by BWW News Desk
In its first staging ever in the world since its original Broadway production and tour, Jerome Robbins' Broadway is an epic musical anthology that honors the career highlights of Tony Award-winning director and choreographer, Jerome Robbins. Filled with mesmerizing production numbers from some of Robbins' biggest hits, including West Side Story, On the Town, Peter Pan, The King and I and Fiddler on the Roof.
The outstanding cast includes: Sarah Bowden (Claire/Tuptim/Fruma Sarah/Mama Crook), Peter Chursin (King Simon), Gabriel Cytron (Michael), Alexa De Barr (Maria/Monotony Soloist), Jess Fry (Angel/George), Leeds Hill (Ozzie), Sarah Marie Jenkins (Peter Pan), Cole Joyce (John), Maggie Lakis (Ma/Golde), Rob McClure (The Setter/Emcee/Pa/Tevye/Floy), Jenny Powers (Hildy/Monotony Singer), Drew Redington (Chip), Sean Rozanski (Bernardo/Monotony Soloist Trombone), Garen Scribner (Gaby/Tony/Monotony Clarinet), Elizabeth Teeter (Wendy), Tanairi Vazquez (Anita), Davis Wayne (Riff) and Erica Wong (Eliza). A noteworthy ensemble completes this cast, including Lindsay Bell, Jessica Bishop, Kyle Coffman, Whitney Cooper, Darien Crago, Lauren Csete, Nicolas De La Vega, Sean Ewing, Patrick Garr, Peter Garza, Berklea Going, Sean Harrison Jones, Evan Kinnane, Marina Lazzaretto, Brian Shimasaki Liebson, Chris Lingner, Robin Masella, Melissa Hunter McCann, Mitchell McCroskey, Connor McRory, Courtney Ortiz, Hillary Porter, Waldemar Quinones-Villanueva, Emilio Ramos, Mariah Reives, Kyle Samuel, Gabi Stapula, Bethany Ann Tesarck, Brandon L. Whitmore, Andrew Wilson and Victor Wisehart.
An exceptional creative team leads this production with direction by Cynthia Onrubia, production supervision by Chris Bailey, music direction by Michael Horsley, additional choreography by Harrison Beal, Dan Knechtges and Ralph Perkins, scenic design by Paige Hathaway, costume design by Robin L. McGee, lighting design by John Lasiter, sound design by John Shivers and David Patridge, video design by Nathan W. Scheuer, wig design by John Metzner, with production stage manager Matthew Lacey.
Tickets are currently on sale for this historic season. In addition, Muny gift cards for the 100th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.
Let's see what the critics have to say!
Laura Jacobs, Wall Street Journal: Rob McClure, however, as the man who leads us through the show, wins a call-out, especially for his vaudevillian turn, crisp and loving, in the song "I Still Get Jealous" from "High Button Shoes." As for the cast, they did that thing one hopes for from performing artists: The longer they were onstage, the stronger they became. It doesn't happen as often as you'd think, this visceral sense of growing power, of effort and isolation left behind, but it's what Robbins was all about.'
Judith Newmark, St. Louis Post-Dispatch: Powers sizzles "Mr. Monotony" from "Call Me Madam," which leads into a modern dance in which Rozanski, De Barr and Scribner enact a love triangle. What other show could offer so many styles of dance and music, such a panorama of the Golden Age of musical theater? It's perfect.
Chuck Lavazzi, KDHX: Robin L. McGee's seemingly endless array of eye-catching costumes, Paige Hathaway's bright sets, and Nathan W. Scheuer's video projections all add to the strong visual appeal of the show. Michael Horsley conducts the orchestra in an expert rendition of the long and sometimes complex score (even in pared-down orchestrations, Leonard Bernstein's music can be tricky). And director Cynthia Onrubia pulls everything together into a satisfying whole.
Mark Bretz, Ladue News: As for the performers, highlights include that sizzling Mr. Monotony number shaped handsomely by Powers, which is followed by an arresting ballet featuring Alexa De Barr being wooed first by a 'trombonist' danced by Sean Rozanski and then the more seductive flute player performed by Garen Scribner. Music and lyrics are by Irving Berlin, dance music arranged by Genevieve Pitot and staging by Robbins.
Harry Hamm, KMOX Radio: Even though there have been some judicious cuts in this show's numbers, the evening is still a relatively long one, breaking about 11 p.m. And frankly, not all the numbers are as compelling as they were when viewed in the full context of their original production. The Muny's circulating fan system keeps the night remarkably breezy and even cool, which gives it something in common with the show.