After a record-breaking online summer season, The Muny announced today Muny Holiday Magic. A special four-day holiday video series, Muny Holiday Magic will feature performances from Muny family across the country, including The Muny Kids and Teens. Each free pre-recorded performance will air daily at 12:00 p.m. CST Dec. 21 – 25 via The Muny’s social media platforms, including Facebook, Instagram, Twitter and YouTube.
The Muny Holiday Magic schedule is:
Dec. 21 – Members of The Muny Kids and Teens performing “Underneath the Tree.” Dec. 22 – Members of The Muny Kids and Teens performing “The Chanukah Song (We Are Lights).” Dec. 23 – A medley of “The 12 Days of Quarantine” and “Have Yourself a Merry Little Christmas” featuring Broadway and The Muny’s Jason Gotay, Mamie Parris, Nasia Thomas, St. Louis favorites and more than 30 Muny family from coast to coast.
“The 12 Days of Quarantine” features original lyrics written by Gordon Greenberg and Steve Rosen and stars Muny 2020 Summer Variety Hour Live! favorites Maya Bowles, Stephen Buntrock and Erin Dilly with their family, Beth Crandall, Chloe O. Davis, Colby Dezelick, Emma Gassett, Jason Gotay, Matt Kunkel, James T. Lane, Raymond J. Lee, Mamie Parris, Tony Scandora, Trevor Michael Schmidt, Jack Sippel, Blakely Slaybaugh, Gabi Stapula and Nasia Thomas, with music direction by Michael Horsley, orchestrations and arrangements by Andrew Graham, video editing by Matthew Young and many more surprises.
“Have Yourself a Merry Little Christmas,” The Muny’s take on the Meet Me In St. Louis classic, stars St. Louis favorites Leah Berry, Patrick Blindauer, Duane Martin Foster, Zoe Vonder Haar, Julie Hanson, Kennedy Holmes, Kamal Lado, Ben Nordstrom, Rich Pisarkiewicz and April Strelinger, with music direction and arrangements by Michael Horsley, video editing by Matthew Young, sound design by Bill Buzan and video captured by Switch.
Dec. 24 – Broadway, West End and Muny star Ken Page reading the timeless holiday classic The Night Before Christmas. “The voice” of not only The Muny, but also Oogie Boogie in The Nightmare Before Christmas, Ken has been a Muny staple in over 40 productions.
On Dec. 25, a compilation of the four shows will air as a complete package. Each holiday video will be available until midnight Dec. 31, 2020.
To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter. ###
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 102 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
By Lynn Venhaus
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!
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
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
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
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,
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.
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
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
And in Colby’s song: “When it’s dark, I’ll be the light.”
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.
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.
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.
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.
times have we been in the shadow of our treasured landmarks?
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
So, the Muny
and Forest Park remain crown jewels that we cherish.
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 Among the many thousands of people tuning in to the Muny’s Summer Variety Hour Live! on Monday nights, a health care professional told Mike Isaacson, the executive producer and artistic director who conceived this musical mash-up, that the show has saved her sanity and her summer. I second that.
If this summer were a mix-tape, mine would include all the magical
Muny-ized showtunes, “Hamilton” (just because) and the TwinstheNewTrend (just
watch). This bittersweet blend has become Operation: Summer Salvation. We
didn’t know how desperately we needed this balm, like a cool breeze on an
unbearably muggy day (or a Lemon Freeze under a Muny fan).
Why else would tears be streaming down my face as the
sublime Kennedy Holmes beautifully sang “Children Will Listen” live under the
Culver Pavilion, with Tali Allen on piano on Aug. 10, the fourth episode? Holmes,
who broke out as Little Inez in 2015’s “Hairspray,” went on to become a phenom
on “The Voice,” with a fourth-place finish. (She was robbed!). She remains a
loyal Muny Teen and, as the soloist Monday, displayed a stunning maturity.
Under Isaacson – who loves Stephen Sondheim as much as I do
– we were able to witness an extraordinary “Into the Woods” in 2015, and as I
teared up at least five times during the Muny production back then, watching
Tony winner Heather Headley sing “Children Will Listen” was the highlight among
many. Leave it to a young woman, Kennedy, to remind us:
Children will look to you
For which way to turn
To learn what to be
Careful before you say
“Listen to me”
From a musical stressing the reality behind the
make-believe, Monday’s rendition took on a greater poignancy. And being able to
see Kennedy’s growth and blossoming as a future major star was another unforgettable
In a crazy world of scary happenings and headlines, we have been comforted by
the talent of this joyful, faithful and hopeful ‘family’ of entertainers and the
time-honored tradition of the Municipal Opera, now 102 years old, for four
shows so far. Every superbly mixed show has elicited a rollercoaster of
emotions as we take our seat, not in the 11,000 open-air theater, on a warm
summer night, but instead before our televisions and computer screens, tissues
at the ready.
The anticipation is matched by the exquisite renditions,
whether live or on tape, but the added bonus has been seeing the work of such creative
spirits – putting together all those filmed clips and using Zoom technology.
And then you have the sunny optimism of those Muny Kids and Teens, and well,
It feels real, even if it is make-believe. Somehow, through
cyberspace, we feel connected. And we need it, apparently, for more than
140,000 people tuned in to the first three.
“Through the years, we’ll always be together, if the fates
allow” — little did we know how much the lyrics of “Meet Me in St. Louis”
would mean during a pandemic, “right here.” So, of course, this cast from the
Centennial presentation in 2018 would be this week’s heartwarming sing-a-long
The sentimentality showed up in waves during the
penultimate super-duper deluxe show, despite a heavy thunderstorm in the region
that caused uprooted trees, power outages and flash flooding. Yet, here was
Mike, underneath the stage, guiding us through another enchanted evening. We
weren’t huddled together with our umbrellas, but nonetheless united.
And the urgency of underlying theme “Gotta Dance!” saved
the day with some fresh, fantastic choreography.
The unbridled happiness of tap dancers, near and far, took
us from stages to home spaces in “Tap Your Troubles Away.” Conceived and
choreographed by Muny Resident and Teen Choreographer Katie Johannigman, this was
a jolt of jubilation that had me grinning ear to ear, featuring alums from the
past decade. And then Jack Sippel’s moving contemporary dance piece,
“Speechless” featuring Muny Teens. Breath-taking! A St. Louis native, Broadway
performer and Muny alum, Sippel is currently working on the Netflix version of
“The Prom,” as he was the dance captain of the Broadway show.
“West Side Story” is my all-time favorite musical, and the Jerome Robbins choreography is swoon-worthy, so to be treated to the goosebumps-inducing “Dance at the Gym” from “Jerome Robbins’ Broadway” in 2018 was a treat. The Muny’s 2013 production of “West Side Story” will always stand as one of the best ever, and the West Side Story suite from the Robbins’ greatest-hits compilation reminded me why the show is timeless 63 years later.
The archival footage included “Jersey Boys,” the sensational national premiere outside Broadway/national tours in 2018, and the splendid re-imagining of “The Unsinkable Molly Brown” with life force Beth Malone from 2017. Plus, one of the best “Annie” shows I’ve ever seen – “NYC”! — in 2018 helmed by the one-of-a-kind John Tartaglia.
It would not be a Muny summer without the exceptional Tartaglia, and he delivered the night’s best laugh-out-loud surprise – appearing as Murray the Muny Raccoon,” the pesky scene-stealer who waddled on stage during ‘The Addams Family” and is missing his scraps and his adoring fans. The versatile performer has memorably played The Cat in the Hat in “Seussical,” the Genie in “Aladdin” and won the St. Louis Theater Circle Award for Supporting Actor in a Musical for playing Hysterium in “A Funny Thing Happened on the Way to the Forum,” in 2017, in addition to his directing work. He started as a puppeteer on “Sesame Street,” and went on to “Avenue Q” and playing Pinocchio in “Shrek.”
For the weekly Couple Duo, we had not one but two. Real-life
couple Jason Gotay (Jack! Prince Eric! Prince Charming (well, Topher) in
Cinderella!) and Muny regular Michael Hartung charmingly performed “Song on the
Sand” from “La Cage aux Folles.”
Then the adorable power couple Jenny Powers and Matt Cavenaugh – who wowed us at the Sheldon a few years ago – brought baby daughter Rose with them to reprise “New Words,” a song by composer Maury Yeston. It’s not from a show, but he has composed “Titanic,” “Nine,” “Grand Hotel” among others. Waterworks.
This multi-tissue moment brought the house down, so to
speak. All across the nation, we collectively burst into tears while they sang
about “the moon, stars and love.”
Wait there was more! “Do-Re-Mi,” a special song-and-dance
performance by those effusive Muny Kids and Teens. And those indomitable teens
sang a bouncy rendition from “It Roars” from “Mean Girls.”
The Munywood Squares was another fun segment, and behind
the scenes is always illuminating. We heard about the Clydesdales Ace and
Deuce, and seeing the excitement of that experience from the creative anecdotes
was a nice perk.
One more chance to see this show Thursday at 8:15 p.m. on
Muny TV. For more information: muny.org/varietyhour/
And then Monday will be the swan song. Supersized (and with the traditional “Auld Lang Syne” too). Aug. 17, 8:15 p.m.
I’m so glad we’ve had this time together, just to have a
laugh or sing a song…
By Lynn Venhaus
Broadway’s glorious past merges with The Muny’s dazzling state-of-the-art
present in “Guys and Dolls” for a sensational start to the second century that
bodes well for the future.
What an ideal show to show off the new stage and other upgrades made possible
through the Muny’s Second Century Campaign!
As impressive as the changes set out to be, all the spiffy
new elements made this endearing show sparkle – the redesigned stage allowed
the action flow smoothly, the sound was crystal clear (designers John Shivers
and David Patridge) and the lighting systems’ enhanced illumination by designer
Rob Denton and the expanded LED screens, with video designs by Nathan W.
Scheuer, were eye-catching. Director Gordon Greenberg was able to incorporate
the new downstage lifts into scenes. Overall, an A+ effort.
Besides the successful revelation, the weather was
tailor-made for the 101st season opener June 10. A crowd of 7,677 enjoyed
one of Broadway’s most delightful golden-age classics, filled with Frank
Loesser’s peppy and hummable musical numbers, sweet romance, and colorful
characters based on Damon Runyon’s short stories and given zip by the late
comedy writer Abe Burrows.
“Take Back Your Mink”Jaunty and joyous, “Guys and Dolls” combines hustling high rollers and honorable holy rollers in the bustle of the fabled Times Square, their intentions clashing when the gamblers want to be lucky and the evangelists want to save souls. Paul Tate dePoo III’s vibrant scenic design of neon signage and advertisements reflects a flashy bright lights, big city vibe that pops in every scene.
Once dubbed “the perfect musical comedy” by a critic and I
wholeheartedly agree, the Muny proved how evergreen the show can be, now in its
eighth time here and 15 years since the last one. The talent made sure this
first bicentennial production was a crowning achievement by integrating all the
new-fangled improvements seamlessly.
Zoe Vonder Haar, Orville Mendoza, Kennedy Holmes. Photo by Philip Hamer.Greenberg bathed this frothy concoction in the warm glow of
nostalgia while emphasizing the humor and elevating the romance. The high-spirited
cast injected it with zing through crisp and snappy movements, whether it was a
sharply choreographed number – those elastic dancers in “Crapshooters Dance”
and “Havana” made it fun — or the wise-guys singing Nathan Detroit’s praises
in “The Oldest Established.”
First-time Muny co-choreographers Lorin Latarro and Patrick O’Neill intertwined
different styles with energy and precision, and Music Director Brad Haak freshened
the songs, with arrangements by Larry Blank. Musicians were under a covered pit
for the first time, carrying the upbeat tempos well.
The creative team focused on the original 1950 roots and the rock-solid cast cheerfully
immersed themselves in this idiosyncratic world. One must accept its now dated
story as a period piece to fully appreciate the relationships. Calling women
“tomatoes” and “broads” is no longer acceptable, and no one in contemporary
times would, but this is from a bygone era – and displays how different men and
women roles were back then.
“Guys and Dolls” took Damon Runyon stories about New York
City from the 1920s and 30s, namely “The Idyll of Sarah Brown” and “Blood
Pressure,” with a nod to “Pick the Winner,” and radio comedy writer Abe Burrows
boosted Jo Swerling’s original script by giving the distinctive characters
Runyon’s unique vernacular, a mix of formal speech with slang. Damon, a
newspaperman and sportswriter, favored writing dialogue for gamblers, hustlers,
actors and gangsters.
However, this Runyonland appears more innocent. Detroit, the hapless but lovable mug behind the biggest crap game in NYC, keeps his adorable girlfriend Adelaide waiting for him to marry her after 14 years. The prim and proper Sarah Brown falls in love with the suave Sky Masterson in an opposites-attract storyline.
The script makes all of this seem logical and then throws in merry men named Benny Southstreet and Rusty Charlie, and it’s a surefire winner, especially with Kevin Cahoon hilarious as Harry the Horse and so is Brendan Averett as Big Jule.
From the first bars of the opening number “Fugue for
Tinhorns” to “The Happy Ending” finale, this cast connects with each other, and
ultimately, the audience.
As the sophisticated ladies man Sky Masterson, Ben Davis is
a welcome presence on the Muny stage, continuing his successful run of classic
male leads after Curly in “Oklahoma!” and Emile in “South Pacific.” He has
palpable chemistry with Brittany Bradford, who is one of the best Sarah Browns
I’ve ever seen (sometimes, the actors playing these different types don’t gel,
but this pair does). Their clashing couple delivers velvety-smooth ballads.
Bradford is quite a special talent, genuine in acting and a
splendid soprano. Her breakout number, “If I Were a Bell,” shows her
versatility. Their “I’ve Never Been in Love Before” superbly blends their
voices, another standout moment, and his sleek “My Time of Day” rendition was
Davis propelled “Luck Be a Lady” to be one of the evening
highlights, aided by the crackerjack ensemble.
St. Louisan Kendra Kassebaum lights up the stage as Miss
Adelaide, and wow, what a home-grown triple threat. Bubbly and bouncy, she displays
impeccable comic timing in her fully dimensional lived-in performance.
She’s a fitting and funny foil for wacky Nathan, well-played by Jordan Gelber. Their “Sue Me” was on point, and “Adelaide’s Lament” is confident and comical. She leads the Hot Box Girls in a vivacious “A Bushel and a Peck” and “Take Back Your Mink.” (Tristan Raines’ costumes fit each role appropriately, but those purple-sequin gowns draped with the gray furs are stunning.)
Kassebaum and Bradford are a dynamic duo in “Marry the Man
Today” (just don’t wince at those lyrics).
The best scene, the second act showstopper that puts its indelible stamp on “Guys and Dolls,” is “Sit Down, You’re Rockin’ the Boat.” A marvel of movement and pure jubilation, this version is made even more special by the surprise appearance of Kennedy Holmes, the Muny Kid who placed fourth on “The Voice” in 2018, belting out the usual General Cartwright solo. (Zoe Vonder Haar has replaced Doreen Montalvo as General Cartwright),
Orville Mendoza fits, well, nicely, as Nicely-Nicely
Johnson, who leads the number, and is dandy in his duet with Jared Gertner as
Benny in the title number “Guys and Dolls.”
As Arvide Abernathy, Ken Page has a twinkle in his eye and adds
poignancy to the “More I Cannot Wish You” number sung to his granddaughter,
Sarah. This is his 41st appearance at the Muny – and little-known
fact, he played Nicely-Nicely in the 1976 Broadway revival.
The musical has been revived two more times, in 1992 and
2009, with the 1992 version starring Nathan Lane and Faith Prince the most
acclaimed, winning four Tony Awards including Best Revival and running until 1995,
tallying 1,143 performances. The original “Guys and Dolls” won five Tony Awards
in 1951, including Best Musical, and has been a favorite among regional, school
and community groups for decades.
That renowned 1992 version’s spunk is evident in this Muny
production, but the cast makes it their own. They put a fresh sheen on the
characters, imbuing them with heart and humor, and it never sags.
This production is worth rejoicing about, starting out the
summer in swell fashion.
The Muny presents “Guys and Dolls” June 10 – 16 nightly at 8:15 p.m. in Forest Park. For tickets or more information, visit www.muny.org
By Lynn Venhaus
You go, girls! Local singer-actors get national attention, and the St. Louis-produced Broadway musical “The Prom” made Thanksgiving Parade television history.
BREAKING OUT: We have a talented trio of local ladies who are living their dreams right now.
Lexi Krekorian, 27, of Waterloo, Ill., is one of the nine struggling musicians featured on the Netflix reality series, “Westside,” now available. She goes by the stage name, Alexandra Kay, and has released her first single, “You Think You Know Someone,” and several music videos of songs on the “Westside” soundtrack. She started out in school and community theater, and is chasing her dream in L.A. Here is the feature I wrote for the Belleville News-Democrat about her rising star.
Kennedy Holmes of Florissant, the John Burroughs student and Muny Kid who is wowing the nation as a contestant on “The Voice,” made it through to the Top 11 Live Playoffs on Nov. 20. She sang “Wind Beneath My Wings” and is on Jennifer Hudson’s team, headed for the Top 10 showdown Nov. 26. Here is her Top 11 performance:
Thirteen proved to be lucky for Kennedy, as she was not among the 12 eliminated from the Top 24 Live Playoffs in Episode 13. She sang Beyonce’s “Halo.” “The Voice” is on Mondays and Tuesdays on NBC, with live voting the first night and results the second night. She is 13.
Meadow Nguy, providedMeadow Nguy, 23, of O’Fallon, Ill., performed in two musicals at Stray Dog Theatre (Marta in “Spring Awakening” in 2012 and the female lead in the original musical “Spellbound” in 2015), and in community and school theater. She guest-starred on the Nov. 18 episode of “Madam Secretary” called “Baby Steps,” as a Southeast Asia surrogate caught up in a human trafficking imbroglio . She made her crime-drama debut in ‘The Blacklist” earlier this year. Both shows available on demand. Here is the news article I wrote for the Belleville News-Democrat:
***ATTABOY: Congratulations to Cory Finley, who scored a Film Independent Spirit Award nomination for Best First Screenplay for his “Thoroughbreds.” The annual awards, held since 1984, honor independent filmmakers working with small budgets. The awards are always announced the day before the Oscars, and this year, it will be Saturday, Feb. 23.
Focus Features photoIn fall 2017, the St. Louis Actors’ Studio presented Finley’s play, “The Feast.” A John Burroughs School grad, Finley’s movie opened nationwide in March after premiering at the Sundance Film Festival in January. It played the St. Louis International Film Festival in 2017.
Olivia Cooke (“Ready Player One,” “Me and Earl and the Dying Girl”) and Anya Taylor-Joy (“Split,” “The Witch”) play upper-class Connecticut teenagers who rekindle their unlikely friendship and hatch a plan to solve both of their problems — no matter what the cost. It’s the last film of Anton Yelchin. Finley, who grew up in Clayton, is based in New York City. He is a member of the Obie-winning Youngblood playwrights group at Ensemble Studio Theater, has received a commission from the Alfred P. Sloan foundation for playwrighting, and was the inaugural recipient of the Gurney Playwrights Fund for his play, “The Feast,” at The Flea Theater. Check out www.thoroughbredsmovie.com
***STANDING O’s: Standing ovation for stand-up guy, Kwofe Coleman, who started as an usher at the Muny the summer of 1998, and now has been named managing director! He has served as Director of Marketing and Communications since 2013.
Kudos to the Cinema St. Louis team on their record-setting attendance of 28,723 at this year’s St. Louis International Film Festival Nov. 1 – 11. SLIFF screened 413 films, including 88 narrative features, 77 documentary features, and 248 shorts. Local actors are often seen in the regionally produced short films.
Cast members from “Disney’s Aladdin” presented “Sultan’s Soiree,” an exclusive cocktail reception, Nov 18 to benefit Broadway Cares/Equity Fights AIDS. Guests mingled while enjoying cocktails, hors d’oeuvres, photo opportunities, live entertainment and karaoke. To learn more, visit www.broadwaycares.org. Michael James Scott, a Webster University Conservatory graduate, is playing the Genie while Jonathan Weir, formerly of Belleville, is Jafar. “Aladdin” is at the Fox through Nov. 25.
***BIG SPLASH: The reviews are in, and it’s all raves for the new original musical comedy “The Prom,” which opened on Broadway Nov. 15 at the Longacre Theatre, following previews that began Oct. 23.
The New York Times said: “Makes you believe in musical comedy again.”
Variety said: “This original musical has laughs, tears and joy — not to mention jaw-dropping star-turns — in a clash-of-cultures hoot that earns a big Broadway corsage.”
Vanity Fair photoThe show has multiple local connections – Centralia, Ill., native Chad Beguelin is the co-book writer, with Bob Martin (co-creator of “The Drowsy Chaperone”) and lyricist, with music by Matthew Sklar. Beguelin wrote lyrics to Disney’s “Aladdin” and both he and Sklar were Tony-nominated for “The Wedding Singer.”
Some local producers include Jack Lane, executive director of Stages St. Louis; Ken and Nancy Kranzberg, Patty Gregory of Belleville, Terry Schnuck, Andrew S. Kuhlman of St. Louis and Fairview Heights native Joe Grandy. St. Louis performers Jack Sippel and Drew Reddington are part of the ensemble, and stars Beth Leavel and Christopher Sieber have appeared several times at The Muny. The Broadway cast also includes Brooks Ashmanskas (Tony nominee for ‘Something Rotten!”),
Casey Nicholaw, Tony winner for “The Book of Mormon,” directed and choreographed the show.
“The Prom” is about a canceled high school dance – a student is barred from bringing her girlfriend to the prom — and four fading Broadway stars who seize the opportunity to fight for justice — and a piece of the spotlight. Its tagline is “There’s no business like getting in other people’s business.”
NOBODY RAINED ON THEIR PARADE: “The Prom,” one of four musical acts in the 92nd annual Macy’s Thanksgiving Day Parade Nov. 22, made parade history with the first same-sex kiss televised live. As the number, “It’s Time to Dance,” closed, cast mates Isabelle McCalla and Caitlin Kinnunen embraced and kissed. The LGBTQ community cheered.
Here is that performance: https://youtu.be/VDZDLJjzJBI
Tony nominee Taylor Louderman of Bourbon, Mo., performed with the cast of “Mean Girls.” She plays Regina, the snotty leader of the cool girls’ pack. Taylor was last seen locally on the Muny stage in 2016’s “Aida” as Amneris.
Fun Fact: The dance company, Radio City Rockettes, was founded in St. Louis in 1925 by Russell Markert. First known as the “Missouri Rockets,” the precision chorus line has performed in Radio City Music Hall since 1932.
***HANNUKAH HULLABALOO: The eighth annual Brothers Lazaroff show to benefit Metro Theater Company will take place on Saturday, Dec. 8, at 7 p.m. at The Grandel Theatre, and all ages welcome.
The show will feature Rabbi James Stone Goodman and the Eight Nights Orchestra, DJ Boogieman, tributes to Bob Dylan, Leonard Cohen and more! As always, free latkes will be fried on-stage! Food vendors will include Taco Buddha, The Dark Room and STL-Style will be selling their St. Louis-inspired apparel.
***AROUND TOWN: Legendary Wilco founder and Belleville native Jeff Tweedy took to The Pageant stage with Jon Hamm Nov. 17 to discuss his storied career. The book tour stop was sold-out.
St. Louis Post-Dispatch photoThe Grammy-winning singer-songwriter’s memoir “Let’s Go (So We Can Get Back”): Memoir of Recording and Discording with Wilco, Etc.,” features stories about his childhood, putting Uncle Tupelo together, and recollections about St. Louis record store, rock clubs and live-music scene during his formative years.
Now based in Chicago, Tweedy can be spotted in the indie movie “Hearts Beat Loud” as a customer, in what else, a record store.
Playwright Vladimir Zelevinsky was in town for the opening weekend of West End Players Guild “The Great Seduction,” and graciously spoke to Tina Farmer of KDHX and I about his interesting life and writing process.
Zelevinsky also wrote “Manifest Destiny,” performed at WEPG in 2016, which was nominated for Best Ensemble by the St. Louis Theater Circle.
***SANTA’S COMING! I KNOW HIM: With the holiday essential film “Elf” as its next movies-for-foodies event, Tenacious Eats returns to the St. Louis Banquet Center in Holly Hills, at 5700 Leona Street, on Saturday, Dec. 15.
Guests will feast on five courses and have cocktails themed to the movie, and the event also includes contests and live music. Chef Liz Schuster has left West End Grill and Pub to devote more time to her cinema-and-theme-dining experience – and Tenacious Eats is known for its “full-contact dining experiences.” Tickets are on sale now at BrownPaperTickets.com.
***GO SEE A PLAY POLL: Ah, Church Ladies and Christmas Pageants are customary fixtures during the holiday season, so the folks behind the Lutheran laugh-apalooza, “Church Basement Ladies: Away in a Basement” have returned with a warm, sentimental and uproarious show.
Now playing at The Playhouse @ Westport through Jan. 6, this is a perfect show to take your mom or grandma to – and you can win two free tickets to the show if you enter our drawing.
Select a show from the list below to answer our question: “What is your favorite holiday-themed play or musical?”
The Best Christmas Pageant Ever
A Christmas Carol
A Christmas Story
It’s a Wonderful Life
And send it via email, along with your name, cell phone and email address by 5 p.m. on Sunday, Nov. 25, to [email protected] and you will be entered in a drawing. Winner will receive 2 tickets to an upcoming show.
In our last “Go See a Play” poll, Graham Emmons of St. Louis won two tickets to Rebel and Misfits’ “Macbeth: Come Like Shadows.” The survey’s response to best mystery play landed the 1952 classic “Dial M for Murder” by Frederick Knott op top, with “Wait Until Dark” – another Frederick Knott play from 1966 — a close second.
***FOSSE, VERDON AND ALL THAT JAZZ: The next show-biz limited series for FX will be “Fosse/Verdon” in 2019, about the legendary Broadway choreographer Bob Fosse and his professional and personal relationship with dancer Gwen Verdon.
Oscar winner Sam Rockwell is cast as Fosse while Oscar nominee Michelle Williams will be Verdon, returning to the network 20 years after “Dawson’s Creek.”
The cast features St. Louis native Norbert Leo Butz as writer Paddy Chayefsky, Margaret Quall as Ann Reinking and Nate Corddry as Neil Simon.
Lin-Manuel Miranda is executive-producing the eight episodes and “Hamilton” choreographer Andy Blankenbuehler is creating the dance.
***WHISTLING A HAPPY TUNE: The lavish acclaimed Tony-winning revival, “The King and I,” will be shown two nights at the Plaza Frontenac Cinema, on Nov 29 and Dec. 4 at 7 p.m. The Rodgers and Hammerstein musical filmed during its run at the London Palladium, June 21 to Sept. 29 and features more than 50 performers.
Kelli O’Hara reprised her Tony Award-winning performance and Tony and Oscar nominee Ken Watanabe played The King again. Tony winner Ruthie Ann Miles returned as Lady Thiang and West End “Aladdin” star Dean John Wilson and Na-Young Jeon played Lun Tha and Tuptim. Director Bartlett Sher reunited the original creative team.
***TRIVIA TIME-OUT: With St. Louis performers making a name for themselves on the national stage, here’s a little flashback to the halcyon days of “American Idol,” the big-bang of reality competition singing shows.
1. Who is the only St. Louisan to make “American Idol” Top Ten Finalists?
2. What “American Idol” winner tried out in St. Louis one of the two times auditions were held here?
Answers (both Season 4):
Nikko Smith, born Osborne Earl Jr., son of Cardinal Hall of Famer Ozzie Smith, who wound up ninth overall in 2005. He had been voted off in the third round of the semi-finals, but the producers asked him back to take the place of Mario Vazquez, who left for “family reasons.”
Carrie Underwood, who drove up with her mom from the family farm in Checotah, Okla., in 2004, sang “I Can’t Make You Love Me” by Bonnie Raitt.
Here’s that audition: https://youtu.be/P0j9NGV-Jm4
She just won CMA Female Vocalist of the Year, killed with a live awards show performance of “Love Wins” at six months’ pregnant, and has to date seven Grammy Awards, including Best New Artist in 2007, the only second country artist to win it.
St. Louis has hosted auditions for Seasons 4 and 11.
***WORD: “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” – Plato