Meet Me in St. Louis is Pure Nostalgia at the Kelsey Theatre

by Lisa Palena

Based on the 1944 classic starring Judy Garland, Meet Me in St. Louis follows the adventures of the wholesome and enchanting Smith family at the turn of the 20th century, the year before the World’s Fair in St. Louis.  Family patriarch, Alonso (Brian Davis), works tirelessly as a junior partner in a legal office, while his wife Anna (Leah Panuccio) attempts to keep the family in line with the help of Irish maid Katie (Suzanne Houston) as well as her father (Barry Leonard).  Eldest daughter Rose (Isabel Van Wagner) wants nothing more than for her beau Warren Sheffield (Jacob Rabinowitz) to propose, and her sister Esther (Shealyn Davis) obsesses over the boy next door (Justin Casler).  Their brother Lon (Travis Weaver) is headed to Princeton, and younger sisters Agnes (Celia Sparandera) and Tootie (Gabi Oliano) live to cause mischief. This musical is very much a period piece, but with memorable songs such as “The Trolley Song, “ the titular “Meet Me in St. Louis,” and “Have Yourself a Merry Little Christmas,” it  continues to delight audiences of all ages.

As an unabashed fan of the film, I was thrilled to have the chance to relive the charm of the movie in a stage production.  When I arrived at The Kelsey, I could clearly see that Set Designer Jeff Cantor, along with his Carpenter’s Assistant, Brett Sirolly, had fully embraced the simpler era, with a rotating porch, a semi-sheer curtain containing outlines of trees, and a fully functional wooden swing hanging from the ceiling.  The aforementioned thin curtain helped disguise the interior house set, which included a multi-level entrance and lavish furniture, appropriate for the time period and a representation of the family’s wealth status.  

The star of the show, arguably, is Esther.  And Shealyn Davis does not disappoint- from her portrayal of Esther’s naivete to her chemistry with her castmates and her absolutely incredible vocals, she embodies the heart of Judy Garland.  It was noted in the playbill that she once played Tootie as a child, and it was clear that her love and reverence for the show contributed to her amazing performance.  She deftly handles Esther’s obsession and later romance with neighbor John Truitt, and her scenes with Justin Casler are especially a joy to watch.

Esther’s siblings are also prominently featured throughout the show, and all 5 actors playing the Smith children seemingly shared a familial bond- their combined number “Whenever I’m With You” was a delight and got the audience members cheering and clapping.  In particular, Celia Sparandera as Agnes and Gabi Oliano as Tootie did a phenomenal job at balancing mischievous tendencies with adorable sweetness.  And their number with Esther, “Under the Bamboo Tree”  had audience members cracking up- mostly due to their inability to keep the hats on their heads and the creative way they tried to incorporate that into the choreography; I like to think this added a layer of nostalgia to the scene, reminding us of skits we would put on with our own siblings as a child.

The “adult” characters also brought their own magic to the stage.  Leah Panuccios’ vocals were a standout, while Brian Davis as the tired, overworked father was charming where it could be seen as harsh, and Suzanne Houston and Barry Leonard brought a touch of humor to every scene they were in, oftentimes serving as the voice of reason through their comedy.

Smaller featured roles included Lon’s love interests, Lucille Ballard (Suzanne Borg) and Eve (Laney Kenwood), the postman (Jonathan Stanley), the motorman (Bill Sismour), and three “less than desirable” winter formal dates: Clinton Badger (Emre Celik), PeeWee Drummond (Jacob King), and Sidney Purvis (Joseph Wilson).  These three actors, while only present for a small scene, left an indelible impression.  They took their roles to heart and perfectly acted the goofy, gangly, teenagers who get the chance to dance with Esther after an amusing turn of events.

The ensemble, comprised of Annie Bryson, Kheil Canono, Stacy Danka, Trevin Davis, Bridget Fry, Moira Gellman, Karen Gray, Cliff Kraus, Kristin Kraus Learn, Leslie Kraus, Jordana Krieger, Hannah Lynn, Rebecca Lynn, Sarah Lynn, Ulysses Lynn, Rafaella Mousa, Gabrielle Mueller, Jessi Oliano, Aurora Quinn, Emma Sansotta, Alexa Shifton, Mark Shifton, Michael Smith, and Marge Swider, all did a commendable job.  As this piece primarily focuses on the Smith family, the ensemble only appears for certain large numbers, but the energy and vocals brought to songs such as “The Trolley Song” gave the actors an ample chance to shine.

In addition to the cast, the orchestra, led by conductor Lee Milhous, were an integral part of the show’s success and did a fabulous job with the delightful, memorable score.  The members included Robert Ellis and Robert Scholink (Violin), Jessica Lopes (Flute/Piccolo), Donna Higgins (Flute/Clarinet), Laraine Schwartz (Clarinet), Heather Poppell (Oboe/English Horn/Clarinet), Michael Smith (Bass Clarinet/Clarinet), Scott Finch (Bassoon), Lisa Peterson and Franklin Stroble (French Horn), James Sheffer, Thomas Twardowski, and Caroline Sychterz (Trumpet/Flugelhorn/Cornet), Thomas Steele (Trombone), Peter Reichlin and Susan Moxley (Bass Trombone/Tuba), Talia Yellin Fisher (Keyboard), Patricia Hutt (Bass), and Daniel Hutt (Percussion).

One small struggle throughout the show was its technical elements- there were some minor issues with microphone echoing and lighting mishaps; however, none of these things were enough to pull attention from the stage, and the actors were consummate professionals who kept the show moving.  Scene changes were swiftly executed under the leadership of Stage Manager Kelly Plexico.  Lighting design by M. Kitty Getlik enhanced integral scenes, particularly the state fair, in which fireworks projected on screen and also on the ceilings created a realistic environment.  The costumes by Anthony Wurtz lent an air of early 20th century fashion, from the children’s Halloween costumes to the elegant ballgowns in the winter formal scene.  Props, in the hands of Alexis Plexico and Marge Swider, were appropriate to the period- blending in without detracting from any performances, and Doug West as Fight Choreographer maintained a similar philosophy for the few fight moments in the show.  Rounding out the technical elements was Noah Schwartz for sound design.

All in all, kudos should be awarded to Director and Choreographer Kristy Davis, along with Musical Director/Conductor Lee Milhous, and Producer Marge Swider, with the rest of the production team for their hard work on this show.  In an age of advancing technology, there is something special about going back to a simpler time of joy and connection- and the Kelsey’s production is overflowing with charm.  You still have three more chances to see it: Friday, July 18th at 8 PM, and Saturday (7/19) and Sunday (7/20) at 2 PM.  Purchase tickets at www.kelseytheatre.org