By Lynn Venhaus
Christ Memorial Productions’ presentation of the Rodgers and Hammerstein classic “Oklahoma!” won eight Best Performance Awards for choreography, music direction, lighting, costumes, acting and Best Featured Dancer while Kirkwood Theatre Guild’s production of the George and Ira Gershwin 1920s musical-screwball comedy “Nice Work If You Can Get It” won seven, including Best Large Ensemble Musical Production, Best Director and five acting awards, from Arts For Life Sunday.

It was KTG’s sixth win for musical production since 2000. Both shows had been nominated for 17 awards apiece. “A New Brain,” which was a local community theater premiere for Hawthorne Players, won Best Small Ensemble Production.

Arts For Life is a nonprofit organization that encompasses 140 communities and 8,460 square miles in St. Louis city, county and St. Charles County in Missouri and Madison, Monroe and St. Clair counties in Illinois.

Founded in 1994 by Lucinda Gyurci as a group dedicated to the healing power of the arts, AFL has honored community theater musicals for performances and achievements since 1999 (BPAs), plays since 2015 (Theatre Mask Awards) and expanded awards in youth musical theater in 2013.

Best Small Ensemble Musical “A New Brain”

But this is the first time AFL did not host a live gala. Because of the COVID-19 global pandemic, the ceremony was re-imagined as a pre-recorded virtual celebration. The 21st annual BPAs took place June 14, which was the original date, but transitioned to a streaming format broadcast on Facebook and YouTube.

AFL President Mary McCreight said the coronavirus safety measures in place and restrictions on gatherings in St. Louis County were factors in the decision to cancel the live show but still have some sort of event.

“We wanted to provide an opportunity for our local arts community to come together online and celebrate the many outstanding achievements of the previous year,” McCreight said.

Performances from nominees for large ensemble musicals, two small ensemble musicals and five youth productions premiered on AFL’s YouTube channel for 10 days leading up to the awards, and are now available there, https://www.youtube.com/channel/UCnCSL5RPbHTrhbc0mbHcWnA

There were 15 community theaters and 10 youth-only groups who participated last year. More than 60 judges in the Theatre Recognition Guild scored 46 shows — 19 large ensembles, 3 small and 24 youth, featuring 939 roles. For 2019, there were 154 individual nominations from 22 groups, with 36 percent first-time nominees and 65 percent first-time winners.

Goshen Theatre Project, which led all groups with 18 nominations, won five youth awards overall for “Les Miserables School Edition,” including Best Youth Musical Production, Supporting Actress Natalie Cochran as Eponine, costume design (Terry Pattison), lighting design (Halli Pattison and Blake Churchill) and Bennett English as Best Youth Musical Performance as Jean Valjean.

Other multiple winners in the youth categories were Riverbend Theatre, which won three for “The Drowsy Chaperone” — director (Kristi Doering), music direction (Michael Frazier/Alison Neace) and lead actor (Jayson Heil as the Man in Chair), and Young People’s Theatre, which won two for “Newsies” – best supporting actor (Will Dery as Les) and set design (Brisby Andrews and Gary Rackers).

Norbert Leo Butz

Thirty-three awards honoring excellence during 2019 were announced by past winners and members of the AFL board of directors, with two special guest presenters — Norbert Leo Butz, two-time Tony Award winner who grew up in St. Louis, and Hana S. Sharif, the Augustin Family Artistic Director of The Repertory Theatre of St. Louis.

Butz, who also announced the youth musical production winner, told the audience to believe in themselves, even when it’s hard, and follow their dreams, noting he had supportive parents and “great” teachers.

“Believe in yourself and keep on being grateful. Stick to it,” he said from his home in New Jersey. “(Performing arts) feeds our soul, our minds, our hearts.”

AFL donated to Butz’s charity, The Angel Band Project, which uses music therapy to help victims of sexual abuse and domestic violence and advocates for rights of survivors. For more information, visit www.angelbandproject.org

Jennifer Kerner

Four special honors were given out to Jennifer Kerner for her inclusion efforts, Bennett English for Best Youth Musical Performance as Jean Valjean in Goshen Theatre Project’s “Les Miserables: School Edition,” Kayla Dressman for Best Featured Dancer as Dream Laurie in  CMP’s “Oklahoma!” and Diane Hanisch, the BPA musical director/conductor for the past 20 years, who won a national Spotlight Award from the American Association of Community Theatres, presented by Quiana Clark-Roland. A Lifetime Achievement Award was not designated this year.

Kerner’s recognition was for her advocacy on inclusion and helping to make the live theater experience accessible to all individuals. Kerner, a local singer and actress, works to help place people with developmental disabilities in jobs. She has guided local theater companies in providing sensory-friendly performances and has worked to create comfortable environments for those on the autism spectrum and those with sensory processing disorders.

McCreight was thrilled about Hanisch’s national award.

Diane Hanisch

“This award is designed to help pay tribute to an individual for long or special service. It recognizes outstanding dedication, service and contribution to your organization. It is for someone who has made a significant impact on the quality of your organization. Diane has done just that with per professionalism and charm. She is a gem! Not only can she calm the nerves of a 12-year-old singing a solo, but others who are singing in front of 700 people for the first time. She arranges and writes the music, gathers her professional band, and conducts the show with aplomb. Diane cares as much about our legacy as anyone involved on the Arts for Life Board. No one is more deserving,” she said.

The annual Youth Scholarships, which are awarded to two students pursuing a degree in the arts, were announced, with Alaina Bozarth, a graduate of Metro East Lutheran High School, and Josiah Haan, a graduate of Fort Zumwalt High School, each given $500. Bozarth plans to major in musical theatre at Belmont University in Louisville, Ky., and Haan plans to major in technical theatre and design at Lindenwood University in St. Charles, Mo.

Other ensemble nominees include “Hello, Dolly!” from Wentzville Christian Church, “Oklahoma!” from Monroe Actors Stage Company and “The Bridges of Madison County” from Alpha Players of Florissant for Best Large Ensemble and “The 25th Annual Putnam County Spelling Bee” from O’Fallon TheatreWorks for Best Small Ensemble.

For Best Youth Production, in addition to “Les Miserables,” nominees include “The Drowsy Chaperone” from Riverbend Theatre, “Matilda” from Gateway Center for the Performing Arts, “Newsies” from Young People’s Theatre and “Spring Awakening” from Gateway Center for the Performing Arts.

CMP’s Oklahoma!

For the record books, Kimberly Klick won her sixth BPA for choreography for CMP’s “Oklahoma!”. She had previously won for CMP’s “Mary Poppins” and “The King and I,” plus “Dirty Rotten Scoundrels,” “Big the Musical” and “Fiddler on the Roof” for other companies. It was her 10th overall, including wins for Best Featured Dancer in “Brigadoon” in 2000, Lead Actress for Millie in “Thoroughly Modern Millie” 2006 and Jo in “Little Women” in 2008, and Cameo Actress in “Titanic” 2003.

It was three in a row for Jonathan Hartley, who won for lighting design of “Oklahoma!” and had won last year for “Joseph and the Amazing Technicolor Dreamcoat” at DaySpring Center for the Arts; he won for set design for DSA’s “Little Shop of Horrors” in 2017. Stephanie Fox won her third in four years for choreography in Gateway Center for the Performing Arts shows – “Spring Awakening” 2019, “Carrie the Musical” 2017 and “Thoroughly Modern Millie” 2016. Terry Pattison also won her third for costume design since 2017: “Peter Pan,” “The Lion King Jr.” and “Les Miz,” all for Goshen Theatre Project, and won set design for “Chitty Chitty Bang Bang” in 2018.

Joe Paule Sr. won his third for musical direction, for CMP’s “Oklahoma!”, following CMP’s “The King and I” in 2014 and Hawthorne Players’ “The Producers” in 2010. He received the Lifetime Achievement Award last year. It was the second award for Michael Frazier and Alison Neace for musical direction, this year for Riverbend Theatre’s “The Drowsy Chaperone” and for Alton Little Theatre’s “The Spitfire Grill” in 2011.

Other multiple winners included two for Alpha Players of Florissant’s “The Bridges of Madison County” for Lead Actor (Cole Guttmann) and Cameo Actress (Chelsie Johnston) and Take a Bow Showcase for “Annie” – juvenile performer (Leontine Rickert) and duo/group (Matthew Joost and Carole Ann Miller).

Winners Will Shaw and Kimmie Kidd-Booker in “Nice Work If You Can Get It”

In the acting categories, Mike Huelsmann’s award for Best Featured Actor as Jud Fry was his third, after Lead Actor as Javert in Take Two Productions’ “Les Miz” (2013) and as part of Best Duo/Group in Looking Glass Playhouse’s “Young Frankenstein” 2015. Kimmie Kidd-Booker’s award for Best Featured Actress as Estonia Dulworth in “Nice Work If You Can Get It” was her second win, after Best Featured Actress in “The Wiz” in 2014. George Doerr IV won his second, as Igor in Alfresco’s “Young Frankenstein,” after winning Best Actor in 2017 for Alfresco’s “The Rocky Horror Show.”

The virtual program included the following production team: directors Mary McCreight and David Wicks Jr., video supervisor Kim Klick, visual designers Colin Dowd and Bethany Hamilton, voice-over announcer Ken Clark and host Karen Fulks.

A list of winners is included here, below.

AFL’s Theatre Mask Awards was originally set for April 4, then moved to July 18, but now will also be a virtual celebration. The 2020 TMAs will honor excellence in community theater productions of dramas and comedies during 2019 in a live interactive viewing event at 11 a.m. Saturday, July 18, on the AFL Facebook page and YouTube Channel. The awards show will be recorded beforehand and the content will remain on social media.

On March 16, McCreight suspended all public activities of the AFL organization because of the public health crisis. The extension has been extended until further notice. Both TRG and TMA branch judges and participating groups will receive announcements on future developments. As the region re-opens, social distancing and wearing face coverings continues. At this time, all AFL performance venues remain closed.

“I am incredibly grateful to all of our constituencies – the board, judges, participating groups, audience members and donors – for their commitment to AFL and their engagement and unwavering support of our local theatre community during these uncertain times,” McCreight said.

Any company that won can have a representative pick up their trophies on July 19 from 1 to 3 p.m. in the parking lot of Clayton Community Theatre, which is located at the Washington University South Campus Theatre, 6501 Clayton Road, St. Louis, MO 63117.

Riverbend Theatre’s The Drowsy Chaperone

A souvenir program is available to download online: https://drive.google.com/file/d/1YlomcYjVNqDNqmPTCrYGSjnAtDwkn9QT/view

A limited number of copies will be available for purchase as well.

For more information, contact AFL TRG Secretary Kim Klick at [email protected]

To see a list of the 2019 nominees and winners, as well as the awards history 1999-2019, visit the website: www.artsforlife.org

Follow AFL on Facebook, Twitter and Instagram.

2020 Best Performance Award Winners:

Best Musical Production Large Ensemble: “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Musical Production Small Ensemble: “A New Brain,” Hawthorne Players

Best Youth Musical Production: “Les Miserables: School Edition,” Goshen Theatre Project

Best Director: Dani Mann, “Nice Work If You Can Get It,” Kirkwood Theatre Project

Best Musical Direction: Kathy Eichelberger and Joseph Paule Jr., “Oklahoma!” Christ Memorial Productions

Best Choreography: Kimberly Klick, “Oklahoma!” Christ Memorial Productions

Best Lead Actor: Cole Guttmann, “The Bridges of Madison County, “Alpha Players of Florissant

Best Lead Actress: Jaclyn Amber, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Featured Actor: Mike Huelsmann, “Oklahoma!” Christ Memorial Productions

Best Featured Actress: Kimmie Kidd-Booker, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Supporting Actor: Caleb Long, “Oklahoma!” Christ Memorial Productions

Best Supporting Actress: Dianne M. Mueller, “Oklahoma!” Christ Memorial Productions

Best Actor in a Comedic Role: George Doerr IV, “Young Frankenstein,” Alfresco Productions

Best Actress in a Comedic Role: Margery Handy, “The Wizard of Oz,” Alton Little Theater

Best Cameo Actor: Jacob Streuter, “Jesus Christ Superstar,” Looking Glass Playhouse

Best Cameo Actress: Chelsie Johnston, “The Bridges of Madison County,” Alpha Players of Florissant

Best Actor in a Non-Singing Role: Will Shaw, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Actress in a Non-Singing Role: Maria Wilken, “Nice Work If You Can Get It,” Kirkwood Theatre Guild

Best Duo/Group: Matthew Joost and Carole Ann Miller, “Annie,” Take A Bow Showcase

Best Set Design: Matt Dossett, “The Little Shop of Horrors,” Monroe Actors Stage Company

Best Lighting Design: Jonathan Hartley, “Oklahoma!” Christ Memorial Productions

Best Costume Design: Krysta Wenski, “Oklahoma!” Christ Memorial Productions

Best Juvenile Performer: Leontine Rickert, “Annie,” Take a Bow Showcase

Best Youth Director: Kristi Doering, “The Drowsy Chaperone,” Riverbend Theatre

Best Youth Music Direction: Michael Frazier and Alison Neace, “The Drowsy Chaperone,” Riverbend Theatre

Best Youth Choreography: Stephanie Fox, “Spring Awakening,” Gateway Center for the Performing Arts

Best Youth Lead Actor: Jayson Heil, “The Drowsy Chaperone,” Riverbend Theatre

Best Youth Lead Actress: Alli McDonald, “Once Upon a Mattress,” St. John’s UCC Performing Arts Camp

Best Youth Supporting Actor: Will Dery, “Newsies,” Young People’s Theatre

Best Youth Supporting Actress: Natalie Cochran, “Les Miserables School Edition,” Goshen Theatre Project

Best Youth Costume Design: Terry Pattison, “Les Miserables School Edition,” Goshen Theatre Project

Best Youth Set Design: Brisby Andrews and Greg Rackers, “Newsies,” Young People’s Theatre

Best Youth Lighting Design: Halli Pattison and Blake Churchill, “Les Miserables School Edition,” Goshen Theatre Project



“Head Over Heels” will open at New Line Theatre March 6. It is the regional premiere of the wild, sexy, modern musical fairy tale where Once Upon a Time is now.

“Head Over Heels” is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening.

Conceived by Jeff Whitty, with an original book by Whitty, adapted by James Magruder, originally directed by Michael Mayer, and set to the music of the iconic 1980s all-girl rock band The Go-Go’s, this high-octane, laugh-out-loud love story includes hit songs like, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Heaven is a Place on Earth” and “Mad About You.”

The wild story follows the escapades of a royal family who set out on a journey to save their beloved kingdom from extinction, only to discover the key to their realm’s survival lies within each of their own hearts — though not always in the way they expect — and in their willingness to let go of rigid tradition and change with the times.

With band and vocal arrangements by Broadway composer Tom Kitt (Next to Normal, If/Then, High Fidelity), and eleven amazing dance numbers, choreographed by New Liners Michelle Sauer and Sara Rae Womack, this is the heaviest dance show New Line has produced since Chicago in 2002.

Head Over Heels originally premiered at the Oregon Shakespeare Festival in 2015, then opened on Broadway in 2018. The show was nominated for Best Musical by the Drama League and the Outer Critics Circle Awards.

The New Line cast includes Grace Langford (Princess Pamela), Melissa Felps (Princess Philoclea), Clayton Humburg (Musidorus), Jaclyn Amber (Mopsa), Zachary Allen Farmer (King Basilius), Carrie Priesmeyer (Queen Gynecia), Aaron Allen (Dametas), Tiélere Cheatem (Pythio), Kevin Corpuz, Evan Fornachon, Chris Kernan, Chris Moore, Maggie Nold, Michelle Sauer, Alyssa Wolf, and Sara Rae Womack.

The New Line production will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer and Sara Rae Womack, scenic design by Rob Lippert, costume design by Sarah Porter, lighting design by Kenneth Zinkl, and sound design by Ryan Day.

The Daily Beast said, “Head Over Heels is a raucously choreographed joy — intelligent, winningly comic, and surprisingly-for-Broadway radical when it comes to its presentation of gender and sexuality.” Entertainment Weekly said, “The show is an ode to female independence with the winking spirit of a Shakespearean fairy and the neon edge of a rebellious ‘80s teenager, teaming up to beckon people into the woods. Forty years after The Go-Go’s’ formation, Head Over Heels does more than preserve the band’s iconic hits in amber. For two hours and 15 minutes, it’s enough to pull the world back into sync.”

TimeOut NY said, “It grafts a 2010s sensibility onto songs from the 1980s — by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career) — and fits them into a 16th-century story that is set in ancient Greece. . . Head Over Heels is a fantasy and celebration of nonconformity, and it puts its casting where its mouth is with an ensemble that is diverse in race, gender and size. Honoring the beat, in this merry Arcadia, means making room for different drummers.”

Head Over Heels contains adult content. Produced by arrangement with Broadway Licensing, New York.

Tickets

HEAD OVER HEELS runs March 5-28, 2020, Thursdays, Fridays, and Saturdays, all at 8:00 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in the Grand Center Arts District. March 5 is a preview.

Tickets are $25 for adults and $20 for students/seniors on Thursdays; and $30 for adults and $25 for students/seniors on Fridays and Saturdays. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website

DISCOUNTS

HIGH SCHOOL DISCOUNT: Any high school student with a valid school ID can get a $10 ticket for any performance, with the code word, posted only on New Line’s Facebook page.

COLLEGE FREE SEATS: Ten free seats for every performance, open to any college student with a valid student ID.

EDUCATORS DISCOUNT: New Line offers all currently employed educators half price tickets on any Thursday night, with work ID or other proof of employment.

MILITARY DISCOUNT: New Line offers all active duty military personnel half price tickets on any Thursday night, with ID or other proof of active duty status.

All offers not valid in connection with other discounts or offers, available only at the door, and subject to availability.

The New Line Film Series

Have a Little Rock & Roll Fable with your Rock & Roll Fable…

The New Line Film Series presents the movie musical ABSOLUTE BEGINNERS on Weds, March 18 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Head Over Heels.

Click Here for more info.

About New Line Theatre

New Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country.

New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions.

Altogether, New Line has produced 89 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives funding from the Missouri Arts Council, a state agency, and the Regional Arts Commission.

For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change. New Line’s 29th season closes in June with Urinetown.

New Line Theatre, “the bad boy of musical theatre,” has announced casting for its 29th season of adult, alternative musical theatre, which opens with the return of the wild, comic rock musical CRY-BABY, based on the iconic John Waters film, a show which New Line first produced in 2012 in its American regional premiere, running Sept. 26-Oct. 19, 2019. The season continues with the electrifying new rock musical fresh from Broadway, in its regional premiere, HEAD OVER HEELS, a high-energy, adult romp about gender and sexuality, based on a 16th-century novel and using the songs of the 80s rock band The Go-Go’s, running March 5-28, 2020. And the season closes with the return of one of New Line’s biggest hits, which the New Liners first presented in 2007, the pitch dark satire URINETOWN, the hilarious, outrageous fable of greed, corruption, love, revolution, and urination, running June 4-27, 2020.

Season tickets, including all three mainstage productions, start at just $60. Single tickets will go on sale in September. For more info, go to www.newlinetheatre.com/purchase/index.php

PLUS… New Line introduces the NEW LINE THEATRE FILM SERIES, curated by longtime New Liner Brian Claussen, screening a companion film at the Marcelle one Weds. night during the run of each mainstage show. This season’s films include John Waters’ original CRY-BABY during the run of Cry-Baby; ABSOLUTE BEGINNERS during the run of Head Over Heels; and MACK THE KNIFE, a film version of Threepenny Opera, during the run of Urinetown. These films are not part of the season subscription.

THE 2019-2020 SEASON

CRY-BABYSept. 26-Oct. 19, 2019

It’s 1954. Everyone likes Ike, nobody likes communism, and Wade “Cry-Baby” Walker is the coolest boy in Baltimore. He’s a bad boy with a good cause — truth, justice, and the pursuit of rock and roll. 

Wayward youth, juvenile delinquents, sexual repression, cool music, dirty lyrics, social rejects, it’s all here, as New Line opens its 29th season in October 2019 with the hilarious rockabilly musical CRY-BABY, based on the classic John Waters film. 

Cry-Baby premiered at the La Jolla Playhouse in San Diego in November 2007 and opened on Broadway in April 2008. New Line produced the show’s critically acclaimed American regional premiere in March 2012, after negotiating the first regional production rights in the country. The original creative team revised the show for New Line’s production and commissioned new orchestrations, to make it a smaller, more intimate musical, with a 6-piece rock band. 

At the center of our story are the star-crossed lovers, Cry-Baby and the square rich girl Allison, just a good girl who yearns to be bad in Cry-Baby’s arms. Fueled by hormones and the new rhythms of rock and roll, she turns her back on her squeaky clean boyfriend Baldwin to become a “drape” (a Baltimore juvenile delinquent) and Cry-Baby’s moll. At the other end of the topsy-turvy moral meritocracy of 1954 America, Baldwin as the king of the squares leads his close-harmony pals against the juvenile delinquents, who are ultimately arrested for arson, sending the drapes all off to prison. 

It’s Romeo and Juliet meets High School Hellcats. 

Cry-Baby has a score by David Javerbaum (The Daily Show) and Adam Schlesinger (Fountains of Wayne), and a book by Mark O’Donnell and Thomas Meehan, based on John Waters’ classic indie film. O’Donnell and Meehan also adapted John Waters’ Hairspray for the musical stage. 

Cry-Baby was nominated for four Tony Awards, including Best Musical, Best Book of a Musical, Best Original Score, and Best Choreography. It was also nominated for Best Musical by the Drama League and the Outer Critics Circle Awards. Terry Teachout wrote in the Wall Street Journal, “You want funny? I’ll give you funny, or at least tell you where to find it: Cry-Baby, the new John Waters musical, is campy, cynical, totally insincere and fabulously well crafted. And funny. Madly, outrageously funny. It is, in fact, the funniest new musical since Avenue Q. If laughter is the best medicine, then Cry-Baby is the whole damn drugstore.” Newsday called the show “pleasantly demented and — deep in the sweet darkness of its loopy heart — more true to the cheerful subversion of a John Waters movie than its sentimental big sister Hairspray.” The New Jersey Star-Ledger called it, “candy for adults who like their musicals nutty — and not so nice.” 

The New Line cast includes Caleb Miofsky (as Wade “Cry Baby” Walker), Grace Langford (Allison Vernon-Williams), Margeau Steinau (Mrs. Vernon-Williams), Marshall Jennings (Dupree W. Dupree), Jake Blonstein (Baldwin Blandish), Reagan Deschaine (Pepper Walker), Jaclyn Amber (Wanda Woodward), Sarah Dowling (Mona “Hatchet-Face” Malnorowski), AJ Surrell (Lenora Frigid), Todd Micali, Stephen Henley, Ian McCreary, Christopher Strawhun, Maggie Nold, and Grace Minnis. 

The New Line production will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer, scenic design by Rob Lippert, costume design by Colene Fornachon, lighting design by Kenneth Zinkl, and sound design by Ryan Day. 

Cry-Baby contains adult language and content. Produced by arrangement with Music Theatre International, New York.

The New Line Film Series presents John Waters’ original musical film CRY-BABY on Weds., Oct. 9 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Cry-Baby.

Gilbert & Sullivan’s Horror-ComedyBLOODY KING OEDIPUSA Free Public ReadingMonday, Jan. 6, 2020

King Oedipus is already having a bad day, and here comes some REALLY bad news…! 

All Oedipus wants is to lift the curse that’s made his city sick, broke, and pissed off, but all these prophecies keep getting in the way. Could it be true that Oedipus killed the last king without realizing it? Is it possible he’s married to his own mother? Does his name really mean “swollen foot”? Maybe Tiresias the Blind Seer knows the answers. But does Oedipus really want to know…? 

After shocking the music and theatre worlds by rediscovering Gilbert & Sullivan’s lost masterpiece The Zombies of Penzance in 2013, and then staging and publishing the controversial original opera in 2018; now New Line Theatre artistic director Scott Miller has done it once again. This time, Miller has unearthed Gilbert & Sullivan’s even darker and funnier BLOODY KING OEDIPUS (or Pardon Me, Mum!), a comic horror opera no one even knew existed until now, based on Sophocles’ iconic Greek tragedy of murder, incest, disfigurement, suicide, and lots of prophecies, which first premiered in 429 BC. 

The legendary British team of librettist W.S. Gilbert and composer Arthur Sullivan together wrote fourteen comic operas between 1871 and 1896. Or is it sixteen? After rewriting their original Zombies of Penzance at the insistence of producer Richard D’Oyly Carte, the team premiered The Pirates of Penzance in 1879. Until now, scholars believed that their next project was the pastoral satire Patience. We now know that isn’t true. After the huge success of HMS Pinafore and Pirates, the team decided to tackle something a bit weightier. According to personal papers found with the manuscript, it was Gilbert who suggested two unlikely possibilities, Dante’s Inferno, and the classic Greek tragedy Oedipus the King, set in Thebes, a Greek city-state in the 13th century BC. 

They both agreed Inferno would make a less than satisfying comic opera. 

Gilbert stayed curiously faithful to the plot and characters of Sophocles’ ancient tragedy for his opera – until the end of the show, when Gilbert evidently couldn’t restrain himself from adding a comic, Gilbertian twist, upending everything that’s come before, as usual. It’s safe to say Sophocles would not have sanctioned Gilbert’s much more comic ending. The score includes songs like “We’ve Been Very, Very Sick,” “I Can See Now I Was Blind,” “Now This is Quite Awkward,” “So Our King Just Might Have Murdered Our Last King,” and “He Hasn’t Taken It Too Well.” 

And now, at long last, King Oedipus, Queen Jocasta, General Creon, Tiresias the Blind Seer, Milo the Herald, and all of Thebes will make their comic opera debut. Miller has painstakingly reassembled these rediscovered materials into their original form; and St. Louis composer and orchestrator John Gerdes is reconstructing Sullivan’s music, after doing the same with The Zombies of Penzance. 

New Line Theatre will present a reading of the rediscovered show Monday, Jan. 6, 2020, free and open to the public. The company has not yet announced a full production. 

Dominic Dowdy-Windsor will play King Oedipus; with Kimi Short as Queen Jocasta; Kent Coffel as Gen. Creon; Lindsey Jones as Manto; and Zachary Allen Farmer as the Royal Messenger and Tiresias the Blind Seer and Milo the Herald and also Phorbus the Shepherd. The rest of the cast will be announced later. The reading will be directed by Scott Miller and music directed by Nicolas Valdez.

Bloody King Oedipus contains very adult language and content.

HEAD OVER HEELSMarch 5-28, 2020

The wild new modern musical fairy tale where Once Upon a Time is NOW! 

HEAD OVER HEELS is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening. Conceived by Jeff Whitty, with an original book by Whitty, adapted by James Magruder, originally directed by Michael Mayer, and set to the music of the iconic 1980s all-girl rock band The Go-Go’s, this high-octane, laugh-out-loud love story includes hit songs like, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Heaven is a Place on Earth” and “Mad About You.” 

The wild story follows the escapades of a royal family who set out on a journey to save their beloved kingdom from extinction, only to discover the key to their realm’s survival lies within each of their own hearts — though not always in the way they expect — and in their willingness to let go of rigid tradition and change with the times. 

Head Over Heels originally premiered at the Oregon Shakespeare Festival in 2015, then opened on Broadway in 2018. The show was nominated for Best Musical by the Drama League and the Outer Critics Circle Awards. 

The Daily Beast said, “Head Over Heels is a raucously choreographed joy — intelligent, winningly comic, and surprisingly-for-Broadway radical when it comes to its presentation of gender and sexuality.” Entertainment Weekly said, “The show is an ode to female independence with the winking spirit of a Shakespearean fairy and the neon edge of a rebellious ‘80s teenager, teaming up to beckon people into the woods. Forty years after The Go-Go’s’ formation, Head Over Heels does more than preserve the band’s iconic hits in amber. For two hours and 15 minutes, it’s enough to pull the world back into sync.” 

TimeOut NY said, “To enjoy Head Over Heels, which offers quite a lot to enjoy, it is probably best to kick up your heels and put your head on hold. That’s not to say that this saucy, boisterous musical doesn’t have a brainy side, starting with its ambitious crossbreeding of four time periods: It grafts a 2010s queer sensibility onto songs from the 1980s—by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career)—and fits them into a 16th-century story that is set in ancient Greece. . . Head Over Heels is a fantasy and celebration of nonconformity, and it puts its casting where its mouth is with an ensemble that is diverse in race, gender and size. Honoring the beat, in this merry Arcadia, means making room for different drummers.” 

The New Line cast includes Grace Langford (Princess Pamela), Melissa Felps (Princess Philoclea), Gabriel Beckerle (Musidorus), Jaclyn Amber (Mopsa), Zachary Allen Farmer (King Basilius), Carrie Priesmeyer (Queen Gynecia), Aaron Allen (Dametas), Tiélere Cheatem (Pythio), Kevin Corpuz, Chris Moore, Maggie Nold, Michelle Sauer, Abraham T. Shaw, Alyssa Wolf, and Sara Rae Womack. 

The New Line production will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer and Sara Rae Womack, scenic design by Rob Lippert, costume design by Sarah Porter, lighting design by Kenneth Zinkl, and sound design by Ryan Day. 

Head Over Heels contains adult language and content. Produced by arrangement with Broadway Licensing, New York.

The New Line Film Series presents the movie musical ABSOLUTE BEGINNERS on Weds, March 18 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Head Over Heels.

URINETOWNJune 4-27, 2020

It’s 2027, the toilets have all been privatized, and you have to pay to pee. Do you follow the rules or join the rebellion? 

Mark Hollmann and Greg Kotis’ URINETOWN is the outrageous fable of greed, corruption, love, revolution, and urination, in a time when water is worth its weight in gold and there’s no such thing as a free pee. Set in a near-future dystopian Gotham, a severe 20-year drought has led to a government-enforced ban on private toilets. The citizens are forced to use public “amenities” now, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. In this nightmare world, the punishment for an unauthorized pee is a trip to the dreaded Urinetown. 

But from the ruins of Democracy and courtesy flushes, there rises an unlikely hero who decides he’s held it long enough, and he launches a People’s Revolution to lead them all to urinary freedom! 

Inspired by the outrageous political theatre of Bertolt Brecht and Kurt Weill, and (very) loosely based on the writings of late eighteenth-century political and economic theorist Thomas Malthus, Urinetown is a gloriously silly, irreverently truthful satire from which no target is safe. This is a show that catapulted musicals into the new millennium with its rule-shattering tear through the traditions and conventions of musical theatre, leaving nothing but uncontrollable laughter and a big puddle in its wake. 

And that’s just Act I. 

When it opened in New York, the official slogan on the Urinetown T-shirts was “An appalling idea, fully realized.” Actor Daniel Marcus, who played Officer Barrel, said in an interview, “I call it a love letter to the American musical in the form of a grenade.” 

Bruce Weber in The New York Times said, “There simply is no show I’ve seen that gives such a sense that the creators and performers are always on the same page of an elaborate, high-spirited joke, that they are the proud members of a cabal that knows what it takes to make the world a better place and that they are thrilled to share what they know.” He also called the show “a sensational piece of performance art, one that acknowledges theater tradition and pushes it forward as well.” The show was nominated for 9 Tony Awards (winning Best Book and Best Score), 9 Drama Desk Awards, 7 Obie Awards (winning Best Musical), 5 Outer Critics Circle Awards (winning Best Musical), and a Drama League Award for Best Musical. 

New Line produced Urinetown in 2007. Kotis and Hollmann also wrote the rock musical Yeast Nation, which New Line produced in 2018.

The New Line cast includes Dominic Dowdy-Windsor (Lockstock), Jennelle Gilreath (Little Sally), Kevin Corpuz (Bobby Strong), Melissa Felps (Hope Cladwell), Kimi Short (Pennywise), Todd Schaefer (Mr. Cladwell), Marshall Jennings (Officer Barrel), Clayton Humburg, Sarah Porter, Zak Farmer, Ian McCreary, Brian Carles, Kellen Green, Jessica Winingham, Grace Langford, and Carrie Wenos Priesmeyer. 

The New Line production of Urinetown will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer and Sara Rae Womack, costume design by Sarah Porter, scenic design by Todd Schaefer, and sound design by Ryan Day. 

Produced by arrangement with Music Theatre International, New York.

The New Line Film Series presents MACK THE KNIFE, a film version of The Threepenny Opera, on Weds., June 17 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Urinetown.

SEASON TICKETS

Season tickets are on sale NOW, and single tickets go on sale in September. New Line’s mainstage shows and the new film series will be in the company’s home, the Marcelle Theater, in the Grand Center Arts District.

There are three kinds of subscriptions. The First Look Subscription contains tickets for only the Thursday preview for each show. These tickets cannot be exchanged for other dates. Each Regular Subscription includes one ticket for each show in the season. You can use each ticket for any performance date during the run of that show. Each Flex Subscription includes three Flex tickets that you can use at any time for any show during the entire season — use all three tickets for one show or spread them out over the season, however you want! The deadline for ordering season tickets is Sept. 2, 2019.

To order season tickets for the three mainstage shows, Cry-Baby, Head Over Heels, and Urinetown, go to http://www.newlinetheatre.com/purchase/index.php.

BUT WAIT, THERE’S MORE… Save the dates for The Second Annual New Line Trivia Night, on Friday, Sept. 13, at the Richmond Heights Community Center; and The 19th Annual New Line Holiday Dinner, on Weds. Dec. 4, at Favazza’s Restaurant on The Hill. Reservations for the dinner are required.

THE 2019-2020 NEW LINE SEASON AT A GLANCE

Sept. 13, 2019 – Second Annual New Line Trivia Night

Sept. 26-Oct. 19, 2019 – Cry-Baby *

Oct. 9, 2019 – Film Series: Cry-Baby

Dec. 4, 2019 – 19th Annual New Line Holiday Dinner

Jan. 6, 2020 – Free Public Reading of Bloody King Oedipus

Mar. 5-28, 2020 – Head Over Heels *

Mar. 18, 2020 – Film Series: Absolute Beginners

June 4-27, 2020 Urinetown *

June 15, 2020 – Auditions for 30th Season

June 17, 2020 – Film Series: Mack the Knife

June 22, 2020 – Auditions for 30th Season

* These three shows are included in the season ticket package.

ABOUT NEW LINE THEATRENew Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country. New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions. Altogether, New Line has produced 88 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives support from the Regional Arts Commission, the Missouri Arts Council, a state agency, the Kranzberg Arts Foundation, and the Grand Center Arts District.

New Line also continues its partnership with the Webster University Department of Music and their Bachelor of Music in Music Direction for Musical Theatre degree program.

For more information, visit www.newlinetheatre.com.