When I first heard that Oscar, Grammy, and Golden Globe winner Mark Sonnenblick was penning a new song for Meet Me in St. Louis at The Muny, my initial reaction was one of excitement mixed with curiosity. Meet Me in St. Louis is a musical that, for many, feels like a time capsule—a nostalgic journey to the early 20th century, complete with Judy Garland’s iconic voice and the charm of a bygone era. But what makes this particularly fascinating is the idea of adding something new to a story that’s been so deeply etched into cultural memory. It’s like adding a modern brushstroke to a classic painting—risky, but potentially brilliant.
What many people don’t realize is that Meet Me in St. Louis has always been a work in progress. The 1944 film, with its jukebox-style soundtrack, was just the beginning. Over the decades, stage adaptations have introduced more than 25 new songs, each trying to capture the spirit of the original while adding fresh layers. This constant evolution is what keeps the musical alive, and Sonnenblick’s new song, ‘That’s Enough of That,’ feels like the latest chapter in this ongoing story.
Personally, I think the decision to give Katie Connelly, the Smith family’s housekeeper, a new number is a stroke of genius. Katie, played by the incomparable Beth Leavel, has always been a character brimming with warmth and wit, but she’s often relegated to the sidelines. Giving her a moment to shine—especially in a song written by someone as talented as Sonnenblick—feels like a long-overdue acknowledgment of her importance. It’s a reminder that even in stories we think we know, there are still untold perspectives waiting to be explored.
What this really suggests is that musicals, like all great art, are never truly finished. They adapt, grow, and reflect the times in which they’re performed. Sonnenblick’s song isn’t just an addition; it’s a conversation between the past and the present. And if you take a step back and think about it, that’s what makes theater so powerful—its ability to remain relevant across generations.
One thing that immediately stands out is the timing of this production. The Muny’s staging of Meet Me in St. Louis comes at a moment when audiences are craving stories that feel both familiar and fresh. After years of uncertainty and upheaval, there’s a collective desire for comfort, but also for something that challenges us to see old stories in new ways. Sonnenblick’s song, with its wry advice delivered by Katie, seems to strike that perfect balance.
From my perspective, the collaboration between Sonnenblick and Leavel is the kind of creative pairing that theater dreams are made of. Sonnenblick’s recent success with KPop Demon Hunters and Leavel’s legendary stage presence create a unique synergy. I can’t help but wonder how their combined talents will elevate this production. Will ‘That’s Enough of That’ become a standout moment, or will it seamlessly blend into the fabric of the show? Either way, it’s a detail that I find especially interesting—a testament to the magic that happens when the right people come together.
This raises a deeper question: Why do we keep revisiting certain stories? Meet Me in St. Louis isn’t just about the Smith family; it’s about the passage of time, the tension between tradition and change, and the enduring power of community. By adding a new song, Sonnenblick and The Muny are inviting us to reconsider these themes in a modern context. What does it mean to ‘break custom,’ as Lucille Ballard does in the story, in today’s world? And how do we balance nostalgia with progress?
In my opinion, the true brilliance of this production lies in its ability to honor the past while embracing the present. It’s not just a revival; it’s a reimagining. And that’s what makes theater so exciting—it’s never static. Every performance is a chance to reinterpret, to question, and to connect.
As I look ahead to the August production, I’m struck by the broader implications of this endeavor. If a musical as beloved as Meet Me in St. Louis can continue to evolve, what does that say about the potential for other classics? Could we see new songs in My Fair Lady or The Sound of Music? It’s a provocative idea, and one that I’ll be thinking about long after the curtain falls on this latest iteration of Meet Me in St. Louis.
What makes this particularly fascinating is the way it challenges our assumptions about what a ‘classic’ should be. Are these stories meant to be preserved in amber, or are they living, breathing entities that grow with us? Personally, I’m thrilled to see Meet Me in St. Louis take this bold step forward. It’s a reminder that even the most familiar tales can still surprise us—if we’re willing to listen.
