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).

Kennedy Holmes

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 “Muny moment.”

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, leaky eyes.

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 reunion.

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.

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…

Excuse me while I go grab another tissue.

By Lynn Venhaus
Managing Editor
When composer and music director Colin Healy first heard the story of wealthy
brothel madam and philanthropist Eliza Haycraft, he was intrigued. On Aug. 16,
“Madam,” the musical about this infamous St. Louisan that he wrote the book,
music and lyrics for, had its world premiere at the Bluff City Theatre in
Hannibal.

Bluff City Theater commissioned the musical, where Healy has been the music director for the theater since 2017, and a branch of the Haycraft family is involved with BCT. Healy is artistic director of his own companies, Fly North Music and Fly North Theatricals.

“After one of the shows, they told me Eliza’s story. I was
fascinated ever since,” he said. “I said ‘Wow, that’s a musical.’ About a year
later, Joe Anderson, the artistic director, called me up and said in so many
words ‘Let’s make it a musical.’”

Rosemary Watts and Larissa White

Bluff City Theatre’s executive director wrote in his recent
blog: “Madam the musical is a totally new play we commissioned to end our 2019
season dedicated to the theme of The American Experience,” he said. “We follow
the story of a group of women who, for a variety of reasons found themselves
without the means to support themselves and turned to the only profession open
to women like them — prostitution. Madam Eliza Haycraft rose from obscurity to
become the richest woman in Missouri, much-loved by the general public, and a
major philanthropist with a special emphasis on Civil War widows and orphans. Yet,
despite the fact that her houses were well-frequented by the rich and powerful
men who ran the city, she was shut out of polite society.”   

“Madam introduces other characters who are historically
based on some of the remarkable women who defied the norm to claim their place
in the country at a time when they had few legitimate rights. One, an escaped
slave, disguised herself as a man to fight in the Union Army.  One is sister to Victoria Woodhull, candidate
for president in 1872,” he continued. “In addition to being a lesson in America
history, Healy’s musical is bright and lyrical. The cast is amazing. And you
can be among the first to see what is sure to be a hit.”

Healy’s score features St. Louis style jazz and blues, “Madam” is directed by Sydnie Grosberg -Ronga. The musical stars Rosemary Watts as Madam, Brett Ambler as The Benefactor, and Eileen Engel, Kimmie Kidd, Cameron Pille, Gracie Sartin and Larissa White as the ladies she protected.

There are only nine performances in Hannibal. Five are left
– Wednesday through Saturday. For tickets or more information, visit
www.eventshannibal.com or call 573-719-3226. The show is sponsored by Harold
and Kathleen Haycraft.

The first-run weekend is over, and seeing it happen has been
something special.

“Realizing work on stage is quite literally turning something practically two-dimensional — many many sheets of paper — into something truly three-dimensional,” Healy said. “In any other aspect of life, suddenly perceiving a whole new dimension would be beyond life-altering. Well, that’s what realizing a work of theatre is and it hasn’t gotten old yet.”

“I couldn’t have asked for a better cast and crew. Sydnie
Grosberg-Ronga, in addition to being an effective and incredible director, has
been an even better mentor, dramaturg, and sometimes-therapist,” he said. “Rosemary,
Lari, Cameron, Kimmie, Gracie, and Eileen have all been amazing to work with—
and as a millennial and member of the meme generation, I’d be remiss if I
didn’t say I’ve been a little starstruck getting to work with the Kazoo Kid — love
ya, Brett!”

Healy considers the musical a work in progress, but the
fact that Bluff City Theater encourages new and emerging work is music to his ears.

“What Joe Anderson is doing in Hannibal is remarkable. Bluff City Theatre is producing new and emerging work every year and filling houses with it. Go support them. They’re doing it right up there,” he said. The journey has been an interesting one, but it won’t end when the show does on Aug. 24. Plans are for his company, Fly North Theatricals, to perform “Madam” in St. Louis in 2020, from Jan. 10 to Feb. 2 at the .Zack Theater, 3224 Locust St.

Brett Ambler, Larissa White

And that is not the only plan, either.

“I’d love for it to someday reach a wider audience — whatever
that means. There are already plans for ‘Madam’ in the near future, so stay
tuned,” he said.

Not much is known about the real Eliza Haycraft, but this
much we do know. Haycraft, born in 1820, arrived in St. Louis from Callaway
County when she was 20, cast out by her parents. She had been seduced by a
lover. Destitute, she sold herself as a courtesan to support herself. When
prostitution was legal, for only a brief time, in St. Louis, she became owner
and manager of a brothel, doing well even though she couldn’t read or write. She
bought commercial and residential property and rented it back out. She was known
for helping the city’s poor, offering them help and financial aid.

In the last year of her life, the richest and most powerful men in St. Louis were hellbent on taking it all away from her, he said. She died in 1871, at age 51, leaving an estate valued at over a quarter million dollars. More than 5,000 people attended her funeral, and she was buried in Bellefontaine Cemetery.

Healy’s musical focuses on a dying Haycraft as the owner of
five brothels and the richest woman in St. Louis. She hates men. She once
empowered her employees by giving them the right to refuse service to anyone. She
had three simple rules: Respect, Consent and Pay Up Front. Then, the passage of
The Social Evils Act of 1870 made her business legitimate, but it also took
away her right to say “no.”

While based loosely on real events, the musical tells the fictionalized
story of her search for an heir to her sex empire while also taking a romp
through first-wave feminism and sexism in America at the time of
Reconstruction. It is told through the lens of Eliza’s courtesans.

“St. Louis had passed the Social Evils Ordinance, which
under the guise of legalizing prostitution actually served to deny the women
affected by it of many of the rights they had previously enjoyed. Eliza
Haycraft was a remarkable woman — a pragmatic feminist who mistrusted men,
especially those who used their positions of power to control the rights of
women, the poor and the marginalized. But she knew how to operate in a
male-dominated world. As she neared death, Eliza sought to purchase a burial
plot in Bellefontaine Cemetery, then the largest and most prestigious in the
city. The trustees of the cemetery, all clients of hers, attempted to block the
purchase until Haycraft countered by suggesting that she would take her case
directly to their wives.  They relented,”
Bluff City Theater blog said.

The poster design

Healy said he likes the show’s message.

“The show at its core is about the vulnerability of aging
and the power of ‘no’ — so for now, I just hope people like it and take away
something from it,” he said.
Bluff City Theater raved: “Audience attendance is already at a record for any
show we’ve produced here at Bluff City Theater…Don’t take our word for it — talk
to anyone who has seen the show so far. ‘Madam’ is one of the most exciting new
musicals to come along this decade.”

Healy has written five original musicals, including “The
Gringo,” which was the local headline act at the St. Louis Fringe Festival last
summer, and was the best-selling show in its history. Like “Madam,” it was
based on a real story.

Riley Dunn in “The Gringo”

He began writing “The Gringo” in 2013 after the wrongful
death of Miami teen Israel Hernandez at the hands of police. Healy had attended
high school with Hernandez, although they were not acquainted. He became
intrigued as details emerged in the fallout surrounding his death, especially
by the stark differences between their lives.

Healy moved to St. Louis during the Ferguson riots in
summer 2014. “The Gringo” then went in a different direction, instead of
confronting privilege but about fighting for your home.

“The Gringo” tells the story of art bringing together a
community facing injustice and rapid gentrification. On the morning of the
biggest art festival in Miami, a beloved local street artist is wrongfully
gunned down by police. Through the lens of a successful painter, her wannabe
lover, a drug dealer, his mule, and the white boy from out of town bearing
witness to it all, “The Gringo” is about what it means to fight for your home
in spite of it all.
Through its workshop and staged reading, a funding campaign raised enough to
record a full-length and fully orchestrated album.

“The Gringo”For the premiere of ‘The Gringo,” he also directed and was the music director. He always seems to be juggling multiple projects at once. For instance, he was contracted as the music director for “Into the Woods” this July at the Center of Creative Arts (COCA). He currently directs the Adagio Music Company at COCA and serves as the resident music director at East Central College in Union, Mo. where he has done five mainstream shows, plus his original musical “Forgottonia” last year.

Colin Healy

While living in his native South Florida, he composed
“Anthem,” which was presented in Fort Lauderdale in 2009 and 2011, and “Translation,”
which was part of the Florida Theatre Conference in 2015.

After graduating from South Broward High School in
Hollywood, Fla., he became the music director for the theater department.

Beginning at age 15, he was a touring singer/songwriter and
his work as a recording artist in the South Florida-based rock band, The
Republik, was recognized by Billboard and College Music Journal. He recorded
three full-length studio albums as a performer – Last Chance Planet, 2006; The
Unexpected Answer, 2010; and We Are the Wild Things, 2012, with the last one
recorded at the legendary Stratosphere Studios in New York and produced by
Brian Viglione of The Dresden Dolls. They received radio play nationwide.

In 2017, he established Fly North Music as a St.
Louis-based creative company that serves as the production house for his compositions.
He now has three components: Fly North Music, Fly North Studios, and Fly North
Theatricals.

In early 2018, his private vocal studio had grown,
therefore Fly North Studios was born.

Then, after “The Gringo” was successful, he and his friend Bradley Rohlf decided to establish a new theater company, Fly North Theatricals this year.

They plan to promote education through performance by utilizing both their students and a local community of actors to create new, local, accessible, high-quality works of musical theatre, Healy said. “Neat, huh?”

His five original musicals have seen production at the
educational, community, and professional levels.

“Assassins” announcementFly North Theatricals is planning to present “Assassins”
next summer, July 4 – July 26, at the .Zack Theatre, 3224 Locust St., St. Louis,
with auditions set for Sept.16 and 17.

Fly North Theatricals said it will be a new take on Sondheim and Weidman’s classic where our nations’ most notorious assassins gather on stage to violently pursue a twisted American Dream.

“While many characters represent historical figures, our
vision for this cast requires performers that visually represent our local
community, not necessarily the real people being portrayed,” the audition
notice states.

Their website states: “A multiple Tony Award-winning theatrical tour-de-force, Assassins combines Sondheim’s signature blend of intelligently stunning lyrics and beautiful music with a panoramic story of our nation’s culture of celebrity and the violent means some will use to obtain it, embodied by America’s four successful and five would-be presidential assassins. Bold, original, disturbing and alarmingly funny, “Assassins” is perhaps the most controversial musical ever written.”

For more information, visit www.flynorthmusic.comOur Questions with Colin Healy

Colin Healy on drums1. Why did you choose your profession/pursue the arts? “I’ve never really done much else. I’ve played music since I was 5 and went to performing arts schools my whole life — not really a great background to go into medicine or finance.”

2. How would your friends describe you? “I don’t know. I annoy myself a lot but at least they don’t have to around me all the time. So, there’s that.”

3. How do you like to spend your spare time? “I don’t understand the premise of this question.”

4. What is your current obsession? “I’m answering these questions from rehearsals for my new musical, ‘Madam!’ — so I guess that.”

5. What would people be surprised to find out about you? “People are always surprised to hear that I played baseball for 10 years, which I guess is playfully insulting? Like, why are you surprised?! Do I not strike you as the model of athleticism?! (OK, I get it.)”

6. Can you share one of your most defining moments in life? “My father passed away last month (July) so… that. That will certainly be informing a lot of my writing and teaching in the future (not that he didn’t when he was alive).”

7. Who do you admire most? “Angela Brandow and Bradley Rohlf and Stephen Sondheim and William Finn.”

8. What is at the top of on your bucket list? “Probably a bucket.”

9. What is your favorite thing to do in St. Louis? “Eating all the food, drinking all the beer, and riding my bike (because you have to burn the calories somehow).”

10. What’s next? Shameless plug: My new theatre company, Fly North Theatricals, kicks off its inaugural season this January at the .ZACK. Stay tuned to our social media (@flynorththeatricals) for more information.

More about Colin Healy

Colin Healy, circa 2015

Age: 29
Birthplace: Hollywood, Fla.
Current location: St. Louis
Education: Studied acting and music education, with a focus in voice, at
Florida International University.
Day job: I’m a full-time music director, composer, and voice teacher.
First job: Waiter
First role: Pharaoh in “Joseph and the Amazing Technicolor Dreamcoat”
Favorite roles/plays: “Man 1 in “Songs for a New World”
Dream role/play: George in “Sunday in the Park with George”
Awards/Honors/Achievements: Uhhh — I don’t know! I got a dog. He’s pretty
cool. Getting featured on the cover of RFT for “The Gringo” last year was
pretty neat. I make a pretty mean egg sandwich.
Favorite quote/words to live by: “Fail better.”
A song that makes you happy: Paul Simon’s “You Can Call Me Al”

By Lynn VenhausManaging EditorThree metro-east community theater groups and a veteran youth program won multiple awards at the 20th annual Best Performance Awards sponsored by Arts For Life on June 9. 

The awards recognize excellence in community and youth
musical theater, with 27 groups participating from St. Charles County to
Madison, Monroe and St. Clair counties in Illinois as part of the St Louis
Metropolitan area. It is the oldest and longest continually running theater
awards in St. Louis.

“Into the Woods” Curtain’s Up Theater CompanyCurtain’s Up Theater Company won six awards for its production of Stephen Sondheim’s “Into the Woods,” including Best Large Ensemble Musical, Directors Glenn Saltamachia and Jeffrey Yapp-Ellis, Music Director Liz Murphy White, Costume Design Donna Saltamachia, Comedic Actress Miranda Mobley as Little Red and Supporting Actor Dennis Folwarczny as Cinderella’s Prince. It had received 16 nominations, the most for any show. The 1986 musical is a twist on Brothers Grimm fairy tales, exploring the consequences of wishes and quests.

“Dames at Sea” Alfresco Productions“Dames at Sea” at Alfresco Productions won four,
for Best Small Ensemble Musical, Best Leading Actress Morgan Ladyman,
Supporting Actress Elizabeth Semko and Best Choreography Ashley Pavlige. It had
received 12 nominations. The 1966 musical romantic comedy is an homage to
nostalgic 1930s movie musicals.

Bryce Miller won Best Youth Actor for “Big Fish” from Shooting Star Productions“Big Fish” at Shooting Star Productions won six
awards in the youth categories: Best Youth Production, Best Choreography Ellen
Isom, Best Music Director Ross Bell, Best Actor Bryce Miller as Edward Bloom,
Best Supporting Actress Carolyn Karutz as The Witch and Best Set Design Marty
Strohmeyer and Christopher Phillips. It had received 14 nominations. Based on
the 2003 movie by Tim Burton, adapted from David Wallace’s 1998 book, “Big
Fish” tells the larger-than-life tale of traveling salesman Edward Bloom, a man
who leads an extraordinary life according to the stories he shares.

Mia Williams won Best Youth Actress as Rafiki in “The Lion King Jr.” from Goshen Theatre ProjectThe Goshen Theatre Project in Madison County won three
awards — for leading actress, Mia Williams, as Rafiki, and costume design
Terry Pattison, for “The Lion King Jr.” (the crowd gasped when the
walking giraffe came out and the kids came down the aisles in their animal
costumes), and another one for Terry Pattison for set design for “Chitty
Chitty Bang Bang.”

Glenn Guillermo in “Bells Are Ringing”

Winning two awards were Alpha Players of Florissant’s “Bells Are Ringing” for Cameo and Non-Singing Actor, while Christ Memorial Productions’ “The Wizard of Oz” won for Juvenile Performance and Non-Singing Actress, and Looking Glass Playhouse won lighting design for “Bloody Bloody Andrew Jackson” and best actor for “Newsies.”.

Another first occurred – both the youth supporting actor
and adult featured actor won for playing Nicely-Nicely Johnson in “Guys and
Dolls” at Riverbend Theatre and Kirkwood Theatre Guild respectively, Spencer
Domer and Christopher Strawhun.

“Guys and Dolls” Riverbend TheatreThis year, 48 shows – 21 large, 7 small and 20 youth —
were eligible for BPA awards consideration, with 1,302 artists judged for
nominations. Trophies were awarded in 33 categories.

 “Theater is alive
and kicking in 2019 and local theaters in metro St. Louis and Illinois are to
be commended for a job well done,” McCreight said. “The awards are a wonderful way
for all actors and tech crews to celebrate and enjoy each other’s successes and
be recognized and rewarded.”

Since it began in 1998, AFL’s goal has been “Making a
Dramatic Difference” and is proud to salute, support and serve the theater
groups in the metropolitan St. Louis area. The non-profit organization
continues to be passionate about the healing power of the performing arts.

Morgan Ladyman, Best Actress as Ruby in “Dames at Sea”AFL President Mary McCreight said the group is dedicated to
promoting public awareness of local community theater, encouraging excellence
in the arts and acknowledging the incredible people who take part.

“St. Louis is an amazing city, especially for the arts.
There are over sixty theatre companies at home here, a third of which are
community theatre. As we watch music education and theatre programs rapidly die
in our schools, the need to keep community theatre alive is more important now
than ever,” McCreight said.

The best musical award was the first for Curtain’s Up
Theater Company, and with his win, director Glenn Saltamachia made AFL history.
He is the first person to win both Best Director Awards at the Best Performance
Awards and at the Theatre Mask Awards in April, which honors dramas and
comedies. He won the TMA for directing “Frost/Nixon” at Looking Glass Playhouse,
and that drama was tied with Actors’ Attic, for “The Curious Incident of the
Dog in the Night-time,” as Best Play – Drama.

He shared the director’s award with Jeffrey Yapp-Ellis, who
started as assistant director but made such an impact on set design, staging
and concept that he was billed as a co-director.

“It has been an incredible year! To win the TMA and BPA for
Directing in the same year is an honor I could never have dreamed of.  I have worked with two outstanding companies-
– LGP and CUTC, and I have been blessed and extremely lucky to have had
outstanding, talented, wonderful casts, production crews, technicians, and
musicians to work with,” Saltamachia said.

 “The honor is more a
reflection of their talent, hard work and determination than anything I have
brought to the table. I have always said my greatest talent as a director is
that I surround myself with extremely talented, capable people who share my
passion for good theatre. The fact that both my shows also won for Best
Ensemble in their respective categories proves my point,” he said.

Saltamachia said he was bit by the theater bug when as a
brand new second lieutenant in the Air Force, he auditioned for the Kessler Air
Force Base Little Theatre production of “Charley’s Aunt.”
“Throughout my Air Force career, I would participate in productions wherever we
were stationed when I had the time and circumstances allowed,” he said. “After
retiring from the Air Force in 1997 in Belleville, I began to hear of all the
great local community theaters, and in 1999, I got up the nerve to audition for
the Looking Glass Playhouse production of “Oliver!” and I’ve never stopped.”

Saltamachia has directed 10 shows for LGP since 2001, his
first being “The Odd Couple.” Then, he worked with some Edwardsville people who
were starting a theater company, Curtain’s Up. He appeared in “The Curious
Savage” and has directed six shows for them, the first was “Fiddler on the
Roof” in 2008.

Over the years, he has directed shows for Clinton County
Showcase in Breese, Hard Road Productions in Highland, and in Belleville, Brass
Rail Players, Downtown Players and Cathedral Players. 

“The thing I love most about directing is the process. I
love everything about it!  From script
analysis, planning conferences for concept development, set design and staging
months before production. Then the fun starts with auditions and rehearsals,”
he said. “But the absolute best part is watching as a group of diverse people;
who may not have known each other before, come together, work hard and share
their talents to produce something we are all are proud of. And on the way we
become a family who love each other and develop friendships for life.”

“Thanks to AFL. I am honored and humbled, but I am smart
enough to know I didn’t win these awards by myself,” Saltamachia said. 

“Chitty Chitty Bang Bang” Goshen Theatre ProjectTerry Pattison, who won awards for costume design and set
design for Goshen Theatre Project, said the group is in its fifth season.

“The Lion King had 46 kids in it, all under the age of 15.
There were well over 160 costumes, all hand-created. Most of the masks and
animals were constructed from a high-density foam so they stayed light weight,”
she said.

The animal costumes included: Lions, lioness, hornbills,
ostrich, zebra, gazelle, egrets, giraffes, wildebeasts, rhino, meerkat, warthog
and various birds.

 “I am honored to
have received two BPA’s this year, one for costuming and the other for scenic
design. I am always creating something in one way or another and it is a
humbling experience to have been recognized against all the other talent in the
St. Louis community theater circuit,” Pattison said.

Lucinda Gyurci, who founded Arts for Life in 1998, said she
continues to be inspired by community theater productions.

“Big Fish” Shooting Star Productions“I feel fortunate to have watched many young people, who
grew up in community theatre, become wonderfully talented adults; some making
their way to Broadway; some establishing their art in local professional
theatre; and some bringing up their next generation in their own footsteps on
the stage,” she said.

Joe Paule Sr. received the Lifetime Achievement Award for
his work as a musician in numerous pit bands, orchestras and as a music
director. Kim Klick and Glenn Guillermo were honored with two special awards,
“TRG Recognition 20th Anniversary Exceptional Volunteer Award,” citing
extraordinary above and beyond service.

Sean Harvey “Crazy for You”

Two special youth awards were given to Caroline Santiago
Turner, who received Best Youth Musical Performance for “Violet,” and
Sean Harvey, named Best Youth Featured Dancer, as Bobby in “Crazy for
You,” both produced by the Gateway Center for the Performing Arts.

Allison McDonald of Timberland High School and Kira Averett
of Mascoutah received the 2019 AFL Youth Scholarships.

The ceremony was directed by Ken Clark, with music
direction by Diane Hanisch. Ryan Cooper served as master of ceremonies for the
fifth time.

The complete list of awards is as follows:
Best Large Ensemble Musical: “Into the Woods,” Curtain’s Up Theater Company
Best Small Ensemble Musical: “Dames at Sea,” Alfresco Productions

Best Youth Musical: “Big Fish,” Shooting Star Productions
Best Direction: Glenn Saltamachia and Jeffrey Yapp-Ellis, “Into the Woods,”
Curtain’s Up Theater Company

Best Direction- Youth Production: Paul Pagano, “Violet,”
Gateway Center for the Performing Arts
Best Music Direction: Liz Murphy White, “Into the Woods,” Curtain’s Up Theater
Company

Best Music Direction – Youth Production: Ross Bell, ‘Big
Fish,” Shooting Star Productions
Best Choreography: Ashley Pavlige, “Dames at Sea,” Alfresco Productions

Best Choreography – Youth Production: Ellen Isom, “Big
Fish,” Shooting Star Productions

Best Actor in a Leading Role: Austin Turnbull, Jack Kelly,
“Newsies,” Looking Glass Playhouse

Best Leading Actor – Youth Production: Bryce Miller, Edward
Bloom, “Big Fish,” Shooting Star Productions

Best Actress in a Leading Role: Morgan Ladyman, Ruby,
“Dames at Sea,” Alfresco Producifion

Best Leading Actress – Youth Production: Mia Williams,
Rafiki, “The Lion King Jr.,” Goshen Theatre Project

Best Actor in a Featured Role: Christopher Strawhun,
Nicely-Nicely Johnson, “Guys and Dolls,” Kirkwood Theatre Guild
Best Actress in a Featured Role: Elizabeth Breed Penny, Paulette, “Legally
Blonde,” Hawthorne Players

Best Actor in a Supporting Role: Dennis Folwarczny,
Cinderella’s Prince, “Into the Woods,” Curtain’s Up Theater Company

Best Supporting Actor – Youth Production: Spencer Domer,
Nicely-Nicely Johnson, “Guys and Dolls,” Riverbend Theatre

Best Actress in a Supporting Role: Elizabeth Semko, Joan,
“Dames at Sea,” Alfresco Productions
Best Supporting Actress – Youth Production: Carolyn Karutz, The Witch, “Big
Fish,” Shooting Star Productions

Best Actor in a Comedic Role: Matthew Hansen, Franz, “Rock
of Ages,” Take Two Productions
Best Actress in a Comedic Role: Miranda Mobley, Little Red Riding Hood, “Into
the Woods,” Curtain’s Up Theatre Company

Best Actor in a Non-Singing Role: Kevin Michael Hester, Dr.
Kitchell, “Bells Are Ringing,” Alpha Players of Florissant
Best Actress in a Non-Singing Role: Nicky Collett, Wicked Witch/Miss Gulch,
“The Wizard of Oz,” Christ Memorial Productions

Best Duo or Group Performance: Abby Cockerham, Laura Megan
Deveney and Theresa Peters Nigus as Donna, Linolium and Betty in “The Great
American Trailer Park Musical,” Act Two Theatre
Best Actor in a Cameo Role: Glenn Guillermo, Carl, “Bells Are Ringing,” Alpha
Players of Florissant
Best Actress in a Cameo Role: Julia Gilbert, Babette, Disney’s “Beauty and the
Beast,” Alfresco Productions

Best Youth Performer: Victor Landon, Munchkin Mayor, “The
Wizard of Oz,” Christ Memorial Productions

Best Costume Design: Donna Saltamachia, “Into the Woods,”
Curtain’s Up Theater Company

Best Youth Costume Design: Terry Pattison, “The Lion King
Jr.,” Goshen Theatre Project

Best Set Design: Terry Pattison, “Chitty Chitty Bang Bang,”
Goshen Theatre Project

Best Set Design – Youth Production: Marty Strohmeyer and
Christopher Phillips, ‘Big Fish,” Shooting Star Productions

Best Lighting Design: Jason Koonce, “Bloody Bloody Andrew
Jackson,” Looking Glass Playhouse
Best Lighting Design – Youth Production: Jonathan Hartley, “Disney’s Beauty and
the Beast,” DaySpring School of Arts

For more information, visit www.artsforlife.org

“Dames at Sea” Alfresco ProductionsFor a PDF of the BPA nominations for 2018, here is the
link:

http://nebula.wsimg.com/b255dc30a55d222d652ab689930da965?AccessKeyId=901C1079C3BABD637603&disposition=0&alloworigin=1

By Lynn Venhaus
Managing EditorTHAT VOICE: Are you on Team Kennedy yet? If you haven’t heard Kennedy Holmes, 13, from St. Louis in her blind audition on “The Voice,” be prepared to be wowed and understand why it went viral.
Part of The Muny Kids for five years, Kennedy starred as Little Inez in the 2015 “Hairspray” production, has sung the national anthem for Cardinals’ games and appeared as one of the Cratchit children in “A Christmas Carol” at The Rep in 2016. She is an eighth grader at John Burroughs School.
Her confident delivery of Adele’s “Turning Tables,” which showcased her control and range, impressed all four judges and got a 4-chair turn – and standing ovation.
She auditioned in Indianapolis earlier this year and is the youngest person in the singing competition this season. Producers saved her for the last spot and teased her appearance in a sneak peek last week that set her schoolmates and local folks buzzing. The cliffhanger coach pick was easy to guess.
Kennedy, while remarkably poised singing, got emotional over Jennifer Hudson, and then sang with her idol in an impromptu “I Am Changing” from “Dreamgirls.”
The guys made convincing pitches.
Adam Levine: “Very, very rarely does someone come around that kind of reignites our passion for what we do. And to hear you sing today did that. Just to see that kind of confidence naturally exist in you at such a young age, it’s unheard of. After the 15 seasons, you really could become the absolute biggest thing to ever come from this show.”
Blake Shelton: “Let me be the first to thank you for coming to ‘The Voice,’ ’cause our ratings are going to shoot through the roof this evening. I think you are the best vocalist that has auditioned this year. I want you to pick me as your coach so you can teach me how to sing like that.”
After Kennedy’s pick, Hudson was ecstatic. “I think the game is over because I just won ‘The Voice’ with little Miss Kennedy. Yes, I did.”
Here’s the clip from the Blind Auditions, which started Sept. 24. To date, her audition video has been viewed 3.6 million times on YouTube.com.

This isn’t the last we’ve seen of Kennedy. It will be fun watching her progress on the national stage, next in the Knockout Rounds, then hopefully Battle Rounds and Live Performances. (And the local television and radio stations are all over it.)
***DEVIL MAY CARE: As the calendar turns autumnal, it’s time for sinister, spooky suspense. Five local theater groups have teamed up to present “Faustival: The Devils We Choose” – one in August and the rest through December.
The artistic collaboration is between Equally Represented Arts, The Midnight Company, Theatre Nuevo, SATE, and the Post-Romantics. They are presenting works on the Faust myth from the 16th century – about a scholar who sold his soul to the devil in exchange for perks.
ERA FaustIn August, ERA, along with Kid Scientist, presented “Faust (go down with all the re$t),” an experimental rock-opera-adaptation of Goethe’s most celebrated work.
Currently, The Midnight Company is presenting the one-act “An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on This His Final Evening,” along with another one-act by Mickle Maher, “The Hunchback Variations.”
For more information, www.midnightcompany.com
In October, Theatre Nuevo will present “whither should I fly” from Oct. 25 – Nov. 10 at the William A. Kerr Foundation, 21 O’Fallon St., St. Louis. For more information, visit www.theatrenuevo.com
Starting on Halloween, “Doctor Faustus, or the Modern Prometheus” by John Wolbers and Kit Marlowe will be performed by Slightly Askew Theatre Ensemble (SATE) Wednesdays through Saturdays through Nov. 17 at The Chapel, 6238 Alexander Drive, St. Louis. For more information, www.slightlyoff.org.
The Post-Romantics will present “Doomsday Faust” Dec. 5 – 8 at the Centene Center for the Arts, 3547 Olive Street, St. Louis.
For more information, please visit faustival.org.
***MOVING ON UP: The aforementioned John Wolbers, who has adapted Faust for SATE, shared some exciting news recently. He is a new Producing Associate at the Metro Theatre Company. He has served as the full-time resident teaching artist at MTC since the 2012-2013 season. He will assist Artistic Director Julia Flood with casting, directing and production administration.
Andrew Kuhlman is Broadway bound! He is currently working in New York as a co-producer on “The Prom,” the Broadway musical comedy that begins previews on Oct. 23. Andrew, an associate producer at Stages St. Louis, made the announcement Sept. 7.
“I am beyond excited to be taking this journey with a show that I could not believe in more. I cannot wait for audiences to fall in love with this hilarious, heartfelt and energetic musical,” he said.
“The Prom” has some prominent local connections – including Jack Lane, at Stages St. Louis, as one of its producers. Lane already has two Tony Awards as part of the group behind “Fun Home” and “The Humans.”
Joe Grandy, Andrew Kuhlman of “The Prom”The show lyricist and book writer is Chad Beguelin, who grew up in Centralia, Ill. He’s a multiple Tony nominee, for book and lyrics to “The Wedding Singer” and lyrics to “Aladdin.”
The cast includes Muny favorite Beth Leavel, Tony winner for “The Drowsy Chaperone,” and Muny veterans, including St. Louis natives Drew Redington and Jack Sippel, and Fairview Heights native Joe Grandy.
***WHO’S WHO: Upstream Theater is hosting renowned director Marianne de Pury who will stage the U.S. premiere of “Chef” by UK/Egyptian playwright and poet Sabrina Mahfouz. The one-woman show, starring Linda Kennedy, opens Sept. 28 and runs through Oct. 14.
Linda Kennedy, Photo by ProPhotoSTL“Chef” is the gripping story of how one woman went from being an haute-cuisine head chef to a convicted inmate running a prison kitchen. Leading us through her world of mouth-watering dishes and heart-breaking memories, Chef questions our attitudes to food, prisoners, violence, love and hope.
Originally from the French part of Switzerland, de Pury is known for her work with the famed Open Theatre, where she composed music for “America Hurrah” and “Viet Rock.” Since those days she has directed all over the world–mostly in Germany, where her most recent work, “The Importance of Being Earnest,” was nominated as one of the year’s best productions.
Playwright Rob Urbanati came to the ‘Lou for Tesseract Theatre Company’s opening of his play, “Mama’s Boy,” which explores the relationship between a controlling mom and her son, who gained infamy as the assassin of President John F. Kennedy.
Here he is with the cast after Friday night’s show. They got our attention opening night at the .Zack, conveying a roller-coaster of emotions played out in historical context.
Urbanati, of New York City, is a playwright, screenwriter, book author, director, and director of new play development at Queens Theatre in the Park. His well-constructed 2015 drama is a fascinating exploration of family dynamics. It’s directed by Brad Schwartz.
From left: Jeremy Goldmeier (Robert Oswald), Brandon Atkins (Lee Harvey Oswald), playwright Rob Urbanati, Donna Parrone (Marguerite Oswald) and Carly Uding (Marina Oswald).
Lynn Venhaus photo***AROUND TOWN: Alas, the Stephen Sondheim appearance in St. Louis Oct. 4 is sold out. He is accepting the 2018 St. Louis Literary Award from the Saint Louis University Library Associates for being one of the most eminent lyricists and composers of the modern era.
He is the first musical lyricist to win the award since its inception in 1967. In a remarkable career spanning 70 years, Sondheim has written the lyrics, music —or both, for some of the most iconic and long running plays in the history of American theater.
The response was overwhelming, and all seats in the Sheldon Concert Hall and the simulcast viewing room have been reserved. During the event, which begins at 7 p.m., Mike Isaacson, executive producer and artistic director – and major Sondheim fan – will interview him on stage.
Three-time Tony Award winner “Avenue Q” has been extended three more weeks for its winter presentation at the Playhouse @ Westport.
Because of overwhelming ticket response, the “furry, funny and feel-good musical” will now run Jan. 25 – March 3. The cast is a combo of local and touring performers.
Another famous St. Louisan, poet, novelist and playwright A.E. Hotchner, an alumnus of Washington University, has endowed an annual Playwriting Festival. Three new works will be presented this weekend (Sept. 28 and 29) – “Tom and Grace” by Scott Greenberg, “Arriving At” by Ike Butler on Saturday at 2 p.m. and “Florida” by Lucas Marschke at 7 p.m. The guest dramaturg is Michele Volansky, chair of the drama department at Washington College in Maryland. The event is sponsored by Newman’s Own Foundation. For more information, visit: pad.artsci.wustl.edu.
The Stage Left Grille is now under Fox Management, so you can stop there for a bite to eat before a show at the Fox Theatre, the Kranzberg Arts Center or The Grandel, or any place in the Grand Arts Center.
“Confessions of a Nightingale,” a production from the Tennessee Williams Festival set for Nov. 1-4, has to be postponed until 2019.
***CHAMPAGNE & MOONSHINE: If you saw “Always, Patsy Cline” at Stages St. Louis in 2014 or at The Playhouse at Westport the following year, you must remember Jacqueline Petroccia as the star. A national sensation in that role, I recall that her velvety voice was “like butter.” She has released a debut solo album, the double EP “Champagne and Moonshine,” Collaborators on the album include musician royalty from Music City, including members of the Nashville Symphony, the award-winning Rascal Flatts, and Broadway Musician Brent Frederick.
Recorded live, with special permission, at the legendary and historic Quonset Hut on Music Row in Nashville, Tenn.,the album is available online through CD Baby (physical copy), Amazon, and iTunes.
The first EP, “Champagne,” features a big band sound appropriate for any ballroom or supper club, including an original arrangement mix “Crazy/Crazy He Calls Me,” and “Mambo Italiano.” The second EP, “Moonshine,” features new country music hits, and her original debut single “Your Name in Lights,” written by Brandon Hood, Hillary Lee Lindsey, and Troy Verges
Her other stage credits include the national tours of :The Producers,” “The Sound of Music” and “Fiddler on the Roof.” She was a featured soloist on the album “Where the Sky Ends” by Michael Mott (Broadway Records) and has appeared on “Prairie Home Companion,” featured with the Williamsburg Swing Orchestra and in her solo cabaret show Sometimes Patsy Cline (productions at 54 Below and Regional Theatres). More information can be found at JacquelinePetroccia.com
***YOU GO GLEN COCO: “Is butter a carb? Whatever, I’m having cheese fries.”
Wednesday, Oct. 3, is unofficially known as National Mean Girls Day, so imaginative Chef Liz of Tenacious Eats has created a fun event for the evening. Tickets are $35 and include a Mean Girls-inspired cocktail, entree and Kalteen Protein Bar for dessert.
Expect some “fetch” prizes if you can answer some Mean Girls trivia and photo ops will be available with a Lindsay Lohan lookalike. Costumes are encouraged, and it is on a Wednesday, so you might want to wear pink!
The Tina Fey movie will be shown at 7 p.m. on the big screen at the West End Grill & Pub, 354 N. Boyle. Doors open at 6 p.m. for pre-show fun, Mean Girls trivia, prizes and photo ops. Tickets are available at: www.BrownPaperTickets.com.
***WORD: Decoding Theatre Reviews – a must-read: http://exeuntmagazine.com/features/theatre-reviews-decoded/
***GO SEE A PLAY POLL: Who are your favorite moms in musicals? Answer our poll and you will be entered in our drawing for two tickets to “One Funny Mother” at the Playhouse @ Westport Plaza on Wednesday, Oct. 3, at 8 p.m.
Dena Blizzard, former Miss New JerseyHilarious Dena Blizzard, best known as “The Target Mom,” is a viral sensation and former Miss New Jersey. Her one-woman show puts the fun in domestic dysfunction.
FAVORITE MOM IN MUSICALS:Mae Peterson in “Bye, Bye Birdie”Margaret Smith in “Carrie”“Big Edie” Edith Ewing Bouvier Beale in “Grey Gardens”Edna Turnblad in “Hairspray”The Witch in “Into the Woods”Lady Thiang in “The King and I”Margaret Johnson in “The Light in the Piazza”
Send your pick to: [email protected] by Monday, Oct. 1, at noon. Winner will be notified soon after, and arrangements will be made for your tickets to be waiting for you at the box office.
Our last winner was Christopher Strawhun for “Oklahoma!” at Stages St. Louis.
***TRIVIA TIME-OUT: Let’s hear it for St. Louis native Chris Redd and longest-ever SNL cast member Kenan Thompson on their Emmy win for Outstanding Original Music and Lyrics for “Come Back, Barack,” a Boyz II Men-style parody from last November’s episode hosted by Chance the Rapper.

Q: Despite multiple nominations, SNL has won only once before, for what song?
Justin Timberlake and Andy Samburg’s collaboration, “D**k in a Box.”
Fun fact: Theme songs also count for the award. “Moonlighting,” “Cheers,” “Chico and the Man,” “Growing Pains” and “Police Woman” have won.
Chris Redd didn’t live in St. Louis long and moved to Chicago as a youth. He is back at “Saturday Night Live” for his second season, which starts this Saturday, with host Adam Driver and musical guest Kanye West.
***
Tips? Contact: [email protected]

By Lynn Venhaus
Managing Editor
Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, Patti LuPone and Imelda Staunton. Their different portraits of the iconic Momma Rose character in “Gypsy” are among the most legendary in theater history. Now add Beth Leavel to that august list.
The Muny’s sixth production of the gutsy Jule Styne-Stephen Sondheim classic hits the heights in so many ways, but first and foremost is Leavel’s knockout performance.
Most of the time, the ambitious Momma Rose is viewed as a heartless monster and played in that blustery, brassy Merman-style. Others have realized that Rose is a tough survivor. Either way, she is hard to warm up to, but at least Leavel makes you understand her.

Leavel is a Tony winner for “The Drowsy Chaperone,” veteran of 12 Broadway shows and Muny diva whose “Hello, Dolly!” in 2014 remains one of the outdoor stage’s finest shows. Tackling this titanic role was a challenge I was certain she could meet but was not prepared for the delicate balance she achieved.
Sure, hear her roar. A born belter who projects well, Leavel pretty much started at 11, and then dialed back to modulate this complex character.
Given that Rose was introduced in 1959, when theater was not a champion of woman empowerment, it’s interesting that book writer Arthur Laurents wrote such a complicated part. And now it’s on nearly every actress’s bucket list.
The show is loosely based on the 1957 memoir of Gypsy Rose Lee, a burlesque entertainer known internationally for her striptease artistry. She’s the Louise inspiration, and her sister, actress June Havoc, is Baby June.
Their mother pushed them into the vaudeville circuit in the 1920s, dreaming of showbiz success. June was the extroverted performer while Louise was shy and in the background. That changes during the show’s many conflicts.
This ultimate stage mother, fiercely driven and controlling, is twice-divorced and perpetually broke. Rose must be resourceful and rely on her wits in a world not used to strong independent women.
She is a bulldozer, but peerless director Rob Ruggiero’s emphasis is that she’s motivated out of desperation. Always thinking of where their next gig will be, and if they can grab the spotlight, Rose is all about what’s next – for her and those she loves.
Because their mother is living through her children’s lives, Baby June and Louise will suffer the consequences from her abrasive efforts. However, her bossiness hides the fear of failing, of losing, of not making it through to the next day.
Ruggiero’s ability to deconstruct a 1950s era “book musical” and bring out what makes it enduring is why his shows resonate, especially on the expansive Muny stage. Despite my familiarity with a show I’ve seen multiple times, he makes it seem that I’m seeing it for the first time – namely “Hello, Dolly!” “South Pacific” and “Oklahoma” at the Muny, and award-winning “Follies” and “Sunday in the Park with George” at The Repertory Theatre of St. Louis.
Besides a vulnerability that seeps through in this “Gypsy,” there is an undercurrent of hunger. People are hungry physically, emotionally and mentally. They crave some things that have been out of reach or are not yet attainable, whether it be a nourishing meal, a living wage, a sense of worth or a dream realized.
Because of this deeper context, the musical is not just a showcase for Momma Rose, and this cast has an abundance of talent. Adam Heller captures nice-guy agent Herbie, the good cop to Rose’s bad cop, in a nuanced portrait of the man Rose loves – and pushes around. He and Leavel, a real-life couple, are noticeably in sync in their numbers “You’ll Never Get Away from Me” and “Together Wherever We Go.”
While they headline, Julia Knitel is a stealth bomber. Lanky and awkward as a reluctant Louise, the proverbial people-pleaser who only wants what Momma says is best, she blooms as Gypsy Rose Lee. It’s a striking performance, and her physical transformation is astonishing – although Knitel was already endearing from the get-go, especially in the heartbreaking “Little Lamb.”

She and Hayley Podschun as June share nice moments, including “If Momma Was Married.”
Their younger counterparts, Amelie Lock as Baby June and Elise Edwards as Baby Louise, are winsome performers. It’s a slick move when Ruggiero transitions them from young to older midway in a number.
Another standout is St. Louisan and Muny regular Drew Redington as Tulsa, a superb dancer who outgrows the kiddie act. His solo to “All I Need Is the Girl” is sensational.

The scene-stealing strippers in “You Gotta Get a Gimmick” are not only a hilarious sight gag but terrific performers who were a bright spot of comic relief. Jennifer Cody as Tessie Tura, Ann Harada as an older Electra and Ellen Harvey as a statuesque Mazeppa were laugh-out-loud funny.
Lighting designer John Lasiter’s precise work deserves mention, as does costume designer Amy Clark, going the showbiz gamut from kitsch to glitz — and those distinctive patterned cloth coats for Rose.

Scenic designer Luke Cantarella draped the show in reality – muted colors for drab sets to indicate the hardships during financially strapped times, and the dingy two-bit nature of the fading vaudeville circuit.
Ruggiero’s dream team of choreographer Ralph Perkins and music director James Moore assured that the song-and-dance numbers would be first-rate. They’ve worked together on multiple productions.
Nevertheless, maestro Moore raised the bar. He displayed his expertise conducting the orchestra in an overture that was so magnificent the audience applauded midway. And this was only the start of something special. The orchestra’s big wall of sound, with all that splendid brass, was one of the show’s best elements..
After all, what great material to work with — Jule Styne wrote this unforgettable music. He’s behind such famous tunes as “Don’t Rain on My Parade,” “Let It Snow” and ‘The Party’s Over.” Paired with lyrics by the incomparable Stephen Sondheim, fresh off “West Side Story,” these songs have stood the test of time.
“Everything’s Coming Up Roses” brings the house down at the end of Act I. And Leavel still had plenty left in her tank for Act 2.
After Rose has cajoled and bullied her way through nearly two acts, we are ready for Momma to confront her demons in the showstopper “Rose’s Turn.”
In this emotional wallop, Leavel gave it everything she had, defiantly going through a litany of anger, frustration and regrets for Rose to finally realize she did it for herself. And to herself.
It’s one of the greatest scenes ever, and Leavel hits it over the free-seats fence. Afterwards, we had to let it sink in, like she did in catharsis, and then wave after wave of applause stopped the show until the very long ovation waned.
That shared experience is what we all hope for when watching live theater, and she earned it, seizing her moment, fearless and alone on that stage.
While the show is bleak – and I’ve seen productions that were darker – there is still a glimmer of hope: that mothers and daughters can reconcile, that brighter days are ahead, and that all the work that goes into a goal was worth it.
This “Gypsy” doesn’t sugar-coat show business or struggles, and instead tells us about real-and-flawed people trying to get by and get noticed. It’s a remarkable achievement in storytelling and features a cast that makes you feel everything they experience.
“Gypsy” was clearly ahead of its time, back in 1959. And this week it was time for the Muny to hit repeat in a brand new way for this Centennial Season.
“Gypsy” is presented July 27 through Aug. 2 at 8:15 p.m. nightly at The Muny’s outdoor stage in Forest Park. For more information or tickets, visit www.muny.org or call MetroTix at 314- 534-1111.

Photos by Phillip  Hamer