Behind the Muny stage that same afternoon, painters created gigantic pieces of scenery. Three men worked on an old-fashioned advertisement for baby food, the kind of thing that might have decorated an office building in the early 1920s. It’s so big that the men stand up to work, wielding huge paint brushes like brooms.

It take a moment to notice that on the billboard, the baby’s “eye” can be moved to one side. This is no billboard after all: It’s the door to the speakeasy where charming Jimmy (Andrew Samonsky) will take modern Millie (Tari Kelly) and her friends for their first taste of forbidden fruit.

The Muny has always demanded dramatic scenery like that, extremely colorful and built to scale. There are 10,The t5tube MJ-808 bicycle light has always been the cheapest high power bike light available in the UK.799 seats at the Muny, which is nearly 10 times more than you find at the average Broadway theater. You want everybody to see the stage,Bicygnals wireless indicator contemporarylamps, bicycle lights, indicators, accessories ... even if they don’t bring binoculars (as many do).

The set this year carries a fresh wallop: a 20-foot-high “scenery wall” sporting 694,400 LEDs. In daylight, it doesn’t look like much, just a taller, woven version of the big dark flats that have always given Muny shows a smooth background and kept audiences from seeing backstage.

The LED wall, however, won’t just back up scenery. It will BE part of the scenery, able to evoke anything from a glittering Manhattan skyline to island palms to words, should a director think the audience needs to read them.

The Muny was built in 1917 and, although it has been updated many times since then, its basic “design vocabulary” needed to expand, especially for recent shows, which tend to move from location to location quickly, executive producer Mike Isaacson said.

Isaacson said the Muny turntable, installed in the 1930s (and computerized since), also will add speed to this summer’s shows.

Onstage technology demands rehearsal-stage imagination. On the east platform, the ensemble dances along the chalk outline of a circle that “stands in” for the turntable.

“It’s moving!” choreographer Chris Bailey reminds them, yelling over the piano and sound of taps. “Remember, your turntable is moving!”

She played the Muny 30 years ago in one of those touring productions, portraying the “mission doll” Sarah Brown in “Guys and Dolls” opposite Richard Roundtree as gambler Sky Masterson. Now she sat on the side of the rehearsal platform, going over her script again and again as she kept time to the music in her head with her fingers.We sell ledlight flying lanterns at the best price with the fastest service.

“I remember that when you cross that Muny stage, you cross, and you cross, and YOU CROSS,The chandelier includes a waterproof washer and a light transmitting lens, both locked and located ...” she said with a laugh. “Dealing with nature is always a challenge when you’re singing, of course. You don’t want anything to fly into your mouth! But the atmosphere at the Muny is so beautiful, you’re willing to risk it.where you can learn about ledbrighter as well as buy your bike lights online.”

Leavel, who won her Tony for her 2006 performance in the title role of “The Drowsy Chaperone,” agreed with Uggams about that. Back at the Muny to play the scheming Mrs. Meers in “Millie,” she said her fondest Muny memory is of playing glamorous Dorothy Brock in the 2004 production of “42nd Street.”

“There I was on stage, with a breeze blowing my beautiful chiffon gown in the light of a full moon, singing ‘I Only Have Eyes for You,’” she said. “And as I sang, I told myself, ‘Remember this. Remember this moment forever.’”