Jackson playwright Andrew Munz debuted his original musical about famed conservationists Olaus and Mardy Murie this past week and, as promised, the production is truly a celebration of everything it isn’t.
The musical isn’t a biography of the Muries, yet it presents the couples’ love for each other and all things wild with richness. It isn’t a polished production, but the rawness of this batch-size local theatre is inspirational.
What “The Importance of Wild Country” is, is an unabashed undertaking by an upstart repertory company intent on rekindling the performing arts in Jackson Hole. It is theatre created by locals, for locals. And this “Tetonic” troupe slays it.
Heritage And Hinterlands
“Yes, we are telling the story of Olaus and Mardy. But this is not a lecture disguised as a musical,” Munz said. “The story is designed to encourage people to respect local art, local ecosystem, local history. Inspire them to go outside and learn more about nature and their surroundings.”
The Muries are considered charismatic godparents of the American conservation movement. The couple’s altruistic commitment to environmental stewardship is summed up in a quote from Olaus that serves as the show’s title inspiration.
“We cannot overlook the importance of wild country as source of inspiration, to which we give expression in writing, in poetry, drawing and painting, in mountaineering, or in just being there,” Murie is quoted as saying.
Just about everyone in Jackson Hole who has ever hiked, biked or paddled in the expansive backcountry knows of the Muries. Many others live the couple’s credo by intuition, Munz among them.
Winter 2023, just months before Munz launched his ambitious nonprofit Tumbleweed Creative Arts, the playwright sat down to read Mardy Murie’s “Wapiti Wilderness.” He picked up a few outdoorsy tidbits, but there was one part in particular that blew his mind.
“So, I come to this one chapter and it talks all about how Mardy and Olaus were part of the first iteration of Jackson community theatre in, like, the 1940s and ’50s,” Munz recalled. “She talks about how they did everything from scratch. Built their own stage, made their own scenery, organized rehearsals.
“Mardy wrote, ‘We found talent of every kind in our little town of some 1,400 [residents].’ And here’s the part that chokes me up,” Munz continued. “‘Nothing surpasses the interest of watching your neighbors become new people.’
“That is exactly what we are trying to do here,” Munz said. “Provide a venue and vehicle for my artistic neighbors, friends and strangers to shine. Honor Jackson’s legacy in support of live performance. To boil local theatre down to its essence: the spirit of just getting out there on stage. Taking a risk and telling a story.”
With Tumbleweed barely a year old, Munz decided the time was right for the organization’s first youth production — a musical with an all-student cast, including a live band. An original script with an original score thrown together in less than a month.
It was madness to think anyone could pull it off.
Tatum Graham (as Mardy Murie), a senior at Jackson Hole High School, reads through her lines offstage during rehearsal. (Jake Nichols, Cowboy State Daily) 
Mardy Tatum Graham and Olaus Jack Tobiason rehearse a scene together. (Jake Nichols, Cowboy State Daily) 
Bandleader Jason Fritts and Director Lanier Brooks center go through a run of show prior to opening night. (Jake Nichols, Cowboy State Daily) 
A live orchestra in the pit adds to the homegrown feel of Jackson's new musical. (Jake Nichols, Cowboy State Daily)
Trust The Process
“I may be delusional and completely out of my mind, and the kids probably want to kill me, but theatre is meant to be fun, crazy and heightened emotions,” Munz said. “We have this fun community feel for this show. It feels a bit scrappy, unpolished. That is the type of theatre the Muries were creating back in the day.”
The somewhat seasoned theatre kids in the cast dreaded the bungled lines, the missed cues and the vague blocking direction. They were used to rehearsing time-tested classics from Broadway until everyone felt they were ready to raise the curtain on opening night.
Newbies to the stage were simply knee-knocking scared they would never be ready.
In the final week leading up to last Wednesday’s soft opening (a glorified dress rehearsal with a papered house), Munz took it all in stride. He was the face of calm in a pressure cooker.
“The kids are so nervous. I'm sure they would love another month of rehearsal,” Munz said. “I would remind them, ‘There is a lot of power and beauty in honoring the process. We can only create the show we are capable of creating. Believe in yourselves and be OK with mistakes.’”
Munz says “Wild Country” was written with an obvious self-awareness to help alleviate stress. Actors had freedom to explore their characters, reach for more and figure things out on the fly.
The W.C. Fields axiom “never work with children or animals” highlights the challenges of working with kids. Munz embraces the chance to share with a new generation his love for the art.
“These kids are so goofy, talented and stressed out, but the environment I am trying to create is one of encouragement and play. I am trying to get them to understand what they are giving is enough,” he said. “If lines are missed nobody will know. This is our show. We did auditions first and then I wrote a script.”
The uniqueness of what was staged was full throttle. Twists, turns, heart tugs and hilarity. It was magic. And, as Munz promised, it was full of a “joyful chaos of live theatre.”
For the first time since auditions, actors played to a live audience for the opening night preview. No more throwing punchlines into the dark. No more halts, correction and suggestion from director Lanier Brooks. The proscenium was electrified and two-way.
“Be crazy. Have fun. Take care of each other,” Munz addressed the cast at call time, minutes before curtain.
Youth Will Be Served
“Initially, the plan was to have adults play the human characters and younger kids would play the wildlife,” Munz said. “When I learned the Jackson Hole High School would not be doing a musical this year, I changed gears and it turned into 26 actors between the ages of 4 and 18 who carry this show.”
Indulge this publication with a mini-review. These kids deserve it.
- A star is born with Lena Estay. The spotlight loves her.
- As Weezy Murie, Drew McPeak’s “pregnancy” scene is a standout slice of acting far exceeding her 13 years.
- Masterful performance from lead Tatum Graham as Mardy Murie. The poise, the presence, and that voice — brava!
- Comic relief from Gil Adams and Rowan Logan — yes, more please. Chew that scenery.
- Mads Holland’s wolfish vocals are otherworldly. Phoebe Turner’s dark sarcasm as the raven is brilliantly balanced with an impossibly peppy clutch of songbirds. Zizi Dowda and Tara Preston are naturals, born for this.
A total of 70 artists contribute to the making of the show, from the 26 performers to the nine songwriters to various set and costume designers.
Conceived and written by Munz, with original songs by Molly Moon Thorn, Adrienne Ward, Brock Gleeson, Clay Humphrey, Missy Jo, WillowStar Delia, Pearson Beasley, Susan Jones and Dillon Hanna, the show is a celebration of local talent and the value of finding inspiration in all aspects of open spaces and wild country.
Jason Fritts leads a live band consisting of primarily school age musicians.
“The Importance of Wild Country,” an original musical by Andrew Munz, continues with performances at the fully revitalized Pink Garter Theatre on Broadway in Jackson, Wyoming, on May 30-31 and June 1-2.
Jake Nichols can be reached at jake@cowboystatedaily.com.
