utzmyers. And for technical director Tim McDonald explaining how they make the rain happen for that show, and the previous two, in 2005 and 2011.

And my favorite thing about the Muny since 2009, when a Belleville News-Democrat editor asked me to review the season and I enthusiastically said yes, is the possibilities that a new opening night brings seven times a summer. Will they pull off a premiere or classic with uncommon flair? Will everyone rise to the occasion? What will be the night’s “Wow” moments? I remain in awe of the talent and sweat equity it takes to put on a show, and I am enriched by the storytelling and the performers who connect with me, no matter where I am sitting.

And some have become familiar faces that I look forward to seeking out on stage, and I am grateful for these opportunities to see where the directors’ and production team vision takes me. It’s a all about a community coming together in collaboration – that’s what live theater is and what we miss. (That, and the hugs!).

And thanks to some shining moments Monday night, I was transported to a happy place — and just being able to think about the possibilities ahead, is reason to smile. This is only intermission.

Take care. Stay safe. Be strong.

And thank you Muny and your sponsors, for serving us a refreshing summer tonic that was part nostalgia and part pizzazz, and all heart. It might not be perfect – what live event is? – but it’s important.