Graduate of Baldwin Wallace University. He has also directed many award-winning productions at The Repertory Theatre of St. Broadway: High and Looped. Rob also recently directed Oliver! Louis , The Producers. Concerts: National Symphony, Orchestra of St. Upcoming: Titanic Broadway revival. Louis th Season! Broadway: Ragtime , High Society.
His turn as Shakespeare in Something Rotten! Film: Blackhat , Bounty Hunter. Choreographer, New Victory Theatre. Up next: Mamma Mia! Las Vegas: Spamalot , Avenue Q. European tours: Hair and Grease. She was last seen in Gypsy Baby June and Footloose. She takes voice lessons with Mrs. Lisa Fahey and dance classes at Professional Dance Center, where she is a member of the Ensemble competition team. When she is not dancing or singing, she is playing wiffle ball with her three big brothers or playing Barbies.
Victor is a rising junior in high school, and some of his favorite things are foreign language study, trying new recipes, and spending time with his dog Frank. He is enjoying his second year performing with the Muny Teens troupe. Madison Geiger Gretl von Trapp understudy. Louis Symphony s emi-s taged and an Associate Director on over 20 Muny productions! Proud SDC Member. Proud member of SDC. Louis Symphony. In the D. Paige is a member of USA Website: paigehathawaydesign. Louis and Guys and Dolls.
She has been the Associate Lighting Designer on each production here since — 49 shows and counting! Shelby spends her time as a lighting designer and associate in the theater and live event worlds in New York City.
He has served as a sound designer for The Muny since Muny: Paint Your Wagon Upcoming: Beau the Musical Key Hairstylist. Thanks for all of the love and unending support! Previously, she stage managed The Wiz , Guys and Dolls and Nancy is a proud, long-time member of Actors Equity Association.
Nancy leads the stage management program at the University of Michigan. Did you know The Sound of Music made its Muny debut in — one year before the Academy Award-winning film premiered? Here is a look back at a certain headstrong governess through the years.
This content appeared in the March edition of Inside 1 Theatre Drive. Commissioned to serve as the governess for seven motherless children, Maria transforms the von Trapp family home from a place of dour rules and regulations to one filled with joy, with laughter, and with music.
Louis streets. Unless you've been hiding out in a bog for the past decade, you already know that Shrek! The arc of the plot remains unchanged in this musical adaption. A misanthropic ogre and a garrulous talking donkey rescue a captive princess so that she can marry a despotic dwarf.
But this version has its own idiosyncratic identity. Imagine if, in the early s, some imaginative producer had hired W. Fields and Aaron Copland to write a Broadway musical. That's kinda what happened here. Pulitzer Prize-winning playwright David Lindsay-Abaire, who wrote the book and lyrics, is the champion of the odd and eccentric.
Jeanine Tesori, who wrote the music, is a major composer. Together they concocted a musical that, like the characters who populate the story, shies away from slick conventionality. Some of the songs are remarkable. In its kids-eye simplicity, "What's Up, Duloc? Director John Tartaglia has a personal history with Shrek he played the role of Pinocchio in the original Broadway cast , but his production feels adrift.
He is not strong on storytelling and focus. In large-group scenes we often don't know where we should be looking. On opening night you could feel the audience's attention begin to wander and then wane.
Stephen Wallem, who portrays the title role, rushed his performance in Act One. In Act Two he settled in and was more effective. Surely his confidence will grow during the week. As Princess Fiona, Julia Murney seems comfortable when she can resort to Tina Fey-like sarcasm, but there's no smile in her voice.
Because the romance is shortchanged, the secondary plot about the unlikely friendship between Shrek and Donkey an assured Michael James Scott becomes more involving.
But most of the evening's high points are delivered by the deft Rob McClure as the pencil stub of a villain, Lord Farquaad. As he romps through the evening on his knees, McClure seems to be having a ball. The audience embraces his easy, breezy delivery. When he leaps from a high landing onto the stage floor, it's as if a cartoon frame has come to life.
Would that there were more such startlingly joyous moments. But at the outset of this one-week run, the Muny Shrek lacks the passion and conviction that are required to reveal the musical in all its delightful peculiarity.
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