BroadwayWorld.com St. Louis Stories

Paulo Szot to Bring AN ENCHANTED EVENING to Blue Strawberry

Fri, 12 Jun 2026 13:50:29 PST

After starring this summer in South Pacific at the MUNY (in the same role he won the Tony Award for on Broadway) and The Light in the Piazza at Opera Theatre of Saint Louis, Paulo Szot is in concert at the intimate Blue Strawberry for two nights, July 14 and 15. A Tony Award-winning baritone, Szot invites you to 'An Enchanted Evening,' a luminous night of songs that bridges Broadway, the concert hall, and cabaret.

Beloved for his Tony-winning turn in South Pacific and acclaimed performances in Chicago, Evita, My Fair Lady, & Juliet, and Hadestown, Szot brings the dramatic power, charm, and storytelling finesse of a true leading man to every song. An Enchanted Evening with Paulo Szot promises an unforgettable night of world-class artistry, filled with the most romantic and touching songs from the Broadway stage and beyond.

Brazilian opera baritone Szot is a Broadway and Opera star, who made a sensational debut in 2008 as Emile de Becque in the Lincoln Center revival of South Pacific. For his debut performance on Broadway, he was showered with awards, among them the Drama Desk Award for Outstanding Actor in a Musical, the Theatre World Award, the Outer Critics Circle Award for Outstanding Actor, and the Tony Award for Best Actor in a Musical.

As a globally celebrated opera singer, he has appeared in more than 90 productions, including ten seasons at The Metropolitan Opera and engagements with La Scala, Paris Opera, Teatro Real Madrid, San Francisco Opera, and major orchestras such as the New York Philharmonic, New York Pops, American Pops and the Chicago Symphony.

Tickets at Blue Strawberry are $55-$85. Doors open at 6pm for cocktail and dinner service (minimums apply) and showtime is at 7:30pm.

Katy Geraghty to Bring Solo Show to Blue Strawberry in St. Louis

Fri, 12 Jun 2026 13:48:41 PST

Broadway performer Katy Geraghty, fresh off her run as Tracy Turnblad in The Muny's production of Hairspray brings an evening of the music that made her.

From Paramore to Sondheim, Barbara Streisand to Billie Eilish. Special performances by Matthew Ranaudo and stand up comedian Amy Geraghty. Music Direction by Carter Haney. Tickets are $25-$45. Doors open at 6pm for cocktail and dinner service (minimums apply) and showtime is at 7:30pm.

Broadway credits include: Into the Woods (Little Red, Broadway replacement and national tour), Groundhog Day (original Broadway cast). Favorite theatre credits: Oklahoma! (Gertie Cummings, Carnegie Hall), & Juliet (pre-Broadway Toronto run), Bliss (world premiere at 5th Avenue Theatre), Hairspray (Tracy Turnblad, Oregon Shakespeare Festival and The Muny) and Shrek The Musical (Gingy, North Shore Music Theatre).

Video: HAIRSPRAY Designer Run at The Muny Offers Behind-the-Scenes Rehearsal Look

Fri, 12 Jun 2026 12:35:52 PST

The Muny has shared a designer run video from its upcoming production of HAIRSPRAY, offering a behind-the-scenes look at the cast and creative team working through the show in rehearsal ahead of opening night. The footage provides an early glimpse of the production as it takes shape before its first performance.

HAIRSPRAY is a musical comedy based on John Waters' 1988 cult classic film. The show follows Tracy Turnblad, a teenager in 1960s Baltimore who pursues her dream of dancing on a local television program while championing racial integration and body positivity along the way.

The production opens The Muny's 108th season and marks a return engagement of the show by popular demand. Katy Geraghty leads the cast as Tracy Turnblad, with Richard Kind as Edna Turnblad and John Bolton as Wilbur Turnblad, according to prior BroadwayWorld coverage. Performances take place nightly at 8:15 p.m. at the outdoor theatre in Forest Park, St. Louis. Tickets start at $20.

BroadwayWorld has previously covered the production's rehearsal process, including a studio clip of Geraghty performing a selection from "Good Morning Baltimore" alongside Music Director and Conductor Evan Roider, as well as rehearsal footage of Kind and Geraghty working through "Welcome to the 60's."

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Video: Richard Kind & Katy Geraghty Rehearse 'Welcome to the 60's' from HAIRSPRAY at The Muny

Fri, 12 Jun 2026 12:33:15 PST

The Muny has released rehearsal footage of Richard Kind and Katy Geraghty performing 'Welcome to the 60's' from HAIRSPRAY, the eight-time Tony Award-winning musical opening The Muny's 108th season June 15 through 21, 2026 in Forest Park.

Katy Geraghty leads the cast as Tracy Turnblad, with Richard Kind as Edna Turnblad, John Bolton as Wilbur Turnblad, Sara Gettelfinger as Velma Von Tussle, Charity Angél Dawson as Motormouth Maybelle, Paul Schwensen as Corny Collins, Madison Thompson as Amber Von Tussle, Ben Jackson Walker as Link Larkin, Ashlyn Maddox as Penny Pingleton, Nicholas A. Wilkinson as Seaweed J. Stubbs, Joy Elizabeth Rhodes as Little Inez, Hannah Solow as Female Authority Figure, and Kevin Zak as Male Authority Figure.

The creative team includes Christine Peters (scenic design), Tristan Raines (costumes), Rob Denton (lighting), Joshua Hummel (sound), Nathan Scheuer (video), and Ashley Rae Callahan (wig design).

For tickets and information, visit muny.org.

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Photos: GOD OF CARNAGE at New Jewish Theatre

Thu, 11 Jun 2026 23:43:27 PST

New Jewish Theatre will present Yasmina Reza's God of Carnage from June 11-28, 2026, at the J's Wool Studio Theatre in St. Louis. The production is directed by Gad Guterman, associate professor at Webster University's Sargent Conservatory of Theatre Arts. Check out photos of the production.

Winner of the 2009 Tony Award for Best Play and the Olivier Award for Best Comedy, God of Carnage follows two sets of Brooklyn parents who meet to discuss a playground altercation between their sons. What begins as a civil conversation quickly deteriorates as tensions rise, drinks are poured and long-held frustrations come to the surface.

The production stars Joel Moses as Michael Novak, Christina Rios as Veronica Novak, Nick Freed as Alan Raleigh and Bridgette Bassa as Annette Raleigh.

Guterman makes his New Jewish Theatre directing debut with the production. The creative team includes set designer Rob Lippert, lighting designer Jayson Lawshee-Gress, sound designer and composer Kareem Deanes, and costume designer Michele Friedman Siler.

The cast features Joel Moses, whose previous New Jewish Theatre credits include The Wanderers, The Heidi Chronicles and All My Sons; Christina Rios, whose NJT appearances include Broadway Bound and Jerry's Girls; Nick Freed, previously seen in Ken Ludwig's Baskerville; and Bridgette Bassa, who recently appeared in We All Fall Down.

God of Carnage is the first work by Reza to be produced by New Jewish Theatre. The French playwright is also known for her Tony Award-winning play Art.

Photo Credit: Jon Gitrchoff

Nick Freed, Bridgette Bassa, Christina Rios

Joel Moses, Bridgette Bassa

Nick Freed, Christina Rios

Joel Moses,ridgette Bassa

Nick Freed, Christina Rios

Bridgette Bassa, Christina Rios

Joel Moses

Joel Moses, Nick Freed, Bridgette Bassa, Christina Rios

Christina Rios and Joel Moses

Nick Freed and Bridgette Bassa

Christina Rios

SPELLING BEE & More Lead St. Louis's Summer 2026 Top Theatre Shows

Wed, 10 Jun 2026 16:19:31 PST

St. Louis is never lacking outstanding theatre, whether epic Broadway shows, engrossing dramas or bold fringe offerings. BroadwayWorld is rounding up our top recommended theatre every month.

We understand the importance of choosing the perfect show, especially for new theatregoers. That's why our experienced editorial team meticulously reviews a wide range of productions each month. We consider various factors including a producer's track record, audience reviews, and overall production value, to bring you the very best recommendations for the following month.

See what the experts recommend! Check out our editorial team's top picks for the best shows to see in St. Louis for Summer 2026.

The 25th Annual Putnam County Spelling Bee

Stages St. Louis at the Kirkwood Performing Arts Center - Now through June 28, 2026

Six quirky middle schoolers take the stage to compete in the Putnam County Spelling Bee, each hoping a perfect word might lead to a moment of triumph, or the rare feeling of acceptance. Guided by three equally eccentric adults, the competition quickly spins into comic chaos and becomes about far more than spelling. The spellers face impossible words, unexpected distractions, and the awkward realities of growing up. As hilarity erupts and confidence falters, their hopes, insecurities, and heartbreaks come into focus. The 25th Annual Putnam County Spelling Bee is a fast-paced, laugh-out-loud musical filled with heart, infectious songs, and plenty of audience participation. This Tony-Award winner is a charming and hilarious reminder that winning isn’t everything and growing up is hard for us all.

For tickets: click here.

The Light in the Piazza

Loretto-Hilton Center - Now through June 28, 2026

On a sun-drenched trip to Florence, a young American girl named Clara falls head over heels for a charming Italian named Fabrizio. Their love story begins with a flying hat and a fateful glance — but beneath their whirlwind romance lies a deeper tension. Clara’s over-protective mother, Margaret, harbors concerns about her daughter’s vulnerability and hesitates as the couple rushes toward marriage. Despite language barriers and cultural confusion, the warmth of Fabrizio’s family begins to change everything. With lush music and heartfelt emotion, The Light in the Piazza is a shimmering tale of hope and love.

For tickets: click here.

God of Carnage

New Jewish Theatre (NJT) - June 11, 2026 through June 28, 2026

New Jewish Theatre will present God of Carnage, a Tony Award-winning comedy by Yasmina Reza, from June 11 to June 28, 2026. The play centers on two sets of parents in Brooklyn whose attempt at a civilized discussion spirals into chaos. This marks NJT's first production of a work by the acclaimed French-Jewish playwright. The engaging narrative challenges social norms and the masks people wear in public and private life.

For tickets: click here.

Hairspray

The Muny - June 15, 2026 through June 21, 2026

Hairspray comes to The Muny from June 15 to June 21, 2026. Set in 1962 Baltimore, it follows Tracy Turnblad, a plus-size teenager with dreams of dancing on The Corny Collins Show. As she rises from social outcast to star, Tracy seeks to challenge the status quo and integrate the show while vying for the affections of heartthrob Link Larkin. This Tony Award-winning musical, based on John Waters' cult classic film, features vibrant dance numbers and a heartfelt message about acceptance and change.

For tickets: click here.

Shrek The Musical

The Muny - June 25, 2026 through July 02, 2026

Shrek The Musical will make its return to The Muny, opening on June 25 and running until July 2, 2026. This fun-filled adaptation of the beloved DreamWorks film follows the adventures of a grumpy ogre named Shrek and his wisecracking donkey as they embark on a quest to rescue a princess who is far from the typical damsel in distress. Encountering a colorful cast of fairy-tale characters along the way, the story showcases themes of friendship and acceptance.

For tickets: click here.

Rodgers & Hammerstein’s South Pacific

The Muny - July 06, 2026 through July 12, 2026

Rodgers & Hammerstein’s South Pacific will make its highly anticipated return to The Muny for the first time since 2013. Set against the backdrop of World War II on a lush island, the story follows Navy nurse Nellie Forbush as she navigates love and racial prejudice while falling for French planter Emile de Becque. The production features some of the duo's most beloved songs, including “Some Enchanted Evening” and “I’m Gonna Wash That Man Right Outa My Hair.” This classic musical promises to deliver powerful themes and timeless melodies from July 6 to July 12, 2026.

For tickets: click here.

Rodgers & Hammerstein's South Pacific

The Muny - July 06, 2026 through July 12, 2026

Rodgers & Hammerstein's South Pacific runs July 6-12 at The Muny in Forest Park as part of Season 108. Set on a remote Pacific island during World War II, the show follows two parallel love stories—an American nurse who falls for a French planter and a Marine lieutenant drawn to a young Tongan woman—both tested by the realities of war and personal prejudice. The musical features a score that includes Some Enchanted Evening, Bali Ha'i, and Younger Than Springtime. Cast information has not yet been announced for this production.

For tickets: click here.

South Pacific

The Muny - July 06, 2026 through July 12, 2026

Rodgers & Hammerstein's South Pacific comes to The Muny for seven performances, July 6-12, as part of Season 108 at the outdoor theatre in Forest Park. The beloved musical, set against the backdrop of World War II, weaves together themes of love, courage, and prejudice through a sweeping score that includes Some Enchanted Evening, Bali Ha'i, and Younger Than Springtime. Cast members have not yet been announced for this production.

For tickets: click here.

Disney’s Newsies

The Muny - July 16, 2026 through July 22, 2026

Disney’s Newsies returns to The Muny for an engaging week of theatrical excitement. Set in the heart of New York City, the story follows charismatic newsboy Jack Kelly as he leads a strike against powerful newspaper publishers raising distribution prices. With a Tony Award-winning score by Alan Menken and Jack Feldman, this production promises empowering anthems and impressive choreography, offering a timeless message of resilience and standing up for what’s right. This beloved musical will run from July 16 to July 22, 2026.

For tickets: click here.

Ain’t Too Proud: The Life and Times of The Temptations

The Muny - July 27, 2026 through August 02, 2026

Ain't Too Proud: The Life and Times of The Temptations makes its Muny premiere, showcasing the legendary group's rise from Detroit streets to global fame. This compelling musical is driven by the rhythms of iconic hits like "My Girl" and "Papa Was a Rollin' Stone," capturing the triumphs and challenges faced by the five brothers bonded in song. The story weaves through themes of brotherhood and betrayal against a backdrop of significant moments in music history. Audiences can expect a dynamic performance filled with captivating harmonies and unforgettable dance moves.

For tickets: click here.

JOB

New Jewish Theatre (NJT) - August 06, 2026 through August 23, 2026

JOB is a psychological thriller by Max Wolf Friedlich that delves into the intense world of high-stress tech employment. The story focuses on a woman who strives to reclaim her demanding job while navigating her therapist's assessment of her mental stability. This production explores the intricacies of modern life online and the responsibilities we owe to one another in an increasingly interconnected world. JOB will be featured at the New Jewish Theatre from August 6 to August 23, 2026.

For tickets: click here.

Meet Me in St. Louis

The Muny - August 06, 2026 through August 13, 2026

Meet Me in St. Louis returns to The Muny, capturing the anticipation of the 1904 St. Louis World’s Fair with the Smith family's preparations for the event. As they navigate the challenges of a sudden move, the story weaves in themes of family and romance, particularly for the two eldest daughters. Based on the classic 1944 film featuring Judy Garland, the production features beloved songs like “Have Yourself a Merry Little Christmas” and “The Trolley Song.” This enchanting musical is a nostalgic glimpse into turn-of-the-century America.

For tickets: click here.

Something Rotten!

The Muny - August 17, 2026 through August 23, 2026

Something Rotten! makes its Muny premiere, set in the Renaissance, where brothers Nick and Nigel Bottom struggle to find success as playwrights in the shadow of the famous William Shakespeare. A soothsayer's prediction that future theater involves music and dancing inspires them to create the first musical. As they navigate their ambitions, they learn that true success comes from authenticity in their craft. With a blend of comedic elements from both the 16th century and modern Broadway, this production promises a delightful experience.

For tickets: click here.

The Muny Presents Lionel Richie

The Muny - August 29, 2026 through August 29, 2026

The Muny Presents Lionel Richie is a one-night-only concert event at The Muny on August 29, 2026, closing out the theatre's summer season. Richie has sold more than 125 million albums worldwide over a career spanning five decades, earning an Academy Award, a Golden Globe, and four Grammy Awards, including album of the year for Can't Slow Down. A Kennedy Center Honoree and Rock & Roll Hall of Fame inductee, Richie is known for hits including "Hello," "All Night Long (All Night)," "Say You, Say Me," and "Endless Love."

For tickets: click here.

Looking to include your shows? Submit them to our listings here.

Video: Katy Geraghty Performs Sings 'Good Morning Baltimore' from HAIRSPRAY at The Muny

Wed, 10 Jun 2026 12:55:25 PST

The Muny has shared a rehearsal studio clip of Katy Geraghty performing a selection from "Good Morning Baltimore" from HAIRSPRAY, which launches the St. Louis outdoor theatre's 108th season. The video features Geraghty alongside Music Director and Conductor Evan Roider, offering an early look at the production before its first performance.

HAIRSPRAY is a musical comedy based on John Waters' cult classic 1988 film. The show follows Tracy Turnblad, a plus-size teenager in 1960s Baltimore who pursues her dream of dancing on a local television program while championing racial integration and body positivity. The production won eight Tony Awards during its original Broadway run.

Geraghty plays Tracy Turnblad in The Muny's production, which opens Monday and runs June 15th through June 21st, with performances beginning at 8:15 p.m. nightly in Forest Park. The Muny, the nation's oldest and largest outdoor musical theatre and recipient of the 2025 Regional Theatre Tony Award, has made accessibility a central priority for its 108th season, offering nearly 1,500 free seats each night.

The full cast for the production was announced earlier this month, with Richard Kind and Charity Angél Dawson joining Geraghty to lead the company. Tickets start at $20 and are available through the Muny Box Office.

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LETTERKENNY LIVE 2027 North American Tour is Coming to The Fabulous Fox

Wed, 10 Jun 2026 10:38:13 PST

After sold out tours in 2020 and 2022, the stars of the award-winning Crave & Hulu Original Series LETTERKENNY are bringing a brand new “LETTERKENNY LIVE” tour across North America in 2027 that includes a stop in St. Louis at The Fabulous Fox on Monday, February 8 at 7:30 p.m. The cast is reuniting for the first time since the acclaimed series concluded its groundbreaking 12-season run, offering the exclusive experience of watching new “Letterkenny” material. “LETTERKENNY LIVE” is an all-new original show with never-before-seen sketches and material featuring fan-favorite cast members from the hit series.

"LETTERKENNY LIVE" stars Jared Keeso (Wayne), Nathan Dales (Daryl), Michelle Mylett (Katy), K. Trevor Wilson (Squirrely Dan), Dylan Playfair (Reilly), Andrew Herr (Jonesy), Tyler Johnston (Stewart), Evan Stern (Roald), and Mark Forward (Coach).

The “LETTERKENNY LIVE” 2027 Tour is produced by New Metric Media, presented by Puppers Premium Lager and promoted by Show and Tell.

“LETTERKENNY LIVE” 2027 North American Tour

February 04, Toronto, ON, The Theatre at Great Canadian
February 05, Rama, ON, Casino Rama
February 06, Detroit, MI, Fox Theatre
February 08, St. Louis, MO, The Fabulous Fox
February 09, Milwaukee, WI, Miller High Life Theatre
February 11, Philadelphia, PA, The Liacouras Center
February 12, Boston, MA, Agganis Arena
February 13, New York, NY, Infosys Theater at Madison Square Garden
February 15, Nashville, TN, Opry House
February 16, Atlanta, GA, Fox Theatre
February 18, Cedar Park, TX, H-E-B Center
February 19, Sugar Land, TX, Smart Financial Centre
February 21, Allen, TX, Credit Union of Texas Event Centre
February 23, Denver, CO, Bellco Theatre
February 25, Los Angeles, CA, YouTube Theater
February 26, Las Vegas, NV, PH Live at Planet Hollywood
March 02, Vancouver, BC, Orpheum
March 03, Portland, OR, Theater of the Clouds
March 04, Seattle, WA, WAMU Theater
March 06, Calgary, AB, Grey Eagle Casino Event Centre
March 07, Edmonton, AB, Edmonton EXPO Centre
March 10, Winnipeg, MB, Canada Life Centre
March 11, St. Paul, MN, Roy Wilkins Auditorium
March 12, Rosemont, IL, Rosemont Theatre

Ticket presales begin Monday, June 15 at 12pm local time, with an exclusive presale code accessible when signing up to the Letterkenny newsletter at letterkennylive.com. General ticket sales start Friday, June 19 at 10am local time.

THE HIP HOP NUTCRACKER to Play The Fabulous Fox in St. Louis

Tue, 09 Jun 2026 21:52:54 PST

The Hip Hop Nutcracker will stop at The Fabulous Fox in St. Louis for one show only on Thursday, December 17 at 7:30 p.m. Blow is host and MC of the family-friendly holiday mash-up and contemporary holiday dance spectacle that has performed more than 250 times in 70 cities and brings a modern twist to Tchaikovsky's 130-year-old ballet. Joining Blow on stage is the powerhouse cast of a dozen all-star dancers, an on-stage DJ, and an electric violinist.

The Hip Hop Nutcracker is directed, choreographed, and co-created by Jennifer Weber – an Emmy winner and two-time Tony and Olivier award-nominee who also choreographed the international hit musical, “& Juliet” currently playing on Broadway. Executive producing is three-time Tony winner and two-time Olivier award-winning producer Eva Price, whose productions have garnered six Olivier Awards, two GRAMMY Awards, two Emmy Awards, and 19 Tony Awards. The re-mixed and re-imagined version of the classic story turns the beloved Nutcracker score on its head. Hip hop dance and Tchaikovsky's timeless music blend together for a heart-stirring and inspirational holiday event that takes audiences on a journey celebrating love, community, and the magic of the holiday season.

“The Hip Hop Nutcracker is a magical journey where tradition meets innovation, offering families and friends a holiday experience like no other,” says Blow, who paved the way for generations of hip-hop artists and fans after scoring the first certified gold record rap song in 1980. Blow is also responsible for “Christmas Rappin,” acclaimed for being the first rap holiday song. “This show is proof that the magic of the holidays can be found in the most unexpected places.” Blow says the all-star cast, dynamic choreography, and stunning performances honor hip hop's rich history while celebrating a cherished holiday story.

Just like the original, Maria-Clara and the Nutcracker Prince go on a dream adventure battling a gang of mice, visiting the land of sweets, and learning the lessons of the holiday season. Innovative digital graffiti and visuals transform the landscape of E.T.A. Hoffmann's beloved story from traditional 19th century Germany to the vibrant, diverse sights and sounds of contemporary New York City.

Created in 2013 by Weber and writer Mike Fitelson, the production has evolved into a masterpiece due to the creators' never-ending commitment to enhancing the production, and dancers who continue to raise the bar each year.

DISTANT WORLDS: MUSIC FROM FINAL FANTASY is Coming to The Fabulous Fox

Tue, 09 Jun 2026 13:49:22 PST

The official symphonic concert experience Distant Worlds: music from FINAL FANTASY, will be presented at The Fabulous Fox on Saturday, December 5 at 8:00 p.m. This immersive multimedia event combines the power of a full symphony orchestra and chorus with stunning high-definition visuals from the legendary FINAL FANTASY series projected on a giant screen, creating an unforgettable night for gamers and music lovers alike.

Renowned maestro Arnie Roth will lead over 100 musicians on stage in an exciting performance of composer Masayoshi Soken’s music from beloved video games FINAL FANTASY XIV and FINAL FANTASY XVI.

The program will also feature music by Nobuo Uematsu, Masashi Hamauzu, Masayoshi Soken, Yoko Shimomura and many other esteemed FINAL FANTASY composers, including a special performance by Amanda Achen, original vocalist from FINAL FANTASY XIV and XVI.

This special concert includes new HD video created by Square Enix specifically for this tour, along with beloved music and video from the entire FINAL FANTASY series. Don’t miss out on this multimedia concert experience.

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Tue, 09 Jun 2026 12:03:21 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this May 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from Brigadoon at Pasadena Playhouse in Los Angeles to The Phantom of the Opera at Seattle's Paramount Theatre and Pippin at Signature Theatre in DC.

Diane Paulus directs an immersive, David Bowie-inspired Life on Mars at American Repertory Theater, the producers of Japan's Gypsy revival walk back a planned title change, and we go behind the scenes with interviews spanning Adam Fields of the Beetlejuice national tour, The Muny's casting director Michael Baxter, Richard Kind on finally taking on Edna in Hairspray, and BWW's Kid Reporters chatting with the touring Von Trapp kids of The Sound of Music. Plus, get a first look at exciting new productions through performance videos and photos, including Anastasia at La Mirada Theatre, Dear Evan Hansen at Arden Theatre, Pippin at Signature Theatre, and the Manila cast of Jesus Christ Superstar - and so much more from across the BroadwayWorld.

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Joshua Wright | Boston

Diane Paulus will direct Life on Mars, an immersive theatrical production set to David Bowie's music, as the inaugural production at the Goel Center for Creativity & Performance in May.

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Joshua Wright | Japan

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

For Adam Fields, returning to Jacksonville with the national tour of Beetlejuice the Musical isn’t just another stop, it’s a full-circle moment. The production will play in Jacksonville from May 12–17 at the Jacksonville Center for the Performing Arts.

Interview: BWW’s 'Kid Reporters' Chat With THE SOUND OF MUSIC’s Touring Von Trapp Kids

Melissa Heckscher | Los Angeles

BroadwayWorld Los Angeles' kid reporters talk with the young touring cast of THE SOUND OF MUSIC to find out what it's like to be part of one of Broadway’s most iconic shows and what actually happens behind the curtain.

Interview: Chatting with The Muny's Casting Director Michael Baxter

James Lindhorst | St. Louis

Michael Baxter’s work will shine on The Muny stage during all 50 performances this summer. He led the efforts and had a hand in hiring every one of the 194 actors who will fill the principal and ensemble roles.

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

James Lindhorst | St. Louis

When The Muny opens their production of Hairspray on June 15, 2026, the legendary Richard Kind will don Edna Turnblad’s housecoat and step into her fuzzy house slippers. Kind, star of stage, screen and film, calls it bucket list moments to get to perform at The Muny and play Edna all at the same time.

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

It’s almost unbelievable for me to admit that this was my first time seeing The Phantom of the Opera. Of course, I knew the iconic songs and had seen countless clips over the years, but experiencing the production live on stage for the first time was entirely different, haunting, and spine-chilling in the best way possible. From the chandelier drop to the monumental set pieces, the show truly lives up to its legendary reputation. The 2026 tour, directed by Harold Prince, serves as a revitalized version of the original production, featuring Maria Björnson’s iconic designs, musical staging, and choreography by Gillian Lynne. It is absolutely ravishing, and Seattle audiences are lining up hours early to witness the spectacle for themselves.

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.

Videos

Video: Watch La Mirada Theatre's ANASTASIA Star Lena Ceja Perform 'Journey to the Past'

Michael Major | Los Angeles

La Mirada Theatre has released new video footage of Lena Ceja rehearsing 'Journey to the Past' from their upcoming production of Anastasia. The production features Dillon Klena as Dmitry, a role first played on Broadway by his brother Derek Klena.

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

Arden Theatre Company is now presenting DEAR EVAN HANSEN as the final production of its 2025/26 season, with performances continuing through July 5. New production photos and video have been released from the Philadelphia production, including footage of Evan A. Kaushesh performing “Waving Through a Window.”

Video: Watch 'Corner of the Sky' From Signature Theatre's PIPPIN

Michael Major | Washington, DC

Watch a video of Brayden Bambino performing 'Corner of the Sky' in Signature Theatre's production of Pippin. The in-the-round production is now running through July 26 with tickets available now.

Photos

Photos: Get a First Look at JESUS CHRIST SUPERSTAR in Manila

Oliver Oliveros | Philippines

The 2017 Olivier Award winner for Best Musical Revival, Tim Rice and Andrew Lloyd Webber’s rock opera 'Jesus Christ Superstar,' has officially opened at The Theatre at Solaire.

Review: A STREETCAR NAMED DESIRE at Opera Theatre Of St. Louis

Tue, 09 Jun 2026 13:42:32 PST

Opera Theatre of St. Louis does luscious justice to A Streetcar Named Desire—André Previn’s operatic adaptation of the Tennessee Williams classic.

Williams’ play was a smash hit on Broadway in 1947, and Blanche DuBois and Stanley Kowalski became instant American icons. These two are Williams’ most strikingly memorable characters, representing as they do the epitomized masculine and feminine—elemental forces which perpetually struggled within the psyche of the playwright himself, and which, in this play, engage in mortal combat.

The play is set in a steamy summer in New Orleans’ French Quarter, which Williams loved so well. We see Blanche in dire need seeking shelter at her sister Stella’s working-class home.

She’s in utter financial and emotional distress and there’s not a moment when she can forget that. She’s continually taking warm baths “for her nerves”, but she can no more wash away her remembered shame than can Lady Macbeth wash away her guilt.

The emotional catastrophe of her young husband’s suicide left her with an enormous burden of guilt and a profoundly damaged sexual confidence. The rest of her life has been a desperate effort to escape the one and restore the other.

Ever since A Streetcar Named Desire opened in 1947 people have called for it to be made into an opera. Indeed at its very heart it is operatic. Those floridly poetic passages that some called “purple patches” others called “arias”. And Williams himself made music an important element in the play; there are more than thirty music cues in the script—wisps of jazz, popular songs, a rhumba, a recurring elegant polka, honky-tonk and (almost pervasively from a bar ‘round the corner) what Williams calls a “blue piano”.

Over the years there have been three different ballet versions of Streetcar; Williams’ Summer and Smoke became an opera in 1971; but it was not until 1995 that André Previn was given a commission to compose an opera based on Streetcar.

Previn’s amazing career delved into every corner of serious music, from jazz to classical to art songs as well his many award-winning film scores. The score for Streetcar is rich and modern and very like the best film score you ever heard. It beautifully supports not only the turbulent emotions in the drama, but often movements and even gestures; it is, if you will, programmatic in a very detailed way. We hear urgency, lust, panic, tenderness. Sometimes strange and jarring chords involving “stacked keys” (i.e. two conflicting keys at the same time) dramatize the growing conflict and menace at the heart of the play.

Previn’s collaborator, Phillip Littell, takes his libretto for the most part directly from the text of Williams’ play. Hence, most of the opera comes across as syllabic recitative—occasionally rising into arioso. Now Williams’ words are precious indeed, and it is right to preserve them. But, as poetry, they have their own internal music—and perhaps it is unwise—or impossible—to superimpose another, external, music onto them

Blanche, Stella and Mitch all have lyrical arias or ariettas. Only Stanley is without one. But what is an aria? It’s the verbal expression of a character’s inner feelings. Stanley, the iconic male, is not verbally articulate; he expresses himself not with words but with his body, his muscle, his hands. So, alas, though baritone David Adam Moore deserves one, Stanley should really not have an aria.

The score left me hungering for three things:

Though several times there is some overlapping of voices, there are absolutely no duets or trios. As in Poulenc’s Dialogues of the Carmelites we are mostly stuck with just dialogue. I’m told that the Williams estate specifically forbade the inclusion of any duet or trio. (My god! Lawyers telling a composer how to compose?!) What insanity—to forbid the musical expression of the complex interplay of these hearts?! And surely there’s a quartet just waiting to be revealed under that poker scene.
An even stronger sense of New Orleans music. We do find some jazzy trumpet and clarinet, the occasional raunchy saxophone, but we want—we need—a still greater embrace of the musical feel of this place.
I’m so old-fashioned! I yearned for more melody, more tonality. The scenes of timid romance between Blanche and Mitch do provide a welcome breath of melody, but it’s too rare. Streetcar is, after all (in the best sense of the word) melodramatic. And atonality simply does not serve melodrama very well.

Soprano Patricia Racette has, in the past year, stepped gracefully into the role of Artistic Director for the company. Streetcar is her first effort as Stage Director in that new role. In her program note she says she wants the audience:

“to feel the heat, claustrophobia, and emotional compression of Blanche’s world—as though they have a seat inside her psyche as her world tilts, splinters, and ultimately slips beyond her control.”

This production resoundingly accomplishes that goal!

Set designer Andrew Boyce, Projection Designer Kylee Loera, and Lighting Designer Eric Southern present a quite remarkable visual setting for the drama. In my long life I’ve seen several productions of Streetcar the play, and one previous production of this opera, but never have I seen a production whose designers have so carefully studied and so faithfully pursued Tennessee Williams’ actual stage directions. Williams describes a world part reality, part dream and, in the end, part mad nightmare. It is occasionally impressionistic. At times the walls become transparent, fragments of street life in the French Quarter are seen, lurid shadows throb and flow.

At the top of the show we see Blanche arriving at “Elysian Fields”—a row of shabby apartments, upstairs and down, with a wrought-iron balcony. We see the “Desire” streetcar arriving in wonderful projections like a great distorted black-and-white film. Period, place, and mood are stamped into our minds.

David Adam Moore (Stanley) and Sara Gartland (Blanche)

It’s a very strong cast. Soprano Sara Gartland sang that delightful Rosalinde in last year’s Fledermaus. Now she swaps her comedy mask for a tragic one; she’s that lost soul, Blanche DuBois. This is a true tour de force role, and Ms. Gartland triumphs in it. Her voice can soar into such heights—where she finds a pure, crystalline sweetness. Her dramatic range flows readily from prim pretense to drunken rage. In that lovely scene with the innocent young man collecting for the newspaper she makes Blanche relish flexing her waning arts of flirtation.

Stanley Kowalski is sung by baritone David Adam Moore in his debut at OTSL. Moore beautifully merges Stanley’s macho masculinity with his justified gnawing fear that Blanche is trying to rip his marriage apart. It’s a strong performance musically and dramatically.

Stella, Stanley’s wife, is quite perfectly sung by soprano Lauren Snouffer. When she sings, just ignore those supertitles. Her voice is so clear and her diction so fine that we understand her every syllable. And she gives us so many small proofs of her deep and total love for Stanley. After her night of reconciliation with Stanley Stella sings a lovely vocalise arietta. Ms. Snouffer makes it absolutely blissful. She’s a bright highlight of this production.

David Adam Moore (Stanley) and Lauren Snouffer (Stella)

Bille Bruley sings Stanley’s friend, Mitch. Mitch, unmarried and devoted to his his invalid mother, is much gentler than the other buddies at Stanley’s poker table. Bruley captures this man’s awkward innocence as he’s drawn romantically toward Blanche’s tawdry glamor. Previn gives Mitch and Blanche much of the show’s rare melody and lyricism. Bruley and Ms. Gartland find great beauty in that music.

Sara Gartland (Blanche) and Bille Bruley (Mitch)

Supporting roles are all strongly played:

Ashlyn Brown (Stella’s neighbor and faithful friend Eunice)
Landry Allen and Cole Bellamy (poker buddies Steve and Pablo)
Edmond Rodriguez (the young collector for the newspaper)
Erik DeMario (the doctor)
Kim Stanish (the nurse)
Rosario Armas (the flower seller who haunts Blanche’s confession to Mitch:
“Flores? Flores para los Muertos?”)

Costume Designer Amanda Gladu fits each character beautifully into this time and place. She lavishes style on Blanche, whose wardrobe properly sets her apart from the others in this story. Perhaps, though, some of these fancy togs should be a bit more faded or wrinkled or sagging—like Blanche herself.

The orchestra, under the direction of the brilliant Daniela Candillari is utterly gorgeous. I am ever-astonished at how these superbly talented musicians grasp the perfect acoustics of this hall and give us such presence, such pure access to the timbre of each instrument, such awareness of subtleties of dynamics. In her program note Ms. Candillari places this Streetcar in the realm of operatic magical realism. She and her team build the perfect foundation for that realm. Bravo!

This nearly perfect production does have two points with which I would argue. Two elements of excess (over and beyond the romantic and poetical excesses for which Tennessee Williams is famous):

At two dreamish points in the show faces appear, close-up, in the vast projections at the rear—first Blanche’s tragic young husband, and later … is it perhaps the street flower seller? These are huge dramatic faces looking at us, and they totally distract our eyes from poor Blanche who is singing her heart out below in the dim and moving lights.
Sex is so important in this story. There are two moments where characters engage in sex—one joyous, one violent. When Stanley strikes her, Stella flees to the neighbor upstairs, but his famous soul-rending “Stella! Stell-lahhhhh!” brings her back down. They passionately embrace and (as Williams’ stage direction says) “he lifts her off her feet and bears her into the dark flat.”

‘Nuff said. We know what happens.

Later, Stanley strikes his final blow in his bitter war with Blanche. He is going to rape her. He tells her, “We’ve had this date with each other from the beginning. He lifts her inert figure and carries her to the bed.”

‘Nuff said. We know what happens.

But in this production such a closing is not enough. Here, in both cases, we actually see the (simulated) thrusting between spread thighs. Now I’m a long-time fan of sex, and I know that nowadays “intimacy coordinators” get big bucks for primly and properly choreographing such stuff. But just because we can get away with rather graphic sex on stage doesn’t mean that it furthers the drama. That old slow blackout and the audience’s imagination are almost always more effective. When sex gets really graphic, is it possible, even in these liberated times, for us not to wince a little for the actress’ modesty?

(And Williams has Stanley don his silk P.J.s behind a closed bathroom door. Why, in this production, do we see Stanley, behind a transparent wall, strip to his boxers and put on the pajamas? [And what man, when planning a rape, wears boxers under his pajamas? Perhaps you, dear reader, but certainly not our Stanley.])

But (as is my habit) I rant.

Once again Opera Theatre of St. Louis combines the very best of vocal and musical talents with superb design and technical elements. This production of A Streetcar Named Desire, adapted by André Previn from the Tennessee Williams play, runs through June 26.

(Photos by Eric Woolsey)

Photos: WE WILL ROCK YOU At New Line Theater

Sat, 06 Jun 2026 12:25:47 PST

New Line Theatre wraps up its season of wild, unpredictable, relevant musical theatre, with the worldwide hit WE WILL ROCK YOU, a show that's been running continuously throughout Europe for the last twenty-four years. Check out the photos below!

Set in a futuristic, post-apocalyptic dystopia, WE WILL ROCK YOU follows two revolutionaries on their mission to save rock and roll. In an age when algorithms control our every choice, this musical is a rallying cry for our times, a fist-pumping, foot-stomping anthem to individuality -- featuring the iconic music of Queen and unforgettable songs like "Crazy Little Thing Called Love," "Killer Queen," "Bicycle Race," "Another One Bites the Dust," "Somebody to Love," "We Will Rock You," "We Are the Champions," and many more.

Despite its age, this show carries a message about free expression and the power of art that has only grown more relevant.

The New Line cast includes Braidy Kirkegaard (as Galileo Figaro), Chelsie Johnston (Scaramouche), De-Rance Blaylock (Killer Queen), Evan Bronkema (Khashoggi), Jeff Loeffler (Buddy), Ronmal Mottley (Brit), Adrienne Spann (Oz), with Michael Kramer, Ian McCreary, Nathan Mecey, Rachel Parker, Reagan Posey-Mank, and Corrinna Redford. New Line's production is directed by Chris Moore and Scott Miller, with music direction by Brayden Bessette, choreography by Josiah Gundersen, costumes by Becca Rose Bessette, sound design by Ryan Day, scenic design by Nathan Mecey, and lighting design by Eric Wennlund.

Performances run through June 27 at The Marcelle located at 3310 Samuel Shepard Dr.
St. Louis, MO. Tickets are $35 for adults, $30 for seniors, and $25 for students. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office. Tickets can be purchased online through Metro Tix's website.

Chelsie Johnston

Braidy Kirkegaard

Evan Bronkema

Braidy Kirkegaard

Evan Bronkema as Commander Khashoggi

The Bohemians

Ronmal Mottley, Adrienne Spann

Jeff Loeffler, Braidy Kirkegaard

Adrienne Spann, Chelsie Johnston, Braidy Kirkegaard and Ronmal Mottley

Chelsie Johnston, Adrienne Spann, Ronmal Mottley and Braidy Kirkegaard

Evan Bronkema and De-Rance Blaylock

Braidy Kirkegaard (center), Jeff Loeffler (left) and Chelsie Johnston (right)

Braidy Kirkegaard and Chelsie Johnston

Evan Bronkema

Adrienne Spann and Chelsie Johnston

Adrienne Spann

Jeff Loeffler and Chelsie Johnston

Ronmal Mottley

Nathan Mecey (front) and Ian McCreary

Rachel Parker and Corrinna Redford

Adrienne Spann

Ronmal Mottley and Adrienne Spann

De-Rance Blaylock and Evan Bronkema

De-Rance Blaylock

Chelsie Johnston

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

Review: Stages St. Louis High-Spirited THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE Delights

Thu, 04 Jun 2026 14:28:24 PST

Stages St. Louis opened their 40th Anniversary season with one of the most adorable and wittiest ensemble theater pieces written in the past 25-years. The 25th Annual Putnam County Spelling Bee is the award winning, silly, and relatable musical comedy about a group of quirky middle schoolers competing to win a trip to a national spelling bee competition.

Directors Ron Gibbs and Gayle Holsman Seay put together an ensemble of nine of the most gifted St. Louis actors working today. Most are making their Stages St. Louis debuts.

Gibbs and Seay delight with their skills structuring, directing, and choreographing a comedic ensemble piece. They give each of their actors’ license to create and put their own original spin on on a group of awkward, eclectic, and very funny characters.

They cast six local twentysomething thespians to play gawky middle school spellers. Watching Matthew Cox, Abigail Isom, Alexis Kinney, Bryce A. Miller, Michael Schimmele, and Sarah Wilkinson age down to adopt adolescent mannerisms of insecure middle school students is a joyous treat.

Their abilities to disappear into offbeat characters through their comedic physicality and vocal tics is a credit to their talents, the collaboration of their directors, and Cat Lovejoy’s playful costumes. They capture the photogenic memories and savant-like intelligence of competitive spellers each with their own hilarious compensation for remembering the correct order of the letters in the words.

While Cox, Isom, Kinney, Miller, Schimmele, and Wilkinson are young adults, they are by no means inexperienced actors. Many have won local acting awards, Schimmele has a recent Broadway credit as a principal performer in one of the smash hit Disney musicals, and several have worked in principal roles in regional productions outside of the St. Louis market.

Cox’s Leaf Coneybear is the oddball among the other eccentric spellers. He did not win his way to the finals, so he doesn’t exactly belong. He is aware that he’s included as a stroke of luck. His low self-esteem, compliments of his not always supportive family, is captured in his embodiment of Leaf. He portrays Leaf as delightfully daffy and aloof by tapping into his inner child.

Kinney (Olive Ostrovsky) is the biggest surprise in the cast. Her “I Love You” song is a real moment. The only thing outshining her massive acting talent is her enormous singing voice. She is a force and appears much younger than her actual age. It’s a transformative portrayal of a young teenager by a much older actor.

Abigail Isom’s Logianne, the little girl with the all too long last name, and Sarah Wilkinson’s Marcy both feel pressured to be perfect by overly demanding parents. Isom’s “Woe is Me” and Wilkinson’s “I Speak Six Languages” numbers funnily convey their intellect and how paternal expectations can weigh too heavily on young psyches. Wilkinson’s ability to build her character's many talents into a three-minute song impresses.

Bryce A. Miller’s “Magic Foot” number is a highlight, and Gibbs and Seay’s playful choreography is in on the joke, as is all of their choreography. Their kinetic “Pandemonium” dance appropriately allows the actors to run amuck like energetic elementary schoolers at recess. There is so much going on during “Pandemonium” that it would require multiple viewings to catch all of the kid’s rollicking shenanigans.

Miller is a deft comic actor. His impish delivery of the song, and his portrayal of William Barfée is laugh inducing. Seeing Miller joust with Christopher Hickey about the pronunciation of his name and the definitions of words is beyond amusing. His Barfée wants to win and may lack confidence, so he gives him a cocky arrogant edge as a defense mechanism.

Schimmele has one of the funniest bits of the night, pun intended, and he sells the comedy like the pro he has become. “Chip’s Lament” is filled witty puns, and Schimmele milks every laugh from the somewhat naughty song.

Christoper Hickey, Jennifer Theby-Quinn, and Omega Jones fill adult roles in the ensemble as the school's edgy vice principal, the spelling bee moderator, and comfort counselor completing community service post-incarceration. All three are strong comedic performers, award winning actors, strong improvisationalists, and stellar singers. Jones wows with his soulful R&B solos. He’s a comfort counselor with a Teddy Pendergrass voice.

Rachel Seabaugh’s middle school gym set design hold a few fun and surprising reveals that are supported by Sean M. Savoie and Hankyu Lee’s lighting and sound design. The whimsical design work adds to the productions spirited levity.

Stages St. Louis frolicsome production of The 25th Annual Spelling Bee is gleefully irreverent carefree fun. Gibbs and Seay capture the script’s humor and the heart that is carefully tucked inside the comedic playfulness.

Don’t miss The 25th Annual Putnam County Spelling Bee at Stages St. Louis through June 28, 2026. For more information visit stagesstlouis.org.

PHOTO CREDIT: Phillip Hamer

Interview: Director of Audience Experience Lindsey On Accessibility at The Muny

Wed, 03 Jun 2026 13:23:16 PST

The Muny, the nation's oldest and largest outdoor musical theatre and the recipient of the 2025 Regional Theatre Tony Award, is preparing to welcome more than 300,000 patrons to Forest Park for its 108th season. The St. Louis institution will present seven world-class productions this summer, including HAIRSPRAY, SHREK THE MUSICAL, SOUTH PACIFIC, NEWSIES, AIN'T TOO PROUD, MEET ME IN ST. LOUIS, and SOMETHING ROTTEN!, capped by a concert finale starring Lionel Richie.

Central to The Muny's identity is its longstanding commitment to accessibility. Complimentary services include wheelchair assistance, live American Sign Language interpretation, assistive listening devices, audio description, and closed captioning. Through its Community Access program and nearly 1,500 nightly first-come, first-served free seats, The Muny welcomes close to 100,000 community members at no charge each summer.

Guiding that mission is Lindsey, a St. Louis native who began her journey at The Muny as a 16-year-old usher. She returned each summer to serve on the usher staff while also interning in the accounting office, eventually becoming The Muny's first female house manager in 2014 and its first director of audience experience in 2020.

BroadwayWorld spoke with Lindsey about what accessibility means at the nation's largest outdoor musical theatre, the introduction of live closed captioning last season, and the patrons who have shaped her understanding of the work.

The Muny is the nation's oldest and largest outdoor musical theatre. How does accessibility fit into that identity today?

Accessibility is central to who we are today. We often say The Muny is one of the most accessible theatres in America, and that's not just about specific services. It's about a philosophy. We believe in eliminating as many barriers as possible, whether they're financial or physical, so that everyone has the opportunity to experience world-class musical theatre from the comfort of their own seat. That mindset shapes the way we think about the complete audience experience, and it's something that was recognized when we received the Regional Theatre Tony Award last year. It's also important to us that these services are offered at no additional cost, so access doesn't come with added burden. At its core, it's about making sure as many people as possible can share in the magic that happens here each summer!

The Muny offers nearly 1,500 free first-come, first-served seats at every performance, that's more seats than most Broadway theatres have! How does that tradition connect to your broader access mission?

Since our founding in 1919, the free seats have been one of the clearest expressions of our mission in action. They have a profound impact on who is able to experience theatre at The Muny, welcoming audiences who might not otherwise have access to live performance. And we find that so many of our patrons have their first Muny experience in the free seats! When you combine those seats with our Community Access program, we make about 100,000 free tickets available each summer. That scale is significant, and it reflects a longstanding commitment to ensuring that cost is not a barrier to entry. It's a tradition, but it's also a very intentional part of how we serve our community today.

Live closed captioning was introduced last season. How does it work, and what has audience response been like?

Introducing live closed captioning was an exciting step forward for us. We partnered with GalaPro, an app that allows patrons to view real-time captions on their own devices, or borrow a tablet from us at the theatre. Implementing it in an outdoor venue of this size required thoughtful coordination, but it's now fully integrated into our performances on Mondays and Saturdays. The response has been incredibly positive. For patrons who are D/deaf or hard of hearing, it opens up a new level of access, and for others, it can enhance clarity and understanding, especially in a large outdoor setting. It's been a meaningful addition that has expanded how audiences engage with our work onstage.

What other accessibility services are available that patrons might not know about?

In addition to closed captioning, we offer a wide range of services designed to support different needs. These include assisted listening devices, audio description for patrons who are blind or have low vision, and American Sign Language-interpreted performances. We also provide wheelchair assistance from car to seat, along with accessible parking and seating available at every price point throughout the theatre. All of these services are offered at no charge, and together they reflect our goal of making the Muny experience as welcoming and inclusive as possible.

What does a patron's experience look like from arrival to showtime when accessibility services are involved?

We want to make the experience as seamless and comfortable as possible from the moment a patron arrives. That can begin with accessible parking and clear wayfinding, followed by support from our staff for things like wheelchair assistance, device pickup, or a visit to our first-aid or infant-care suites. Whether someone is using captioning, audio description, assisted listening or ASL interpretation, our goal is for those services to feel fully integrated into the experience.

What does it mean to see the effect The Muny's accessibility services have on the lives and experiences of patrons?

It's gratifying to know that we're helping make a difference in someone's life. In my time at The Muny, I've gotten to know so many of our patrons, especially in moments when members of our staff can provide a personal service that enhances their evening. I used to look forward to seeing one Friday night subscriber in particular. I knew that at 7:15, I would walk out to our Accessible Parking Lot to meet Bobbi, who had a stroke many years before. She would arrive alone using Call-a-Ride, and I would walk with her into the theatre and back out after the show. We would sit together and talk until her ride came, often as long as 45 minutes after the show ended. Over the years, I learned about her life, her family and her love of The Muny, which remained one constant for her both before and after her stroke. I started sitting with Bobbi when I was just 16 and continued until my last Friday shift as house manager. On that final night, we both cried. And I introduced her to a new usher who would continue to sit and chat with her, just as I'd had the honor of doing. I will always be grateful for Bobbi. She taught me the importance of going the extra step to help a stranger. One day, that stranger may shape how you understand the importance of your work.

"Groovy Do," a HAIRSPRAY-themed fundraiser in support of sustaining and expanding accessibility services for future audiences, is June 18 at The Muny. Tickets are available at muny.org/groovy-do.

Single-performance tickets for Season 108 start at $20 and are available online at muny.org, by phone at (314) 534-1111 and in person at the Muny Box Office in Forest Park.

Full Cast Set For HAIRSPRAY at The Muny

Wed, 03 Jun 2026 08:14:24 PST

The Muny has announced the full cast for its production of Hairspray, which is back by audience demand to open the theatre's 108th season this summer in Forest Park.
Hairspray, the musical comedy based on John Waters' cult classic 1988 film and winner of eight Tony Awards, runs June 15-21 and is presented by Emerson.

“What a thrill to kick off Muny 108 with this brilliant, bold, funny show,” said Muny Artistic Director & Executive Producer Mike Isaacson. “Hairspray gives us all a chance to begin this epic season knowing ‘we can't stop the beat.'”

Joining previously announced principals Katy Geraghty (Tracy Turnblad), Richard Kind (Edna Turnblad), John Bolton (Wilbur Turnblad), Sara Gettelfinger (Velma Von Tussle), Charity Angél Dawson (Motormouth Maybelle), Paul Schwensen (Corny Collins), Madison Thompson (Amber Von Tussle), Ben Jackson Walker (Link Larkin), Ashlyn Maddox (Penny Pingleton), Nicholas A. Wilkinson (Seaweed J. Stubbs), Hannah Solow (Female Authority Figure), Kevin Zak (Male Authority Figure) and Joy Elizabeth Rhodes (Little Inez) are Caira Carmelle, Chloe Chamberlin, Taylor Colleton, Brooke Cox, Audrey Curdo, Matt Dean, Jennifer Florentino, Trevor “Tjay” Groce, Leah Joy Ifill, McKinley Knuckle, Indya Lincicome, Tatiana Lofton, TJ McCarthy, Jack Sippel, Jonah Taylor, Matthew Varvar, J'Khalil and Olivia Windley.

The production is led by Seth Sklar-Heyn (director), Jesse Robb (choreographer) and Evan Roider (music director/conductor).

The design team for Hairspray includes Paige Parkhill (associate choreographer); Jennifer Florentino (assistant choreographer); Derek Shorter (associate music director); Christine Peters (scenic designer); Tristan Raines (Costume Designer); Rob Denton (lighting designer); Joshua Hummel (sound designer); Nathan Scheuer (video designer); Ashley Rae Callahan (wig designer); Bonnie Panson (production stage manager); and The Telsey Office/Rashad Naylor, CSA (casting).

A DRAG QUEEN CHRISTMAS to Return for 12th Year With 39-City National Tour

Tue, 02 Jun 2026 19:57:07 PST

“A Drag Queen Christmas” will return for its 12th year, launching a 39-city national tour this November - December. The 2026 edition is hosted by returning fan favorite and theatre star Nina West, and features an all-new merry lineup of drag superstars from the Emmy-winning RuPaul's Drag Race franchise.

Artist pre-sale begins Wednesday, June 3 at 10 a.m. (local time) with the code “TWELVE,” and general on sale begins Friday, June 5 at 10 a.m. (local time) at dragfans.com.

This year's cast includes:

Myki Meeks, Winner of RuPaul's Drag Race Season 18 (2026)
Nini Coco, Runner-up, Drag Race Season 18 (2026)
Darlene Mitchell, Drag Race Season 18 (2026)
Juicy Love Dion, Drag Race Season 18 (2026)
Discord Addams, Drag Race Season 18 (2026)
Crystal Methyd, Drag Race All Stars Season 11 (2026) & Drag Race Season 12 (2020)
Silky Ganache, Drag Race All Stars Season 11 (2026), Drag Race All Stars Season 6 (2021), Drag Race Season 11 (2019)

“A Drag Queen Christmas” is the world's premiere holiday drag showcase and a sensational theatrical experience that delivers high camp, over-the-top lip-sync performances, side-splitting comedy, elaborate costumes, Broadway-style staging, and a whole lot of heart—something we all seek during the chaos of the holiday season. With plenty of spectacular surprises in store, the show offers audiences a chance to see drag queens at the top of their game perform showstopping numbers of epic holiday proportions on revered theater stages across America. Each year, “A Drag Queen Christmas” provides an annual tradition for folks from all walks of life to come together and connect, find community, and celebrate the season with joy and laughter.

This dazzling, 18+ holiday extravaganza runs two hours and offers fans the chance to add-on a VIP Meet & Greet Experience—including early access to the venue, photos with the queens on stage, autographs, and exclusive tour merchandise.

A Drag Queen Christmas 2026 Tour Dates:

November 11 - Detroit, MI (Fisher Theatre)

November 12 - Rochester, NY (Kodak Center)

November 13 - Rutland, VT (Paramount Theatre)

November 14 - Portland, ME (Merrill Auditorium)

November 15 - Boston, MA (Emerson Colonial Theatre)

November 17 - Red Bank, NJ (Count Basie Center for the Arts)

November 18 - Morristown, NJ (Mayo Performing Arts Center)

November 19 - Washington, DC (Warner Theatre)

November 20 - Durham, NC (Durham Performing Arts Center)

November 21 - Wilmington, NC (Wilson Center - Cape Fear Community College)

November 22 - Philadelphia, PA (Fillmore)

November 24 - Pittsburgh, PA (Byham Theater)

November 25 - Columbus, OH (Palace Theatre)

November 27 - Chicago, IL (Riviera Theatre)

November 28 - Appleton, WI (Fox Cities Performing Arts Center)

November 29 - Omaha, NE (Orpheum Theater)

November 30 - Oklahoma City, OK (The Criterion)

December 1 - Des Moines, IA (Hoyt Sherman Place)

December 2 - Kansas City, MO (Uptown Theater)

December 4 - Denver, CO (Paramount Theatre)

December 5 - Salt Lake City, UT (Kingsbury Hall)

December 7 - Seattle, WA (Moore Theatre)

December 9 - Sacramento, CA (Channel 24)

December 10 - San Francisco, CA (Golden Gate Theatre)

December 11 - Stockton, CA (Bob Hope Theatre)

December 12 - Los Angeles, CA (The Wiltern)

December 13 - Santa Rosa, CA (Luther Burbank Center)

December 15 - Mesa, AZ (Mesa Arts Center)

December 16 - Tucson, AZ (Fox Tucson Theatre)

December 17 - El Paso, TX (Plaza Theatre)

December 19 - Austin, TX (ACL Live at The Moody Theater)

December 20 - Dallas, TX (Winspear Opera House)

December 21 - Wichita, KS (Orpheum Theatre)

December 22 - St.Louis, MO (The Factory)

December 23 - Knoxville, TN (Tennessee Theatre)

December 26 - Tampa Bay, FL (Straz Center for the Performing Arts)

December 27 - Fort Myers, FL (Barbara B. Mann Performing Arts Hall)

December 28 - West Palm Beach, FL (Kravis Center for the Performing Arts)

December 29 - Jacksonville, FL (Florida Theatre)

Review: The Hilarious WILD NIGHTS: AN EMILY DICKINSON SLEEPOVER PLAY is Driven by Absurd Performances

Mon, 01 Jun 2026 12:15:15 PST

There is an extraordinary commitment to the art of storytelling in Young Liars Theatre’s production of Wild Nights. The immersive new comedy, penned by the extremely talented Courtney Bailey, is overflowing with brave, all-in, goofy physical performances and loaded with silly sight gags.

Billed as an Emily Dickinson Sleepover Play, Emily and her sister-in-law Susan invite five middle school girls who hold the secrets to the perfect sleepover. Can they possibly help Emily and Susan “see the face of God” before the seven giddy girls – and one boy - crash from their sugary infusion of Dr. Pepper and “the really good snacks?”

The eighth girl is Emily’s younger sister Lavinia Dickinson. She’s living out her fantasy of marrying a very specific hot boy. She, and her costume, are one hilarious sight gag.

The Emily Dickinson in the play is the prolific 19th-century poet whose works were found after her death by her sister Lavinia and published posthumously. Many of her poems were inspired by, and dedicated to, her sister-in-law Susan Huntington Gilbert Dickinson. It is now believed Emily and Susan shared a secret romantic relationship.

Wild Nights, a fantastical comedy set in 1997, never really explains why Emily, Susan, and Lavinia live in the realm of the millennial girls, Tamagotchis, Princess Di, and Trapper Keepers. But that just doesn’t matter. What’s most critical is that the sleepover antics can help Emily see the face of God.

Directors Chuck Harper and Maggie Conroy have staged a high-octane farce driven by the unapologetically absurd performances of Ashwini Arora, Molly Burris, Frankie Ferrari, Cassidy Flynn, Keating, Ellie Schwetye, Rachel Tibbetts, and Conroy. The eight actors chug Dr. Pepper, down sugary snacks, gossip, celebrate their crushes on hot boys, tell macabre stories, and choreograph a dance sequence all before falling asleep much earlier than any of them intended.

Walking into the theater is a real wow moment. There is no fourth wall. The audience is instantly immersed in Conroy and Harper’s outrageous storytelling. Conroy’s set design completely transforms the intimate performance space. The blanket swags covering the walls create one large blanket fort over Emily Dickinson’s bedroom.

Chuck Harper’s sound design, Bradley Rohlf’s lighting design, and Marcy Wiegert’s costume designs achieve a seamless aesthetic unity. The design team is in on the joke with each of their elements converging to add to the pandemonium.

Wild Nights is inspired ridiculousness. It’s a fun romp of giddy, screaming, giggling teenage girls executing what they believe is the perfect sleepover. The directors and actors tap into this ensemble’s fearless ability to be comedically vulnerable and do what ever it takes to earn the audience’s laughs.

Courtney Bailey’s Wild Night’s, presented by Young Liars Theatre, continues at the Greenfinch through June 13, 2026. Visit youngliarstheatre.org for more information.

Photo Credit: StudioKayMedia

Review: THE LIGHT IN THE PIAZZA at Opera Theatre Of St. Louis

Tue, 02 Jun 2026 19:07:15 PST

Bright young love! Parents disapprove!
A new take on an old, old story.

Opera Theatre of St. Louis continues its fifty-first season with (would you believe?) a Broadway musical! But just as the first show of the season, Pirates of Penzance, was, musically, something rather more than an operetta, The Light in the Piazza is musically rather more than the usual Broadway musical.

Lonely American woman finds true love in sunny, romantic, magical Italy! It’s an all-too-familiar trope in films. It’s happened to Kate (and Audrey) Hepburn, to Marisa Tomei, to Renée Zelwigger, to Miranda Richardson and others.

The Light in the Piazza is a 2003 musical based on a novella by Elizabeth Spencer (1960) and a movie (1962). When I first saw this show, eight years ago, I thought it was going to be that same old tender but familiar story.

Margaret (Kate Baldwin) and Clara (Katrina Galka)

We find ourselves in Florence somewhere in the ’50’s. Margaret Johnson and her daughter Clara are on vacation from their affluent life in Winston-Salem. They’re doing something of a “Grand Tour”. Clara meets a handsome young Fiorentino. She falls in love with him, and he with her. Mother disapproves.

But then we learn that there is some secret about Clara. She appears to be only a rather brattish and immature young woman. She’s sweet but given to temper tantrums when denied her way. She can be gauche in public settings. We learn that there is a sad reason for her behavior: a head injury as a child left her mentally and emotionally impaired. Margaret, the mother, finds herself faced with a poignant moral dilemma. It’s the sort of show that makes you talk about it for a long while afterward.

Should the damaged Clara be allowed to marry Fabrizio? That’s the question that haunts Margaret—and it will haunt you too. Does he realize her limitations? Is it fair to him and his family? But can a mother deny a young woman the love of her life? Come and see. You decide.

The set by Cameron Anderson is gorgeous! At the back a vast Renaissance painting of an angel seems to bless this space. Huge marble columns and arches abound, and they separate and move about the stage to configure many different settings.

It’s a very strong cast. The central role is the mother, Margaret. She is sung by Kate Baldwin—a multiple Tony, Drama Desk, and Outer Critics Circle nominee for performances in Broadway shows. She is so right for the role of Margaret! She’s singer enough to master this beautiful score, and actress enough to movingly reveal the heart in this troubled woman. And she gives her speech a touch of lovely “Nawth Caralahna”.

Margaret (Kate Baldwin) and Clara (Katrina Galka)

Clara is sung by the lovely Katrina Galka who premiered at OTSL as Isabel Stanley in Pirates of Penzance (2013). She has sung opera at Dresden, Hamburg, Zurich, Milan (La Scalla). Ms. Galka gives Clara a true, sweet and agile voice that’s perfect for these songs of young love, young anger, young panic. She deftly balances the innocence and the recklessness of this fragile girl.

Fabrizio, Clara’s love, is sung by Roy Hage, and his is a stellar performance. Handsome, graceful, and with vocal power and diction to reach the last seats.

Both Hage and Miss Galka fledged their operatic wings in OTSL’s Gerdine Young Artists program.

This Fabrizio and this Clara are beautifully matched. Both characters are innocents caught in the magic of love-at-first-sight. (We adults in the audience should just swallow our doubts and accept this.) Even the moment of their first meeting is magic; in a grand square, in that charmed Florentine light, the wind whisks Clara’s sun hat off and away into the sky. A moment later this lovely young man returns it graciously to her.

The Naccarellis, Fabrizio’s family, are an adorable, complex incarnation of what it is to be Italian.

Joel Clemens, Kate Baldwin, Debby Lennon, Katrina Galka,
Paolo Szot, Roy Hage, Kelly Guerra

Papà is sung by Paulo Szot, who is a Tony winner and has sung at The Met, La Scalla, the Paris Opera and in Australia. He gives this pater familias just a little swagger, but he has such an open heart. His warming relationship with Margaret is gentle, and it flowers into a most lovely duet as they chat about their children’s future.

Mamma Naccarelli is sung by St. Louis favorite Debby Lennon, who is familiar from her many fine performances on both opera and musical stages here. She fills the role with wit and intelligence.

Fabrizio’s brother Giuseppe and his wife Franca are often embroiled in jealous hand-waving arguments over his womanizing. Joel Clemens (a Gerdine Young Artist) makes Giuseppe macho and assertive but a little feckless. He gives Fabrizio a stylish and energetic dancing lesson.

Kelly Guerra makes Franca a fiery force of nature. When her frustration with Giuseppe’s roving eye reaches the boiling point she, to spite him, fiercely kisses the nearest male—which happens to be young Fabrizio. Sparks fly from all directions!

At one point Margaret telephones her husband, Roy, who is back in Winston-Salem. Roy (a non-singing role) is played by one of St. Louis’ most gifted and most professional actors—Michael James Reed. He nails it!

There are lovely, unusual theatrical devices, the most significant of which is that several scenes among the Naccarellis are done in Italian. Supertitles are not used, nor are they at all needed. We see, we know exactly what is transpiring; titles would just be a distraction. What’s more this profoundly Italian family seems to carry on their emotive conversations in opera. There are veritable arias, quartets, even an octet flying around among them. It’s all an Italian stereotype, of course. But it’s a gloriously successful one. And it’s not just a gimmick: it underscores the differences between the Italian family and the American one, and it points up their difficulty in communication. Do the Naccarellis mistake Clara’s idiosyncrasies for mere language problems that will disappear with fluency?

Once, late in the evening Signora Naccarelli steps out of the scene to address the audience. She really speaks no English but nevertheless uses English to translate for us what is being said in Italian—it’s just so important. This leads into a beautiful song about “Risk”; It is vital to be willing to take a risk—in love, and in life in general.

Musically there is occasional use of vocalise—wordless singing. This is wonderfully effective in a rapturous lyrical duet between the young lovers. Later vocalise fills that most touching scene between Clara’s mother and Fabrizio’s father as they take a quiet walk to discuss the wisdom of allowing the wedding to go forward.

The Light in the Piazza won Tony awards in 2005 for best score and best orchestration.

The score is luminous. It embodies the almost palpable sunlight that bathes this story. The music often shimmers impressionistically, like Debussy or Fauré. It enlightens, it awakens, it reveals possibilities. The novella’s author, Elizabeth Spencer, met her own husband in Italy. She sees Italy as a psychological landscape.

Composer Adam Guettel is the grandson of Richard Rodgers and the son of Mary Rodgers (who composed Once Upon a Mattress). As a teen he was mentored by Stephen Sondheim. He abandoned his early goal of playing bass in a rock band to venture into opera. His strangely beautiful Floyd Collins is, I think, the world’s only spelunking opera. (New Line produced in 1999.)

In Light in the Piazza composer Guettel puts the American world into strict tempo, while the freer Italians live with changing meters—7/4, 5/8, 5/4, etc. Clara’s moments of panic drift into atonality.

Guettel as librettist? Well Sondheim cannot resist filling his songs with very clever words. Guettel wisely sees that sometimes words are not the only (let alone the best) means of communication.

The musicians in the pit are from the St. Louis Symphony Orchestra. They’re under the baton of Rob Berman, and they are (as ever) quite perfect. They draw every ounce of romance and conflict and fear from this rich score.

But size!

The orchestra at OTSL is about twice the size of the Broadway orchestra. I’m not sure if that’s needed. Even with amplified voices (a first, I think, at OTSL) the orchestra occasionally dominates. This is an intimate story.

The most serious “size” difficulty in the production is with the sets. Ms. Anderson’s columns and arches are huge! Quite beautiful, but huge. And they are in almost constant motion

Remember that formula from high-school physics?

F=ma (Force = mass times acceleration)

Well, we see those arches and columns as many tons of fine marble. That sheer mass being moved and moved and moved constitutes an enormous visual force which overwhelms the intimate story being presented by the singers and actors. Clara and her mother are not touring Florence; Florence is touring them. All of this marble-motion is achieved smoothly, but it requires a dozen or so folks to push the marble around. Now this is an intimate story. There are no big "production numbers"; there are no dance numbers; there is no actual chorus (let alone a chorus-line). There are a few small roles and a variety of people going about their lives in the streets. But these good folks are drafted to move scenery—and then, however they’re costumed, we must see them simply as an army of stage-hands.

Costumes by Ulises Alcala place the characters nicely in the ‘50s. The costumes for the principals are all beautiful and stylish. One or two of the passers-by, however, wear things that are oddly just ugly (purple/green/pink/yellow?) and distract from the magical romance of the scene.

Stage director Chrystal Manich masterfully manages the complex but fluid staging, and helps her actors find every subtlety in this gentle but difficult story.

But overall it's a splendid production. The Light in the Piazza offers you a fine, funny, thoughtful romantic evening. You’ll ponder afterwards. Will Clara and Fabrizio be happy ever after? Well, I think the odds for these two innocents are better than those for Sarah Brown and Sky Masterson at the end of Guys and Dolls.

Clara (Katrina Galka) and Fabrizio (Roy Hage)

Light in the Piazza plays at Opera Theatre of St. Louis through June 28.

Photos by Eric Woolsey

Previews: Broadway Stars Shine Bright This Summer at Blue Strawberry in St. Louis

Sun, 31 May 2026 12:43:38 PST

The stars of Broadway will shine this summer at Blue Strawberry Showroom and Lounge. Katy Geraghty, Tony Winner Paulo Szot, Elizabeth Teeter, and Tony Winner Matt Doyle will bring their solo shows to intimate midtown cabaret club.

On Monday, June 22nd, Katy Geraghty will premiere her new solo show fresh off her run as Tracy Turnblad in The Muny Production of Hairspray. Geraghty turned in memorable comedic turns in The Muny’s Bring It On and Sister Act.

Geraghty played Little Red in the 2022 star-studded Broadway revival and national tour of Stephen Sondheim’s Into the Woods. She also originated the role of Debbie in the Broadway production of Groundhog Day.

“I’m most excited to share the Blue Strawberry stage with one of the funniest new stand-up comedians, my sister Amy. She is a brilliant,” says Geraghty. “In my solo show I will sing the music that made me. It is going to be fun. I’m not going to sing Little Red from Into the Woods, but instead l’ll take a crack at the Baker’s Wife. It is the role in that show that I hope to play next.”

Tony Winner Paulo Szot will bring his solo show “An Enchanted Evening with Paulo Szot” to Blue Strawberry for two performances on July 14 – 15, 2026. Szot is spending the better part of the summer in St. Louis. He is currently on stage in The Light in the Piazza that opened this past Saturday at Opera Theater of St. Louis. Then, he will be reprising his Tony winning role of Emile de Becque in The Muny’s production of South Pacific.

The Brazilian baritone is a world class opera singer and bona fide Broadway Star. In addition to his Tony winning role in South Pacific, Szot has performed in the Broadway companies of & Juliet, Hadestown, and Chicago. He has performed with dozens of opera companies all over the world, including The Metropolitan Opera, La Scala, Paris Opera, Teatro Real Madrid, and others.

Broadway World critic Stephen Moser said Szot “Takes your breath away and just makes you weep” in his review of Szot’s Enchanted Evening Cabaret at Feinstein’s 54 Below. He called Szot’s performance “an emotionally charged and intellectually informed evening of musical storytelling.”

St. Louisan, Broadway, off-Broadway and Muny veteran Elizabeth Teeter will bring her solo show to Blue Strawberry on August 2, 2026. Teeter will be playing the lovelorn Portia in Something Rotten at The Muny from August 17th – 23rd. Her other Muny credits include Meet Me in St. Louis, The Little Mermaid, Mary Poppins, Jerome Robbins’ Broadway, and The Sound of Music twice. In 2010 Teeter played Marta, and in 2021 she played Liesl.

Teeter has just completed a run at New World Stages in the hit off-Broadway musical revival of Heathers The Musical. Her Broadway credits include Lydia in Beetlejuice, Betty in The Crucible, Young Elizabeth in The Audience opposite Dame Helen Mirren, and Jane Banks in Mary Poppins.

Teeter show at Blue Strawberry will be filled with stories of growing up in the arts. She will sing selections from Meet Me in St. Louis and Beetlejuice, plus some jazzy standards and pop hits. Elizabeth’s father, Broadway and Muny star Lara Teeter, will join her on stage for a special performance.

Following his portrayal of Nick Bottom in the Muny’s Something Rotten, Tony winner Matt Doyle will bring his cabaret act to Blue Strawberry on Monday, August 24th. In addition to the Tony, Doyle also won the Drama Desk and Outer Critics Circle Award for his portrayal of Jamie in the 2021 revival of Company, opposite Tony winners Katrina Lenk and Patti LuPone.

Doyle has become a Broadway staple. He made his Broadway debut in Spring Awakening and has starred as Elder Price in The Book of Mormon. He also performed in the Lincoln Center production of War Horse and in the 2009 revival of Bye Bye Birdie.

Broadway World critic Michael Quintos says, “Doyle’s show is filled with beautifully rendered songs and charmingly told personal stories.” He calls Doyle “endearing” and says his show is a “fun triumph.”

Tickets for Katy Geraghty, Paulo Szot, Elizabeth Teeter, and Matt Doyle’s cabaret shows are on sale at bluestrawberrystl.com. Don’t miss your opportunity to see these Broadway stars shine bright in the intimate setting of Blue Strawberry.

Photos Compliments of The Artists and Blue Strawberry

Review: THE TEMPEST at St. Louis Shakespeare Festival is Awash in Vibrant Technical Design

Sat, 30 May 2026 16:07:51 PST

A magical fantasy is washing over Shakespeare’s Glen in Forest Park. The Tempest, directed by Rick Dildine, is Shakespeare’s story of the exiled Duke of Milan plotting revenge and ultimately granting forgiveness to her foes.

Dildine has constructed a dreamlike surreal fable that sits somewhere between comedy and drama. In promotional social media reels he says that his production is more “White Lotus than Henry V.” He calls it pure magic, pure fun, and a great time, and he is not wrong.

The cast, led by the enchanting Nancy Bell as the exiled sorcerer Prospero, is comprised of mostly local actors. The depth and versatility of the St. Louis acting community is on full display. The ensemble impresses with their artistry taking on the classic work.

Faculty members from the Sargent Conservatory at Webster University who were in the audience on opening night boasted that nearly half of the talented cast are students or graduates of their esteemed theatre arts program.

Christoper and Justin Swader’s decaying shipwreck set design looks flat and unimpressive at first view. It’s intentionally dilapidated but it stuns with functionality and depth when painted with Jeff Boehm’s chromatic lighting design. It’s a flawless fusion of theatrical artistry.

Boehm’s multihued lighting becomes a storytelling symphony when combined with Melanie Chen Cole’s sensory sound design. Their stagecraft heightens the narrative and enriches Dildine’s literary expression.

Boehm and Cole’s lighting and sound design blend to create tumultuous thunderstorms and sweeping magical spells. Cole’s sound effects create some never seen characters and creatures, like the dogs who chase Caliban, Stephano, and Trinculo.

Dildine has added an original prologue that is set at the wedding of King Alonso’s daughter Claribel. The audience meets the ill-fated passengers boarding the ship destined to be lost at sea on their journey from Tunis back to Naples.

The wedding reception, hosted by a rollicking folk band, introduces music director/actor Michael Grieve and the other musician/actors (Crayton Haney and Otto Klemp) who sing and play Grieve’s original score. Grieve, is a dynamic instrumentalist and vocalist. He doubles in the ensemble as Boatswain.

Bell’s understated yet sovereign Prospero unleashes spellbinding powers on those who have wronged her. Her presence is always felt. Often, she is found looming above the action from her stage left birds nest atop the ship ruins set. Once her rightful dominion is restored, she breaks her staff and releases her power with emotive and demonstrative imagery.

Sigrid Wise’s paints the naïve Miranda as a winsome ingenue untouched by worldly experience. She conveys Miranda’s infatuation with the handsome Ferdinand. Their palpable fascination with each other is captured though both her and Zay William’s’ portrayals of the smitten couple. Williams makes a dashing and enamored Ferdinand.

Chauncy Thomas as Caliban and Eliza Pagelle as Ariel play the indentured islanders. Thomas’ Caliban has a mad quality as the island native who has lost his family’s island to Milan’s banished Duke. Thomas’ scene stealing portrayal of the unhinged “monster” is more anger than insane. Pagelle gives the invisible fairy an ethereal quality floating about the island as Prospero eyes and ears.

Dildine elicits spirited portrayals from his entire company whether it is from actors playing the Italian nobility or the drunken commoners. Kathryn A. Bentley (Alonso), Jeff Cummings (Antonio), Michael Doherty (Stephano), Harrison Farmer (Francisco), Reginald Pierre (Sebastian), Whit Reichert (Gonzalo), and José Sabillón’s (Trinculo) transformative portrayals and singular talents all shine brightly.

One can always count on an outstanding show from the St. Louis Shakespeare Festival team. This production of The Tempest is a beautifully staged and technically superior production with crisp direction, incandescent portrayals, keen stage direction, luxuriantly tailored costumes, and vibrant technical design.

The Tempest will run for the next four weeks in the Shakespeare Glen in Forest Park. The Glen is adjacent toArt Hill. Performances are free and run Tuesday through Sundays at 8:15pm. A limited number of reserved seats are available for purchase. For more information visit stlshakes.org.

Photo Credit: Phillip Hamer Photography

The Ken Page Awards Unveils 2026 Winners at The Fabulous Fox

Fri, 29 May 2026 16:45:51 PST

The Ken Page Awards (formerly known as the St. Louis High School Musical Theatre Awards) winners were announced Thursday, May 28 at The Fabulous Fox. The ceremony was hosted by program alum Allison Broadhurst and directed by Lee Anne Mathews.

The winners were named in 18 categories including the Outstanding Actress in a Leading Role and the Outstanding Actor in a Leading Role, who will go on to compete in the Jimmy Awards/National High School Musical Theatre Awards on Monday, June 22 at the Minskoff Theatre in New York City, presented by The Broadway League Foundation.

Outstanding Musical Level 1

Collinsville High School | Between the Lines

Outstanding Musical Level 2

Westminster Christian Academy | The Secret Garden

Outstanding Actress in a Leading Role

Julia Gerling | Union High School

Outstanding Actor in a Leading Role

Langston Casey | Grand Center Arts Academy

Outstanding Actress in a Supporting Role

Laila Hutchison | Collinsville High School

Outstanding Actor in a Supporting Role

Will Havens | Westminster Christian Academy

Outstanding Ensemble

Mascoutah High School | Les Misérables School Edition

Outstanding Orchestra

Lafayette High School | The Addams Family

Outstanding Direction

Freddie Rice | Mascoutah High School

Outstanding Musical Direction

Freddie Rice | Mascoutah High School

Outstanding Student Costume Design & Execution

Angel Osorio-Vargas & Claire Wasser | Collinsville High School

Outstanding Faculty Costume Design & Execution

Eve Knipp | O'Fallon Township High School

Outstanding Student Choreography

Avery Delanney & Layla Crowley | St. Charles West High School

Outstanding Faculty Choreography

Sadie Reimer | O'Fallon Township High School

Outstanding Student Scenic Design & Execution

Ailee Murphy & Nathalia Lebron-Suarez | Collinsville High School

Outstanding Faculty Scenic Design & Execution

Eden Hudder | First Baptist Academy O'Fallon

Outstanding Technical Execution

O'Fallon Township High School | Disney’s The Little Mermaid

Student Reporters

Annabelle Swaykus | Cor Jesu Academy

Malu Biju | Francis Howell Central High School

Jamar Holmes | Hazelwood Central High School

Bella Frame | Lutheran High School of St. Charles County

Amelia Trost | St. Joseph’s Academy

Spotlight Awards and WOW! Performance Awards for outstanding work in support of the production were also given out.

SPOTLIGHT AWARDS

Awarded for an outstanding performance in a role not eligible for a nomination.

Zane Hayes | Belleville West High School

Ray Knickman | Chaminade College Preparatory School

Lainie Zimmer | MICDS

Alicia Bernal, Layla Fantroy & Chloe Jennings | Nerinx Hall High School

WOW! MOMENTS

Awarded to a production for something that goes above and beyond what is expected of a traditional high school production.

University City High School

Ursuline Academy

Visitation Academy

CAROL B. LOEB PRODUCTION ENHANCEMENT AWARDS

Created to provide investments in the technical production elements of select High School theatre programs.

Lutheran North High School

St. Charles West High School

BUILT FOR THE ARTS STUDENT TECHNICAL THEATRE AWARD

The Built for the Arts Student Technical Theatre Awards, presented by Jarrell Mechanical Contractors, are awarded to students that exhibit expertise and commitment to the success of the overall production in the areas of stage management, lighting design, or audio design.

Caroline Peretz | Nerinx Hall High School

Allie Henroid | Parkway Central High School

Reagan Lozano | Timberland High School

Benjamin Huster | Lutheran High School of St. Charles

INSPIRING TEACHER AWARD

Honors exceptional high school theatre educators who demonstrate outstanding dedication, mentorship, and leadership in musical theatre by fostering inclusive, inspiring learning environments and supporting the success of their students and school theatre programs.

Missy Gehrke | Liberty High School

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

Thu, 28 May 2026 17:53:57 PST

Last December, while perusing Broadway Briefing, Kind noticed that the Muny was opening their season with Hairspray. He said, “I called my manager and asked him to throw my hat into the ring to play Edna. I told my manager that perhaps The Muny will know who I am and maybe they’ll want me. And They did!”

Kind told BroadwayWorld that he was on-hand for the final dress rehearsal of the original Broadway production of Hairspray. “Harvey Fierstein was just so terrific in that part,” Kind continued, “there is no beating what he did with that role.”

“Years ago” Kind said, “I was asked to audition for the part, and I didn’t have the confidence to do the role after seeing Harvey do it.” He continued, “Over the years I’ve seen other actors play Edna and now the time is right for me to take on this role.”

When asked what he hopes to bring to the role of Edna he said, “I don’t know that I can put it into words. Michael McKean played the role on Broadway and said that the key to playing Edna was to remember that she is a mother who would do anything for her family.” Kind calls Edna pure of heart and feeling. “She is just so giving.”

Most recently Kind had the opportunity to reprise of the role of Max Bialystock in the West End revival of Mel Brooks’ The Producers. Kind says, “It was the greatest experience. I loved London. I loved the intimate space of the 700-seat Garrick Theatre. It was like talking directly to the audience. It was so much different than doing the show in the much larger St. James Theatre on Broadway.”

It was at this year’s Olivier Awards that Kind met Seth Sklar-Heyn, the man who will direct Hairspray at The Muny. The Producers was nominated for Best Revival of a Musical, and Kind was an invited guest since he was covering the role for the Olivier nominated Andy Nyman. Kind was walking to the men’s room when he heard someone call his name.

Sklar-Heyn said, “Mr. Kind, my name is Seth and I’m going to be directing you in Hairspray at The Muny this summer.”

“Isn’t that hilarious,” Kind laughed. “I met him in London.”

Kind loved playing the smaller theatre in London, but he is no stranger to larger venues. While he’s not played The Muny before, he has performed at the 18,000 seat Hollywood Bowl twice. He says, “I’m used to playing roles in an expansive space. Playing to a big audience is like acting through a megaphone. You speak into the megaphone and send it out to all the corners of the theater.

He contrasts working in a large venue with doing voice work in animation. Kind is also an expert voice over actor. He’s worked with Disney Pixar on A Bug’s Life, Cars, Cars 2, Inside Out, and Toy Story 3.

“When doing voice over work, you bring things in quietly and compactly into your mouth and rely on the microphone to pick up everything. It takes different muscles and different techniques. It’s much more difficult than you would think. You cannot be explosive with your voice.” He calls it a different animal. “It is the difference between talking into a telephone versus trying to project the length of a football field.”

Kind’s other recent work includes a role on Only Murders in the Building. He says, “The scripts are fun. Steve, Marty and Selena are as giving as an actor can be. They’re very inviting and embracing to the other actors.”

He talked about how much actors want to work with Martin and Short. He said, “Meryl Streep said it best when she said I didn’t do it for the part, I did it for the hang.” Kind calls Martin and Short wonderful and nice people. “I’ve known Marty for years. I don’t know Steve that well, but spending time with him in the green room was quite special.”

When asked why audiences will want to see Hairspray at The Muny Kind said, “Hairspray is a fun night out with an underlying beautiful message that we need today more than ever. It is about love, equality, and acceptance.” He continued, “Unfortunately our world is putting up literal walls. I think we must accept each other a little more. Kids will feel a little more liberated from the anxiety they may be feeling today after seeing Hairspray. It is so much fun. It combines Broadway with 60’s pop music. It is charming and light. Its froth!”

Hairspray opens The Muny season on June 15th and runs through June 21, 2026. Tickets are available online and at The Muny Box Office in Forest Park. Visit muny.org for more information about Hairspray and the rest of the Muny season.

Interview: Chatting with The Muny's Casting Director Michael Baxter

Thu, 28 May 2026 13:23:25 PST

Every season Tony winning actors and legendary Broadway talent grace The Muny stage in each of its seven productions. Previous seasons have seen the likes of Jessica Vosk, Norm Lewis, Michael James Scott, Rob McClure, Jackie Burns, and others who have taken on principal roles. This season Tony winners Paulo Szot and Beth Leavel will return for roles in South Pacific and Meet Me in St. Louis. Tony winner Matt Doyle and legendary stage actor Richard Kind will make their Muny debuts in Something Rotten and Hairspray. For many of these actors, playing The Muny is on their bucket list.

It takes a large team of creatives to cast the 194 principal and ensemble roles from the more than 3,000 in-person auditions and the hundreds of other video auditions submitted each season. The casting team includes The Muny’s executive and production teams, each production’s director, choreographer, and music director, and The Muny’s casting partners at The Telsey Office. But, one man, Muny Associate Artistic Director Michael Baxter helms this team from start to finish, finalizing the casts for each of The Muny’s seven productions.

Michael Baxter grew up as a theater kid in the Detroit suburb of Troy, Michigan. He started out as a singer performing in community theater productions, but it wasn’t until he discovered dance that everything changed for him.

“When I started taking dance lessons, I realized there was a professional life for me in theater.” Baxter continued, “Dance catapulted me into a different understanding of the perseverance and discipline required to be successful in the industry. It is what shaped the work ethic I have today.”

Baxter credits two mentors who inspired him as a young performer. “My dance studio teacher Deborah Agrusa and my high school drama teacher Rick Bodick nurtured my talent and skill.” He said that their leadership is the reason he’s working in theater today.

Following high school graduation, Baxter came to St. Louis to earn his BFA in Musical Theater at Webster University’s Sargent Conservatory. While at Webster he performed in shows at The Muny and earned his equity card. He was part of the ensemble in The Producers, My One and Only, and 42nd Street. Baxter says it was that early experience at The Muny that gave him the confidence to pursue a full-time career in theater.

Following graduation, he moved to New York City. “I did a multitude of gigs in every arena possible,” Baxter shared. “It gave me a real sense of understanding talent, the theater, and why we make this art.”

Then in 2012 The Muny came calling again. He was hired by Mike Isaacson as casting support and was the dance demonstrator for auditions. Isaacson was impressed by his skill and immediately offered him the role as The Muny’s full-time resident choreographer.

For seven years Baxter directed, choreographed, and led the Muny Teens program. “I instilled and injected a new love and energy into the teens program and delivered on the promise of being an institutional guy who was an integral part of its success.”

“I wanted to prove myself and become an artistic leader. It was Mike’s (Isaacson) mentorship that helped shape me,” he said. “I am immensely grateful to Mike for his ongoing leadership.”

In 2018, Isaacson promoted Baxter to Artistic Associate in charge of casting. “I’m so fortunate that Mike saw something in me and took a chance on me,” Baxter blushed. Baxter was then named Associate Artistic Director in 2024.

This year marks the 8th season that Michael Baxter is leading the casting efforts. He humbly mentions that the process is a collaboration between him, Isaacson, the creative leads on each of the shows, and his casting partners at The Telsey Office in New York.

Casting efforts begin the moment the season is finalized. Baxter says “it is a multi-collaborative process. We start planning the size, budget, and scope for each show. We consider the number of principal actors needed, how large the ensemble needs to be, and how we might integrate The Muny Teens and Kids into the show.”

There are eight major casting events that include out of town equity tryouts and local auditions for equity and non-equity actors, singers, and dancers. Performers are being seen for all seven shows at the same time. Once that process is complete, there are callbacks for each specific show.

Baxter and his casting partners Rachel Hoffman, Lindsay Levine, and Rashad Naylor at The Telsey Office work tirelessly throughout the process to put quality talent in front of the shows’ creative personnel who have the final say in the casting decisions. He wants to ensure the entire artistic committee feels good about their casting choices.

Once casting decisions are made Baxter is solely responsible for making offers to actors, negotiating their contracts, and finishing the deal. “I work 70-hours a week from the time the shows are announced until the casts are finalized.”

“The beautiful thing is that our audition process is open to emerging talent from performing arts institutions all across the country,” says Baxter. “You name any school with a BFA in Musical Theater and they’re sending aspiring talent to auditions for an opportunity to spend a summer at The Muny.”

Baxter said one of his favorite stories from this season’s auditions was that of Nicholas A. Wilkinson who came to one of the open calls for singers. Nicolas was auditioning in a sea of hundreds of other singers at that day’s auditions. He stood out, was called back, and was offered the principal role of Seaweed J. Stubbs in Hairspray.”

Nurturing young talent is one of the aspects of Baxter’s role that brings him an immense amount of pride. He speaks fondly of the dozens of kids who came through The Muny Teen’s program who have gone on to successful careers on Broadway and in national tours. “I can’t mention one of them or I would have to mention all of them,” Baxter beamed.

One of the youths from The Muny Kids troupe, 11-year-old Joy Elizabeth Rhodes, is playing Little Inez in Hairspray this season. It’s one example of how Baxter and The Muny nurtures talent by giving a young actor an opportunity to fill a featured role alongside some of the biggest names in the business.

Baxter calls The Muny the Broadway of the Midwest. “There is a cultivation and investment in the community that the actors can sense.” He says, “It is an outpouring of love, energy, and excellence in artfulness that is unapologetically theatrical. It’s emotional. It is real, and that’s why playing The Muny is desired by so many actors.”

“That makes it our collective responsibility to deliver on the promise of an exceptional experience for our artists and audience,” Baxter notes. “I am really proud that the energy of the audition work we do shows on the stage. It takes a lot of investment but there is an incredible nose to the grindstone work ethic happening here.”

The Muny season opens with Hairspray on June 15, 2026, running through June 21. The remainder of the 2026 lineup includes Shrek the Musical June 25 – July 2, 2026, South Pacific July 6 – 12, Disney’s Newsies July 16 – 22, Ain’t to Proud July 27 – August 2, Meet Me in St. Louis August 6 - 13, and Something Rotten August 17 – 23.

Single tickets are on sale now for all seven productions. Visit muny.org for more information.

SONIC LIVE IN CONCERT to Launch Global Tour With US and UK Premieres

Wed, 27 May 2026 20:59:39 PST

As Sonic the Hedgehog celebrates 35 years as one of the most iconic video game franchises of all time, Senbla and SEGA today announced Sonic Live In Concert (www.sonicliveinconcert.com). This new concert experience brings the music and moments of the beloved video games to the stage.

Featuring iconic moments and music from the very first game in 1991 through today, the production will debut in the U.S. at the Dolby Theatre in Hollywood on September 26, 2026, before making its European premiere at London's Eventim Apollo on September 30. The U.S. tour will visit more than 30 cities nationwide, and a UK tour will follow in February 2027. More European dates will be announced at a later time. Tickets will go on sale May 29, 2026, with pre-sale tickets going on sale on May 28, 2026.

As part of a global rollout celebrating the franchise's milestone anniversary, Sonic Live In Concert features the most recognizable music from the Sonic universe, performed by a live ensemble alongside rock musicians, vocalists, and electronic elements. The setlist includes fan-favorite tracks and an incredible array of music from the very first game through to today accompanied by synchronized HD footage of iconic levels, moments and boss battles from the franchise. Audiences can expect musical Easter eggs woven into the arrangements, adding an extra layer of discovery that brings Sonic's world vividly to life on stage.

The concert also highlights the creative legacy behind Sonic's music from legendary composers Jun Senoue and Tomoya Ohtani, whose work has helped define Sonic's sound across generations.

"Sonic has some of the most distinct and celebrated music in gaming," says Ollie Rosenblatt, CEO of Senbla. "We wanted to create a live show that stays true to what the fans love about Sonic's music, from the electronic and melodic themes to high-energy rock."

“Music has always been a core part of Sonic's identity, shaping how fans experience this world across generations," said Ivo Gerscovich, Chief Business & Brand Officer at SEGA of America, Inc. "With this concert, we're looking forward to celebrating that legacy in a live setting; bringing together the energy, emotion, and creativity of Sonic's music in a way that both longtime fans and new audiences can enjoy together.”

Since his debut in 1991, Sonic the Hedgehog has become a global entertainment icon spanning video games, film, television, and consumer products. With renewed momentum driven by recent film releases, new game titles, and a global brand campaign tied to the 35th anniversary, the franchise continues to reach new generations of fans worldwide.

The performance schedule includes:

September 20, 2026 – Spokane, Washington – First Interstate Center for the Arts
September 22, 2026 – Seattle, WA – Paramount Theatre (preview)
September 23, 2026 – Portland, OR – Keller Auditorium (preview)
September 25, 2026 – San Diego, CA – San Diego Civic Theatre (preview)
September 26, 2026 – Hollywood, CA – Dolby Theatre
September 27, 2026 – Riverside, CA – Fox Performing Arts Center
September 29, 2026 – Mesa, AZ – Mesa Arts Center - Ikeda Theater
September 30, 2026 – London, U.K. – London Eventim Apollo
October 1, 2026 – Las Vegas, NV – Resorts World Theatre
October 2, 2026 – Fresno, CA – Saroyan Theatre
October 3, 2026 – San Jose, CA – San Jose Civic
October 4, 2026 – Reno, NV – Grand Theatre at The Grand Sierra Resort & Casino
October 6, 2026 – Denver, CO – Temple Hoyne Buell Theatre
October 8, 2026 – Irving, TX – The Pavilion at Toyota Music Factory
October 9, 2026 – Houston, TX – Bayou Music Center
October 10, 2026 – San Antonio, TX – Boeing Center at Tech Port
October 11, 2026 – Oklahoma City, OK – The Criterion
October 13, 2026 – Wichita, KS – Orpheum Theatre
October 15, 2026 – Omaha, NE – Orpheum Theater
October 16, 2026 – Peoria, IL – Prairie Home Alliance Theater
October 17, 2026 – Louisville, KY – The Louisville Palace Theatre
October 18, 2026 – St. Louis, MO – The Factory
October 19, 2026 – Nashville, TN – Ryman Auditorium
October 20, 2026 – Mobile, AL – Saenger Theatre
October 22, 2026 – Brandon, MS – City Hall Live
October 23, 2026 – Huntsville, AL – VBC Mark C. Smith Concert Hall
October 24, 2026 – Atlanta, GA – Fox Theatre
October 25, 2026 – Greensboro, NC – Steven Tanger Center for Performing Arts
October 27, 2026 – Charlotte, NC – Ovens Auditorium
October 28, 2026 – North Charleston, SC – North Charleston Performing Arts Center
October 29, 2026 – Jacksonville, FL – Florida Theatre
October 30, 2026 – St. Petersburg, FL – Duke Energy Center for the Arts - Mahaffey Theater
October 31, 2026 – Fort Lauderdale, FL – Broward Center for the Performing Arts - Au Rene Theater
November 1, 2026 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
February 17, 2027 – Glasgow, UK – Royal Concert Hall
February 18, 2027 – Edinburgh, UK – Usher Hall
February 19, 2027 – Manchester, UK – Bridgewater Hall
February 20, 2027 – Birmingham, UK – Symphony Hall

For more information, tour dates, and tickets, visit www.sonicliveinconcert.com.

MISSOURI CHAMBER MUSIC FESTIVAL to Return for 16th Season at The Sheldon

Wed, 27 May 2026 20:43:31 PST

The Missouri Chamber Music Festival will present Season 16, Hope is the Thing with Music, June 10–21, 2026, in partnership with the Sheldon Concert Hall.

Hope is the Thing with Music explores the deep connection between poetry and music, where lyric and line intertwine. Featuring works by Judith Weir and Augusta Read Thomas, the season draws inspiration from the poetry of Emily Dickinson, illuminating themes of nature, immortality, inner life, and the enduring power of words. The Festival's commitment to expanding artistic voices continues with a new commission by David Werfelman, further amplifying diverse perspectives in chamber music.

“For me, this season marks a real turning point,” said Nina Ferrigno, Artistic Director of the Missouri Chamber Music Festival. “It feels like the beginning of a new chapter for MOCM—one that builds on our foundation while opening the door to new collaborations and a broader vision for what chamber music can be in St. Louis.”

The season reflects longstanding artistic relationships, featuring the Arianna String Quartet and the Calyx Piano Trio, alongside a new partnership with the Sheldon Concert Hall and the appointment of Managing Director Aviva Hakanoglu.

The Festival's educational initiative, ACMI (Adult Chamber Music Intensive), will take place May 26–31, 2026. Applications are currently open, with an extended deadline of April 10, 2026.

Events, Performers, Tickets

MOCM Season 16: Hope is the Thing With Music

All events:

The Sheldon Concert Hall

3648 Washington Ave, St. Louis, MO 63108

Concert I. “Upon Enchanted Ground” June 10, 2026 @ 10:30 AM

Music of Copland, Giovanni Solima and Faure

Concert II. “Musicians Wrestle Everywhere” June 15, 2026 @ 7 PM

Featuring Judith Weir: Musicians Wrestle Everywhere for Chamber Orchestra

James Sommerville, conductor

Concert III. Arianna String Quartet June 17, 2026 @ 7 PM

Prelude Concert of Young Artists from ACMF @ 6 PM

Augusta Read Thomas, Upon Wings of Words

Featuring Benedetta Orsi & The Arianna String Quartet

Special Prelude concert by Young Artists from the Arianna Chamber Music Festival

Concert IV. “There's a certain slant of light” June 21, 2026 @ 7 PM

WORLD PREMIERE: New Work by David Werfelman

Music of Beethoven & Elena Kats-Chernin,

The Calyx Piano Trio

Festival Performers

The Arianna String Quartet

The Calyx Piano Trio

Nina Ferrigno, piano

Sixto Franco, viola

Tzuying Huang, clarinet

Nadine Hur, flute

Hannah Ji, violin

Nathan Lowry, violin

Benedetta Orsi, mezzo-soprano

Kevin Ritenauer, percussion

Davin Rubicz, cello

James Sommerville, conductor

Robert Walker, clarinet

Shen Wen, pian

Tickets

On sale now: www.mochambermusic.org

4-Concert Festival Passes $100

Single Tickets $30/ Student Tickets $10 with ID

AND THEN THERE WERE NONE to Close ARLT Season Ahead of Repertory Theatre of St. Louis Transfer

Tue, 26 May 2026 15:02:37 PST

Agatha Christie's "And Then There Were None", directed by Robyne Parrish will close out the summer season at ARLT, Sept. 25-Oct. 4. The world's best-selling mystery comes alive on stage, pulling you into a suspense-filled game of survival where no one can be trusted and everyone is a suspect. With each shocking twist and haunting reveal, the tension mounts until the final, heart-stopping conclusion.

The show will then transfer to Repertory Theatre of St. Louis in March of 2027. The Rep is helmed by Kate Bergstrom, Augustin Family Artistic Director and Danny Williams, Managing Director. The Saint Louis production will feature many of the same actors and creatives, including Saint Louis favorites, father and son, Joneal and Jarid Joplin, as well Broadway's Joshua Morgan (Ain't Too Proud, Les Mis), and Missouri favorites, Jeffrey C. Wolfe and Manon Halburton. Di Zhu (Off-Broadways, The Pushover, Blindspot) and Tim Jones (Sleep No More) and Amanda Brooke Lerner (Nora From Queens, Power)lead the cast.

Tickets are on sale now at LyceumTheatre.org or at our box office at 660-837-3311,for the 65th anniversary season of the Arrow Rock Lyceum Theatre.

Michael James Reed to Make His Opera Theatre Of St. Louis Debut in THE LIGHT IN THE PIAZZA

Tue, 26 May 2026 10:17:08 PST

The St. Louis theatrical community benefited greatly when Michael James Reed moved to St. Louis 15-years ago. Since arriving here Reed has been one of St. Louis’ hardest working actors and educators. He has starred in countless shows at The Repertory Theatre of St. Louis, The Muny, St. Louis Shakespeare Festival, and St. Louis Actors Studio, just to name a few. He is an adjunct theatre professor at both Webster University’s Sargent Conservatory of Theatre Arts and Washington University teaching classes on auditioning skills, musical theatre acting, and on-camera acting.

His work in the St. Louis theatre community has netted him a whopping nine St. Louis Theater Circle Award nominations. His sole win came for his work in Shakespeare’s A Midsummer Night’s Dream at The Repertory Theatre of St. Louis. His most recent nomination was for his supporting role as Friar Tuck in The Rep’s production of Ken Ludwig’s Sherwood.

Reed has starred in 100 theatre productions and has over 30 television and film credits. He has worked professionally in England, New York, Los Angeles, San Diego, San Francisco, St. Louis, and in other cities across the United States.

He grew up in Bellevue, Washington, just outside of Seattle. By the time he was in high school, his family had moved to Santa Cruz, California, and he started college at U.C. Santa Cruz. “I moved London to go to drama school and lived there for five years, before returning to New York.” Reed continued. “I was in New York for 7 years, before moving to L.A.” After 14 years in Los Angeles, Reed moved to St. Louis for what he described as “family reasons.”

Reed was familiar with St. Louis’ vibrant arts community through his work at The Repertory Theatre of St. Louis in the 1990s. Once he moved here permanently, he continued working at The Rep and found that this market, for its size, offered him more than enough work to keep him busy.

“I am more artistically satisfied working in this city than I have been in my entire career. I don’t get pigeon-holed here,” he says. “St. Louis has given me the opportunity to take on challenging roles and projects.” He calls the amount of work available here for both equity and non-equity actors extraordinary.

Earlier this season Reed starred in A Doll’s House, Part 2 at St. Louis Actor’s Studio. This month he will be making his debut with Opera Theatre of St. Louis (OTSL) as Roy Johnson in The Light in the Piazza opposite Tony Winner Paulo Szot and two-time Tony nominee Kate Baldwin. Following his work at OTSL, both he and Szot will immediately go into rehearsals for South Pacific at The Muny.

Reed has performed in nearly 20 shows at The Muny and will now add the Opera Theatre of St. Louis credit to his resume. While he considers himself a baritone, he jokingly says, “I don’t get hired for my singing.” The character he is playing in The Light in the Piazza is a non-singing role. He said, “Roy is the one character who is not in Italy. He is back home in North Carolina and takes two important phone calls from his wife Margaret.”

“I was exposed to The Light in the Piazza while teaching at Webster,” Reed said. “I had a student who wanted to work on it. We did a shortened 12-minute version of the role they were studying.” Prior to that Reed knew little about the musical. “This is an incredible musical. It is so beautiful and very accessible.”

Reed told Broadway World that he was particularly thrilled to be a part of OTSL’s 2026 Festival Season. “I’m looking forward to all of the shows and cannot wait to see the production of A Streetcar Named Desire,” says Reed. “I love that version of Streetcar.” Last season he directed A Streetcar Named Desire for the Tennessee Williams Festival St. Louis.

When asked why audiences will want to see The Light in the Piazza, Reed responded, “It is one of the best musicals written in the past twenty years. It will be sung by a world-class cast. The score will be played by the renowned St. Louis Symphony orchestra, and audiences will be able to enjoy this show in the intimate space of the Loretto Hilton Theatre.”

The Light in the Piazza opens on Saturday, May 30, 2026, and runs for six performances. The remaining performances are June 4th, 10th, 12th, 20th, and 28th. (Note: The Saturday, June 20th performance is a Matinee.)

For more information or to buy tickets to any of the Opera Theatre of St. Louis’ 2026 Festival Season, visit experienceopera.org.

Review: THE PIRATES OF PENZANCE at St. Louis Opera Theatre

Tue, 26 May 2026 10:19:12 PST

It's almost a century-and-a-half old, but it's as fresh and appealing as when it first bounded into the public eye on New Year's Eve, 1879. It's The Pirates of Penzance—perhaps the most irresistible of Gilbert and Sullivan's comic "Savoy" operas. Opera Theatre of St. Louis has opened a delicious production of this gem.

It’s a splendid way to kick off the fifty-first season of this decidedly world-class company.

Opera Theatre must have some kind of special arrangement with the weather gods. Once again (as has happened several times in past seasons) despite threatening rain forecasts the evening was lovely—and dry. Patrons happily enjoyed their elegant pre-show picnic suppers at tables set out on the beautiful grounds.

Pirates of Penzance is the wondrously improbable tale of Frederic, an orphan mistakenly apprenticed to a pirate. A victim of duty, he has honored his contract of indenture in this odious calling. But Frederic has now achieved his majority and is free to follow a more honest path. We meet the inevitable delightful bevy of maidens. They are the daughters of Major General Stanley. True love arises between Frederic and the lovely Mabel. The pirates plan to forcibly marry the other daughters. A squadron of police appears and does battle with the pirates. They are the goofiest constables you've ever seen—veritable Keystone Kops (though they preceded their cinematic counterparts by some forty years). In the end, of course, honor, patriotism, and true love triumph. Is this comedy? Well, it ends with thirteen marriages, so it must be. And it's as zany and irreverent and modern as Monty Python. There is an extended confusion with the words "orphan" (one without parents) and "often" ("frequently") that is pure John Cleese and Eric Idle.

The orchestra is composed of a tranche of the St. Louis Symphony Orchestra. Under the direction of George Manahan they give us on overture that is simply gorgeous! With glimpses of many of the show’s familiar and beloved songs, these musicians perfectly, comfortably, exactly fill the hall. Now, for me the overture in most musical theater is a thing to be patiently waited through—an amuse bouche, yes, but mostly a sort of fee we pay for entrance into the action. But last night the overture was a thing of great beauty to be appreciated for itself. Arthur Sullivan was, of course, a serious composer of classical and sacred music. His skills were loftier than was demanded for “common entertainment”. In fact in the premiere production of Pirates the orchestra threatened to strike for higher wages because Sullivan's music was closer to opera than to operetta. There’s much complexity, much subtlety, and very much real beauty in the score. Maestro Manahan and his musicians found and presented all that to us last night. Perhaps I was seated in an acoustical sweet spot, but I could perceive every instrument, every timbre, every subtlety of dynamics—yet all of this joined into one organic musical voice—which seemed to breathe these beauties into my ears. Wonderful work!

The set is a delight! The proscenium is Victorian, with curtain appropriately draped in red-velvet swag.

Act 1 shows us a Cornish seaside awash in bright cartoon colors: floor and sky of daffodil yellow, with crisp squares of the blue of Superman’s leotard. Stylized blue waves sport along the ground-row. A very make-shift rough-wooden pirate ship and its rag-tag crew roll in. All very jolly!

The pirates are a most feckless lot. (They’re precursors to Captain Hook’s crew of the Jolly Roger, which J. M. Barrie gave us twenty-five years later.) These pirates are too tender-hearted. Out of pity they refuse to take loot from anyone who claims to be an orphan. The Pirate King is dashingly played by William Socolof.

We meet young Frederic, our hero, who bids farewell to his comrades: he’s going straight. We meet the spirited Ruth, who was Frederic’s nursemaid—and has faithfully attended him all these years. Ruth is lustily sung by Meredith Arwady. (I well remember her strong performances in OTSL’s Emmeline and Dialogues of the Carmelites.)

Frederic is sung by Daniel Luis Espinal who has a fine, clear tenor voice that just seems to get even better as the evening rolls on. I think, though, that should he shave his neat little moustache it would add to Frederic’s necessary innocence and naiveté. (It would grow back so quickly!)

We meet a dozen lovely sisters with parasols, taking a stroll on the beach. (Might they be so daring as to remove their shoes and stockings to take a wade?!) The pirates are instantly smitten and plan to marry these maidens (by force).

“You shall quickly be parsonified,
Conjugally matrimonified,
By a Doctor of Divinity
Who is located in this vicinity.”

Among these girls Mabel is the youngest and most beautiful. She falls instantly in love with Frederic. Jana McIntyre has a voice for which this role is a real show-case. It’s by far the most “operatic” role in the evening—tricked out with stratospheric notes and lots bel-canto decoration. She absolutely nails it! She’s the musical high-light of the evening.

Mabel (Jana McIntyre) and Frederic (Daniel Luis Espinal)

Enter Major-General Stanley (Robert Mellon), who stuns us with his lightning diction in Gilbert and Sullivan's very best "patter" song, "The Model of a Modern Major-General". Mellon, a St. Louis favorite, is master of all things comic.

Major-General Stanley (Robert Mellon)

James Schuette designed the beautiful costumes—Victorian, with comic touches. To me there seemed a slight dissonance between the palette of the set (intense cartoon colors) and that of the costumes (rather more muted).

In Act 2, however, this dissonance vanishes. We find ourselves in a lovely graveyard on the Stanley estate: marble tombstones, obelisks, a statue, an urn—all in moonlight whites and grays and blues. The dark sky is filled with brilliant stars. The sisters, when they arrive, are all clad in long white night-gowns.

at center: Mabel (Jana McIntyre) and her father (Robert Mellon)

Major-General Stanley cannot sleep. His conscience is troubled because he allowed himself to tell a fib to the pirates in order to ward them off: he told them he was an orphan. Now he frets among the ghosts of his ancestors. (Well, he only recently bought the estate and it’s graveyard. He doesn’t know whose these ancestors were, but he knows that since the purchase they are now his ancestors!)

The pirates stealthily approach to wreak vengeance (and seize their brides). The Police arrive, led by their Sergeant (stalwartly sung by Shyheim Selvan Hinant, who has a gift for physical comedy). These bobbies all move in a uniform Chaplinesque toddley walk. Riotous comedy ensues.

Sergeant (Shyheim Selvan Hinnant) and his men

Mabel (Jana McIntyre) and Frederic (Daniel Luis Espinal)

All conflict is finally resolved by an appeal to the two character traits which formed the bedrock upon which the British Empire was built:

an adamantine commitment to duty,
and
a profound love of The Queen.

Happily ever after!

(Only the Policemen go off without brides. Theirs is indeed, “not a happy lot.”)

OTSL’s Sean Curran directed and choreographed this production. When one person with a single vision provides both these functions for a show magic can happen. I recall Curran’s utterly wonderful work in Ariadne on Naxos some years ago. In Pirates he again shows masterful skills in both these aspects of the show.

This joyous production of Gilbert and Sullivan’s great and evergreen The Pirates of Penzance plays at Opera Theatre of St. Louis through June 27.

P.s. Don’t miss the pre-show talk at 6:30. This is given by Sharon Bjorndal Lavery. She’s the repetiteuse (rehearsal pianist) and she simply bursts with charm and charisma and fascinating information about the show.

Photos by Eric Woolsey

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