Take Ten with Stephen Peirick

Take Ten with Stephen Peirick


By Lynn Venhaus

A longtime multi-hyphenate in St. Louis, actor, director and playwright Stephen Peirick’s latest challenge is a very personal and special experience for him, what he describes as a “dream opportunity.”

As director of the regional theater premiere of the Tony-winning “The Inheritance,” he said it’s not only an honor and privilege to be a part of the work, but described the production as an “embarrassment of riches” because of his “hands-down brilliant” cast.

Tesseract Theatre Company will present “The Inheritance, Parts 1 and 2” by Matthew Lopez April 26 to May 5 at the Marcelle Theatre in Grand Center. There is one day, May 4, where both parts will be presented. For more information, visit www.tesseracttheatre.com and tickets are available at MetroTix.

Peirick is working with Tesseract for the first time. Taylor Gruenloh, former founder and artistic director, said he first thought of Stephen while reading the play, and locked him in to make it happen.

“As soon as I read that play, it reminded me of all the work Stephen was doing in town. And knowing how passionate he is about this kind of subject matter made it important to know he was at the helm before the rights were secured,” Gruenloh said.

The Daily Telegraph said it was “perhaps the most important American play of this century.” The play is based on “Howard’s End” by E.M. Forster and takes place in New York City decades after the AIDS epidemic, as three generations of gay men attempt to forge a future for themselves amid turbulent and changing America.

“This play doesn’t deny the pain of our experience.. it allows people to remember how we have gotten this far, what it’s like to fight, and who we have lost along the way. That sometimes our best weapon is our sense of humor, is our wit, is our intelligence, and is the love we have for each other,” said playwright Matthew Lopez.

Gabriel Paul and Chris Kernan. Photo by Tesseract Theatre Company.

Eric Glass (Chris Kernan) is a political activist engaged to his writer boyfriend, Toby Darling (Gabriel Paul). When two strangers enter their lives — an older man and a younger one — their futures suddenly become uncertain as they begin to chart divergent paths. This is an epic examination of survival, healing, class divide, and what it means to call a place home.

Besides Kernan and Paul, “The Inheritance” cast includes Tyson Cole, Stephen Henley, Jon Hey, Donald Kidd, Alex Moore, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, Kelvin Urday, and Margery Handy. Assistant Director is Dani Mann.

Among its accolades, “The Inheritance” won the 2020 Tony Award for Best Play., the 2020 Drama Desk Award for Best Play and the 2019 Olivier Award for Best Play.

​This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Peirick has been working with Stray Dog Theatre for years, and has performed and directed at West End Players Guild and performed with Union Avenue Opera in “Lost in the Stars.” He also works with Take Two Productions, a community theatre.

He is known for writing original plays as well, and has received nominations for Best New Play from the St. Louis Theater Circle for “Wake Up, Cameron Dobbs” and “Four Sugars.”

Last year, the Circle nominated him for his performance as Ned Weeks in “The Normal Heart” and several years ago for “The Doll’s House.”

He has also been nominated for the local community theatre Arts for Life awards for directing, lighting design, choreography and scenic design — winning the latter for Fun Home with Take Two Productions.

Next up is directing “Merrily We Roll Along” for Take Two Productions, which will be presented in September and October.

Stephen as Ned Weeks in “The Normal Heart,” with Joey Saunders, at Stray Dog Theatre in 2022. Photo by John Lamb.

Take Ten Questionnaire with Stephen Peirick

1. What is special about your latest project?

Larry Kramer masterfully wrote the brilliant play The Normal Heart, which detailed his experiences fighting for the gay community during the AIDS crisis in the 1980s. When I first saw Kramer’s play in 2011, it amplified a history I had been almost entirely ignorant of. It was a humbling moment as a gay man: an embarrassing privilege of my age. Kramer’s play inspired me to want to share this history with the world, and in particularly with the next generation of queer youth.

Our history is important. We are important. Matthew Lopez’s first-rate epic The Inheritance goes one step further, by asking audiences to ponder not only what we owe the generation who came before us, but what will we leave behind for the generation to come?

It’s not often that you get asked about your interest in directing a two-part epic – this has been a dream opportunity. It has been my incredible honor and privilege to direct the St. Louis premiere of this Tony-Award winning play.

And then, on top of it, to get to work with a hands-down brilliant local cast (Tyson Cole, Nic Tayborn, Sean Seifert, Jacob Schmidt, Stephen Henley, Donald Kidd, Kevin O’Brien, Kelvin Urday, Chris Kernan, Gabriel Paul, Alex C. Moore, Jon Hey, and Margery Handy) and an exceptional behind the scenes team (Dani Mann, Rachel Downing, Amanda Brasher, Abby Pastorello, Tony Anselmo, Jacob Baxley, Sarah Baucom, Kent Coffel, Kevin Sallwasser, as well as Tesseract’s Creative Directors Brittanie Gunn and Kevin Corpuz): this show has been an embarrassment of riches for a director. A special experience, for sure.

2. Why did you choose your profession/pursue the arts?

Because I can’t NOT pursue it. (I would be so much more well-rested if I just stay away!) At the end of the day, I’m a storyteller trying to get better at this craft. Whether I’m directing, acting, or writing…I have a passion for creating, and no matter how tired I get, I keep going back for more.

As George in “Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre in 2023, with Stephen Henley and Claire Wenzel. John Lamb Photo.

3. How would your friends describe you?

First and foremost, I think they’d say I was hot. And also, probably…hilarious. Okay; maybe they wouldn’t say either of those things unprovoked…or at all. But in my mind, those are the two compliments they are always ABOUT to share with me…before they get distracted by something else and forget .

4. How do you like to spend your spare time?

What is that? Spare time? Alas…should I ever find it again, I’d love to get back to writing.

5. What is your current obsession?

The Inheritance. I literally have no time for anything else. But once the show has come and gone, I love to spend summers outside…I love lounging in a pool, and enjoying R & R time. I love to find and read new plays, and I’m always on the lookout for some good Halloween décor. I track what’s playing in NYC, both on Broadway and Off…and I love reality television, or binding scripted shows.

6. What would people be surprised to find out about you?

If I told you, it wouldn’t be a surprise.

7. Can you share one of your most defining moments in life?

Seeing my sister’s high school production of The Diary of Anne Frank when I was six or seven. It ignited in me my love for live theatre. When I look back on my life, I think it was the very beginning moment of this whole journey.

8. Who do you admire most?

My mom was, no doubt, the most influential person on me. She passed away nearly 10 years ago, and I miss her everyday, and I can’t help but wonder what she would think of the work I’ve done over these years.

Lavonne Byers, Stephen Peirick and Laurell Stevenson in “Good People” at Stray Dog Theatre in 2022. Photo by John Lamb.

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

I was just getting ready to return to the stage as an actor (after having taken a year off) when the pandemic hit. Like for everyone else, it caused so much disruption to projects I had in the pipeline. Most of them still got to happen, although after a long delay, including directing Fun Home with Take Two Productions, and playing Mike in Good People and Ned in The Normal Heart for Stay Dog Theatre.

The Normal Heart was my dream project, and had been since 2011, so the fear that it would never get to happen, and that the arts might never recover was real.

I think it’s important to go see and support live theatre as one’s schedule (and wallet) allows. Volunteer to usher, and post to the socials when you go see work. Help your friends and family see that it is safe to return to the theatre, and that good things are happening. (And masks are still welcome in any theatre you might want that added layer of protection.)


10. What is your favorite thing to do in St. Louis? (Or your hometown)

I love to be immersed in our local arts scene as much as possible. This month alone, I saw productions with Stray Dog Theatre, The Rep, Clayton Community Theatre, and St. Louis Shakespeare. I love hitting up restaurants (The Tavern is a favorite for special occasions), and spending time with friends and family.

12. What’s next?

Next up, I am directing the musical Merrily We Roll Along for Take Two Players. This dynamic and rarely produced musical is currently having an incredible run on Broadway. Running for two weekends in September and October, our cast features an incredible group of local talent, including Ryan Farmer, Grace Langford, and Michael Baird in the central roles of Frank, Mary and Charlie. www.taketwoproductions.org

Stephen Peirick and husband Jon Hey. Photo by Lynn Venhaus

More Information on Stephen Peirick
Birthplace: Franklin County, MO
Current location: St. Louis
Family: I am married to the incredible Jon Hey, and we have three cats: Kona, Poppy and George. I have four older sisters, three nephews, two nieces, two great nephews and two great nieces.
Education: BA in Communications/Theatre with a minor in Education
Day job: I have spent the last 15+ years working for a state association. I create our online newsletters, content for our socials, etc., and appreciate working for an organization that understands and supports my passion for the arts.
First job: I was a Ticket Taker at Six Flags when I was 15 years old.
First play or movie you were involved in or made: The first real, non-grade school Christmas play I did was a courtroom drama called The Night of January 16 when I was a freshman in high school.
Favorite jobs/roles/plays or work in your medium? Playing Ned Weeks in The Normal Heart at Stray Dog Theatre was such a dream; and seeing the premiere of my first, full-length play (in 2012 at West End Players Guild) Wake Up, Cameron Dobbs is something that I will never forget.
Dream job/opportunity: Taking Wake Up, Cameron Dobbs to New York maybe?
Awards/Honors/Achievements: I have been nominated for four St. Louis Theatre Circle Awards; two for acting (The Normal Heart and A Doll’s House) and two for writing (Wake Up, Cameron Dobbs and Four Sugars). I have also been nominated for our local, community theatre Arts for Life awards for directing, lighting design, choreography and scenic design (winning the latter for Fun Home with Take Two Productions).
Favorite quote/words to live by: Tell your story bravely. It’s a story worth telling.” – Morgan, The Inheritance
A song that makes you happy: I love 80s music. Here I Go Again by Whitesnake is a fave.

Stephen Peirick and Nicole Angeli in Stray Dog’s “Hedda Gabler” in 2017. Photo by John Lamb.
“Art” outdoors at Stray Dog, with Ben Ritchie and Jeremy Goldmeier in 2021. Photo by John Lamb

Feed Your Fire with Tesseract Theatre’s Celebratory ‘Kinky Boots’

Feed Your Fire with Tesseract Theatre’s Celebratory ‘Kinky Boots’

By Lynn Venhaus
With its big heart and lofty ambitions, Tesseract Theatre Company has performed its first big splashy musical in St. Louis, and “Kinky Boots” is a chef’s kiss of a show, a celebration of possibilities and a tour-de-force performance by Tielere Cheatem as Simon/Lola.

Cheatem, a standout local performer and St. Louis Theater Circle Award winner, as housekeeper Jacob in New Line Theatre’s “La Cage Aux Folles” in 2019, has always had a ‘je ne sais quoi’ quality on stage, but as Lola, they are magnificent.

Cheatem makes the role that won Billy Porter a Tony Award their own and seizes that stage in authentic diva mode, with a ferocity and a passion that is remarkable to behold. It’s a fully realized, multi-layered performance.

Overcoming obstacles is the ebullient show’s theme, along with acceptance and tolerance, so it is understandable that moving to a larger space than they are used to, The Grandel Theatre, would present its own challenges. Opening night Aug. 17 was marred by sound problems, but Gruenloh said they have worked to solve those issues.

Tesseract’s previous small-scale musicals, “Ordinary Days” in November 2022 and “The Last Five Years” in February 2023, were performed at the .Zack Theatre. Tesseract’s “Kinky Boots” is also the second regional production after the Muny’s premiere in 2019.

Cheatem has a sweet chemistry with co-lead Kelvin Urday as Charlie Price, who inherited a failing shoe factory from his dad. They are a palpable pairing, and when they duet to “Not My Father’s Son,” their harmony tugs at the heartstrings.

In fact, the ballads about parental expectations and other relationships are memorable – Lola’s tearful “Hold Me in Your Heart” and Charlie’s “Soul of a Man.”

Aaron Tucker Jr. as Harry in “Take What You Got.” Photo by Taylor Gruenloh.

Urday displays confidence in his characterization of Charlie, who reluctantly took over the fourth-generation family business, Price & Son, which is on the verge of bankruptcy, and the weight of his father’s legacy leads him to much soul-searching. His earnest delivery of his “Step One” solo is also noteworthy.

Inspired by the life force that is the eccentric Lola, whose drag attire includes unsteady stilettos, the factory begins a niche business model, and those glittery sturdy “kinky boots” are made well to meet the needs of flamboyant performers-in-drag.

The musical “Kinky Boots” is based on a 2005 British film starring Chiwetel Ejiofor as Simon/Lola and Joel Edgerton as Charlie, which was based on a true story and a BBC documentary, and premiered at the 2006 Sundance Film Festival, catching the eye of some Broadway producers.

Thus began its journey to the stage. It premiered on Broadway in 2013, the adaptation by four-time Tony winner Harvey Fierstein and music and lyrics by first-timer Cyndi Lauper, the Grammy-winning pop icon, who won a Tony for the score, which is an infectious mix of club music and heartfelt ballads. The musical won six Tonys, including best musical, from a season-high 13 nominations.

It also won London’s Olivier Award for Best Musical and the Grammy Award for Best Musical Theatre album. It ran for six years and 1,400 performances until April 7, 2019.

The Tesseract ensemble includes some seasoned veterans, like versatile Marshall Jennings as the intimidating and homophobic foreman Don, dynamic Carrie Wenos as sassy line worker Trish, Loren Goudreau in her local debut as amiable worker Pat, who are all seamless. Kent Coffel, ‘an iron man’ in local theater this summer, is a good fit as Charlie’s proud hard-working dad and briefly seen as manager George.

Kaitlin Gant announces her presence as factory worker Lauren who fancies Charlie. Her standout number is the humorous “The History of Wrong Guys.”

Strong singer Chelsie Johnston, recently seen in “Nine” at New Line, has the thankless role as Charlie’s posh girlfriend Nicola, who is a status conscious social climber and meant to not be likable.

And there are some new-to-St. Louis performers, so to feel their joy is inspiring. They look like they are so happy to be on that stage, relatable in that ‘work family’ way, and emphasizing the message “You can change the world if you change your mind.”

Lindsey Grojean, Sarah Lueken, David Pisoni, Tori Ray, Corinna Redford, Michelle Sauer, Josie Schnelten and Aaron Tucker Jr. are a merry bunch as the factory ensemble. Tucker is stellar giving advice as Charlie’s childhood pal in a spirited “Take What You Got” and Redford is hilarious as the stage manager in Milan.

Lola and The Angels. Photo by Taylor Gruenloh

Splendid are The Angels – Lola’s six drag queen back-up singers at the seedy nightclub where they perform a cabaret act, notable with their in-your-face bravado. The always outstanding Mike Hodges and Jordan Woods, also local choreographers, as well as the ever-radiant Dylan Stanley, with their effervescent energy are matched by flashy newbies Todd Garten, Ronnie Wingbermuehle, and Nick Zobrist. They sparkle in “Land of Lola” and “Sex is in the Heel.”

Asher Woodward and Mark Ambrose Hill are impressive as the young Charlie and Lola respectively.

The cast brings the fun out in the cheery Act 1 finale “Everybody Say Yeah,” and is ecstatic in the up-on-your-feet anthem closer “Raise You Up/Just Be,” which is a marvelous way to spread hope in a universal message.

Taylor Gruenloh, who directed this musical first at the Missouri University Science & Technology in the spring, where he is an assistant professor in theatre, has honored the uplifting nature of the book, focusing on humanity – and made the humor zing. He knows how to get laughs, too, and deftly works in physical comedy.

He also ensured that the British accents were spot on – hurray!

“In This Corner.” Photo by Taylor Gruenloh

He shares the same affection for the material as celebrated music director Nicolas Valdez and experienced choreographer Maggie Nold, with Michelle Sauer the dance captain.

However, Valdez is not conducting a 12-piece orchestra but using recorded tracks from the publisher Music Theatre International that includes orchestrations and arrangements by Stephen Oremus for the performances. Charlie Heil was a music supervisor.

Zachary Phelps’ costume designs are stunning, and to learn that he’s a 19-year-old college student makes it even more astonishing. He also was the makeup assistant. The well-fitted wigs were designed by Sarah Gene Dowling and the wig supervisor was Analyse Thropic.

Technical director Kevin Salwasser and sound designer/supervisor Phillip Evans had to master the issues at the Grandel, as did lighting designer Max Demski.

Scenic designer Taylor Gruenloh created a believable and modest set, with a working conveyor belt, and was able to keep the action flowing. He also kept the focus on the performers.

On one level, it’s a feel-good dance party. Yet, Tesseract’s production is another exclamation point on the need for inclusion and individuality. And that is “The Most Beautiful Thing in the World.”

You may fall head-over-high-heels with this cast and crew, and you could be singing “Raise You Up” at the jubilant curtain call, which should empower everyone to “Feed your fire,” and perhaps like me, leave dancing in the aisles.

Tesseract Theatre Company presents “Kinky Boots” Thursday through Saturday, Aug. 17-27, at 7:30 p.m., with Sunday matinees at 2 p.m., at the Grandel Theatre, 3610 Grandel Square, St. Louis. Tickets are available at MetroTix.com. Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

Dylan Stanley, one of the Angels. Photo by Taylor Gruenloh.

Fly North’s ‘Caroline, or Change’ Soul-Stirring, Extraordinary

Fly North’s ‘Caroline, or Change’ Soul-Stirring, Extraordinary

By Lynn Venhaus

The powerhouse cast of the musical “Caroline, or Change” features so many gifted vocalists that they raise the roof off The Marcelle Theatre every performance. To hear the soul-stirring solos and harmonies blended by this virtuosic ensemble is a scintillating experience.

It doesn’t matter if you are unfamiliar with the emotional rollercoaster of a score by composer Jeanine Tesori and lyricist Tony Kushner that creates a unique stamp of time and place in Lake Charles, Louisiana in 1963, just go and be in awe of the power and performances.

It’s easy to gush about this uncommon show, and as a longtime reviewer who tries to mix up the superlatives, so I don’t overuse them, it is hard to come up with new words that aptly describe this level of talent involved.

Yes, it’s unforgettable. Yes, I can’t believe the singers held nothing back and still had something in the tank. And yes, I want to learn more, listen again, and sing its praises. Most of all, the performers express their truth from varied perspectives. In the framework of an intense domestic drama, the characters focus on their own needs, but must see the value in others.

Three years in the making, Fly North Theatricals patiently waited out the pandemic, and some of those originally cast in 2020 have returned while others are new. Director Brian McKinley, an accomplished multi-hyphenate who wasn’t present at those early auditions, has said he has been blessed with talent. Indeed, the proficient ensemble is world-class in quality, and McKinley deftly stations them around an intimate space to spotlight highly personal interactions, which are aided by Bradley Rohlf’s artful lighting design.

De-Rance Blaylock as Caroline. Photo by Julie A. Merkel

Music Director Colin Healy, the group’s founder, has masterfully conducted an orchestra that seamlessly blends blues, gospel, spirituals, traditional Jewish klezmer melodies, Motown, folk and classical music.

The versatile top-shelf musicians include Steve Frisbee and Kate Denson on violins, Chuck Evans and Alyssa Przygoda Gove alternating on viola, Marie Brown on cello, Mary Wiley, Brandon Thompson and Dave Metzger on reeds, Blake Mickens on bass, Des Jones on percussion, and Healy on keyboards.

This is crucial because it’s an all-sung show. The first act features 24 songs in an hour, and after a 15-minute intermission, the second act has 25 songs in 70 minutes. The demanding nature requires every single person on stage and off to be in peak form, and they meet the challenge.

The story takes place mostly in the basement of a Southern home where Caroline Thibodeaux works as a maid for $30 a month. It starts on a hot day, and she laments having to do laundry “16 Feet Beneath the Sea.” Second act will transition to the December holidays, but it’s still oppressive conditions.

Caroline reveals her world-weary and cynical attitude, and you’ll discover an unusual protagonist because she is not a sitcom-y warm and fuzzy housekeeper. She has been beaten down by life. It’s 100 years after slavery, but segregation and inequality haven’t subsided. In a tour de force performance, De-Rance Blaylock commands the stage, making us feel her pain and anger.

She’s caught in-between being marginalized and believing she deserves more, living on the cusp of change. You root for her, hoping her life will get better, but as we soon find out, it will be up to her children to help make the world see them. Blaylock, who was in the groundbreaking “Antigone in Ferguson” at the Harlem Stage in 2018, is a consummate performer, and fiercely announces her presence.

The kids. Photo by Julie A. Merkel

Resigned to her fate, Caroline has been working hard at these tasks for 22 years, without much to show for it. She is turned down for a raise, among other indignities throughout the show. She is, however, allowed to keep the loose change found in the dirty clothes. Her adoring 8-year-old charge Noah knows his pocket change is beneficial, acts absent-minded about it, but knows what he’s doing. The plot escalates when an errant $20 bill is the cause of much handwringing. She could really use it for a child’s dental work and better food for their nutrition. But it is a gift from his maternal grandfather.

Caroline is a single mother to Emmie, 16, (Kenya Nash), Jackie (Cameron Headley), 10, and Joe (Malachi Borum), 8. The needy kids dig at a traditional Christmas in “I Saw Three Ships” and they express their financial situation in the jaunty “Roosevelt Petrucius Coleslaw.”

In one of the more dynamic relationships, Caroline and rebellious Emmie butt heads about how to talk to white people, navigate changing times, and even dare to dream and hope. Nash is strong in “’Night Mamma” and “I Hate the Bus,” among other numbers.

There is an authenticity to their emotionally charged interactions, and things really get testy in “Kitchen Fight.”

Caroline has had a lifetime of disappointments, including a failed marriage. She slumps in a chair, taking a break in her white uniform, and allows Noah to light her cigarette.

Duane Foster. Photo by Julie A. Merkel

This is a secret because he lost his mother, a heavy cigarette smoker, to lung cancer, and his father has remarried. The little boy clings to his anchor, Caroline, although she never reciprocates caring. In a stunning debut, Zoe Klevorn demonstrates remarkable poise and vocal ability as Noah. (The only thing out of place is a wig too big for her delicate features).

As his widowed father Stuart, Jordan Wolk subtly conveys a distracted, conflicted parent in mourning. He has lost his faith, “There Is No God, Noah.” In his complicated relationship with his son (“Stuart and Noah”), he seems overwhelmed.

A professional musician, Stuart is now married to Rose, a typical cookie-cutter ‘60s housewife and a well-meaning stepmother. However, she really is clueless, exudes privilege, and is without compassion when dealing with Caroline and her hardships. The Gellmans aren’t racists, but lack forward-thinking, and appear to be products of their time, living in the South.

Avery Lux embodies that post-war Stepford Wife- pretty blonde (ancient advertising reference, a ‘Breck girl’) type. Noah doesn’t like her, and she confesses to her father, Mr. Stopnick (Kent Coffel) her dismay (“Long Distance”). Eventually, the relationship kinks start to soften with the boy (“Why Does Our House Have a Basement?”) But yet, the smugness (catch her mispronouncing “Caroline.”)

Lux looks chic in customary fashions of the day, but her pale-yellow frock needed ironing. With other period costumes designed by Vanessa Tabourne, some of the shoe choices aren’t accurate. For instance, if a character mentions their saddle shoes, she should have a pair on, but nope. (I saw a youth production of “Grease” last week and they had them on Rydell High Schoolers, so they can be found.)

Avery Lux as stepmom Rose. Photo by Julie A. Merkel

While Caroline is washing/drying clothes in the first act and ironing in the second, she imagines appliances as people – including the washing machine (a spunky Kanisha Kellum). She listens to the radio, where a robust trio of singers, not unlike the popular girl groups of the day, springs forth.

Kimmie Kidd-Booker, who is also the Moon in a gorgeous white gown, impresses as a glamorous Diana Ross look-a-like, and merry pair Ebony Easter and Adrienne Spann are the spirited singers in sync with each other, all three replicating the sounds on the airwaves, such as “Ooh Child” and “Salty Teardrops” while they wear fashionable cocktail dresses.

Caroline is so cranky that those close to her try to be helpful but nearly give up, especially Dotty (Kellum again, outstanding in a dual role).

A major occurrence is the assassination of President John F. Kennedy on Nov. 22, 1963, and this is not merely a time marker. Kushner smartly addresses that as a significant bellwether in turning tides..

Both families express their admiration for the fallen leader in “Inside/Outside” and “JFK,” although Emmie is more mesmerized by Martin Luther King Jr.’s messages. The Gellman family includes Jewish grandparents, played by Maria Bollini and Ken Haller, who guide Noah spiritually.

The Radio. Photo by Julie A. Merkel

Act Two starts out with the Radio singing “Santa Comin’ Caroline” and “Little Reward” while the household gets ready for a Hanukkah Party. Caroline also reminisces about her ex-husband in “1943.”

With his richly textured baritone, Duane Foster sings the roles of The Dryer, The Bus, and portrays the wayward ex. He regularly appears at the Muny, was recently in the “Beauty and the Beast” ensemble. On Broadway, he was a part of the original cast of “Ragtime” in 1998 and understudied the lead Coalhouse Walker (role originated by Brian Stokes Mitchell).

Church-going Caroline comes to a reckoning about the dust-up caused by the $20, and Blaylock brings the house down with a mesmerizing “Lot’s Wife”: …”Ain’t never been no good, findin’ joy the way you should…murder my dreams so I stop wantin,…strangle the pride that make me crazy!” Gut-wrenching.

Mr. Stopnick and The Gellmans. Photo by Julie A. Merkel

This sly, simmering show is rarely done, mainly because of its difficulty level, and this is indeed a high point in a very strong theatrical season for regional professional groups. To be introduced this way to the Tesori-Kushner poetic and profound pairing is quite a treat.

First produced off-Broadway in 2003 after readings and workshops started in 1999, the show moved to Broadway in 2004, garnering six Tony nominations, including Best Musical, and a win for Anika Noni Rose for Featured Actress in a Musical as Emmie. A British National Theatre production in 2007 won an Olivier Award for Best New Musical and both a London West End revival in 2018 and Broadway revival in 2021 were heralded.

Tesori is the most honored and most prolific female theatrical composer in history, writing five Broadway musicals and receiving six Tony Award nominations. For “Caroline, or Change,” she won the 2004 Drama Desk Award for Outstanding Music.

In 2015, she made history winning Best Original Score with Lisa Kron for “Fun Home,” making them the first female writing team to win that award. And earlier this summer, she won Best Original Score for Tony Award-winning Best Musical “Kimberly Akimbo,” which she shared with David Lindsay-Abaire.

Noah and his father. Photo by Julie A. Merkel

Also known for “Thoroughly Modern Millie” and “Shrek the Musical,” you may have seen her reboot of “The Unsinkable Molly Brown” at the Muny in 2017, which went on to off-Broadway rave reviews but run cut short by global coronavirus pandemic.

Kushner is one of the few playwrights in history nominated for Emmy, Grammy, Oscar, and Tony Awards. He is most known for “Angels in America: Millennium Approaches” and “Angels in America: Perestroika,” his Broadway debut in 1993, which won a Pulitzer Prize for Drama and a Tony Award, and he won an Emmy for adapting it for the HBO miniseries. Since the 2000s, he has collaborated with Steven Spielberg on his films “Munich,” “Lincoln,” “West Side Story” and “The Fabelmans.”

This is his compelling personal semi-autobiographical story, for his father really was a clarinet player and a conductor, and his parents moved to Lake Charles, Louisiana, when he was a child.

The mindful alliance between Tesori and Kushner has produced an astounding uncompromising musical. The ‘change’ is both economical and political, at once an historical footnote and present-day conundrum. The underlying issues haven’t gone away and racial hatred for blacks and Jews has alarmingly escalated during the past 10 years.

“Caroline, or Change” gives us heartfelt snapshots that hopefully lead to more understanding. It’s a moving, meaningful musical, and this resplendent production takes flight because it resonates deeply.

The Washer. Kanisha Kellum. Photo by Julie A. Merkel

Fly North Theatricals presents “Caroline, or Change” July 28-Aug. 12, with performances at 7:30 p.m. Friday and Saturday and at 2 p.m. Sunday at The Marcelle, 3310 Samuel Shepard in Grand Center. A 2 p.m. matinee has been added for Saturday, Aug. 12. For more information, flynorthmusic.com or for tickets, go to www.metrotix.com.

Kimmie Kidd-Booker as the Moon. Photo by Julie A. Merkel

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

By Lynn Venhaus

Once upon a time, “A Funny Thing Happened on the Way to the Forum” was the gold standard of a playful musical comedy, crafted by skilled vaudevillians with the early musicality of Stephen Sondheim, who would mature into a bona fide theatrical titan. But 61 years since its debut, as seen through a modern lens, it doesn’t have the same pop it once did.

Nevertheless, New Line Theatre’s latest interpretation has several main performers nimble at slapstick and well-versed in comic timing, and the ensemble is spirited in its farcical delivery.

They try mightily to earn laughs, and it mostly succeeds – except for some problematic “frozen in time” dialogue and lyrics. Case in point – “Bring Me My Bride,” with the line: “I have no time to lose, there are towns to plunder, temples to burn and women to abuse.”

OK, I know, it’s supposed to be jokey and satirical, but…And yes, “Everybody Ought to Have a Maid” is cringy, no matter how many clever rhymes.

This 1962 smash hit was Sondheim’s first show as composer and lyricist, after breaking through as lyricist to Leonard Bernstein on “West Side Story” in 1957 and Jule Styne on “Gypsy” in 1959.

Sarah Wilkinson, Ian McCreary, Photo by Jill Ritter Lindberg

Patterned after Borscht Belt schtick and burlesque back in the day, plus a nod to its centuries-old comic roots, the bawdy material doesn’t bother some folks while others find sexual innuendo offensive.

The book, written by Burt Schevelove (“No, No Nanette”) and Larry Gelbart, creator of “M*A*S*H” who wrote for “Caesar’s Hour” (1954-57), the successor to legendary Sid Caesar’s writing stable on “Your Show of Shows,” “Forum” recalls variety show sketches du jour, often centering on nubile women as sex objects and other stereotypes.

The basic premise is taken from playwright Plautus (251 – 183 B.C.) In ancient Rome, a wily slave, desperate to earn his freedom, wants to hook up a virgin courtesan with his young master, but she has been sold to warrior Miles Gloriosus, who will arrive soon. In the meantime, another neighbor, Erronius, returns after searching for his two children, who were kidnapped by pirates.

Even with changing comedic tastes, people who have enjoyed this musical before, either in the audience or as players, look back at it fondly, because it does need a cohesive team to convey the zaniness, and that’s where the fun can be found.

Lively performers Kent Coffel, as crafty Pseudolus, and Chris Moore, as worrywart Hysterium, hatch schemes that get sillier and stickier, and mistaken identities are a key element to the humor, so is crossdressing.

Kent Coffel, Danny Brown. Photo by Jill Ritter Lindberg

The principal singers are all gifted vocalists, especially Ann Hier Brown, who plays the shrew Domina, Hero’s mom. She does effectively turn the tables on “That Dirty Old Man.”

The score’s highlight is the vigorous opening “Comedy Tonight,” a can’t miss showy number. Tragedy can wait, are you ready for some fluff?

Sarah Wilkinson, memorable in New Line’s “Nine” last March, is a sweet Philia and Ian McCreary is an earnest Hero, as the young lovers everyone is rooting for, despite all the wacky complications that ensue. Their duet of “Lovely,” is well, lovely.

A standout is Danny Brown as the swaggering brute Miles Gloriosus, surprising in his robust delivery and rugged appearance.

Without firmly landing punchlines, Robert Doyle seems miscast as the lecherous Senex and Gary Cox is the befuddled Erronius, who has returned after searching for his two children, who were kidnapped by pirates.

Lending support are Jason Blackburn as Marcus Lycus and Nathan Hakenewerth, Brittany Kohl Hester, and Aarin Kamphoefner as the Proteans.

Ann Hier Brown, Chris Moore. Photo by Jill Ritter Lindberg

Co-directors Scott Miller and Chris Kernan have fluidly staged the performers to maximize the madcap movements required, especially in frantic chase scenes.

And Rob Lippert has designed a three-house set that makes entrances and exits breezy, with lighting design by Matt Stuckel and sound design by Ryan Day.

Eileen Engel’s costume design may appear simple, with widespread togas and sandals on hand, but considering the character disguises, she had to duplicate outfits in various sizes so that the apparel would elicit laughs, too.

The conductor/keyboard player is Matthew Kauzlarich, with Kelly Austermann on reeds, Tyler Davis on cello, Ron Foster on trumpet, John Gerdes on brass, Adam Levin on trombone and Clancy Newell on percussion. Joe Simpson is music director.

“Forum” closes out New Line’s 31st season, and they have tackled demanding Stephen Sondheim works before (“Anyone Can Whistle,” “Assassins,” “Company,” “Into the Woods,” “Passion,” “Sunday in the Park with George,” and “Sweeney Todd”),

The original 1962 production of “Forum” was nominated for eight Tony Awards and won six, including best musical, producer, book, and director. Multiple Broadway revivals were well-received, in 1972 with Phil Silvers and in 1996 with Nathan Lane (and later in the run, with Whoopi Goldberg. All three actors who have opened in the role of Pseudolus on Broadway have won Best Actor Tony Awards (Zero Mostel, Silvers and Lane).

This throwback has a cast merrily cavorting on stage, zipping along to keep it from sagging, that helps carry it across the finish line. I just wish the material was fresher. This only works as a period piece, recreating an outdated style.

In recent years, New Line’s impressive choices have moved the needle on local musical offerings – especially “Something Rotten!” “Urinetown,” “Be More Chill,” “Lizzie,” “Head Over Heels,” “Bonnie and Clyde,” “Heathers,”  and others.

Proteans and Miles. Photo by Jill Ritter Lindberg.

New Line Theatre’s production of “A Funny Thing Happened on the Way to the Forum” is from June 1 to June 24, on Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, in the Grand Center Arts District.

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

Discounts are available for high school students (check Facebook page for code), educators and military personnel, and college students are offered the chance to get a free seat (10 per performance) They are available only at the door, and subject to availability.

Cover Photo by Jill Ritter Lindberg

New Line Theatre’s Crisp ‘Something Rotten!’ is Fresh, Fun and Frisky

New Line Theatre’s Crisp ‘Something Rotten!’ is Fresh, Fun and Frisky

By Lynn Venhaus

“I believe it’s called ‘Miser-ahh-bluh’!”

Brimming with references to many modern musicals, the spoofy, goofy “Something Rotten!” is a humdinger of a regional professional theater premiere from New Line Theatre. After all, it has an exclamation point in the title, so it must be special!

It is!

Fresh, funny, and frisky, the cast accepts their mission to have fun with the fluff, and the tight-knit ensemble is downright giddy frolicking in some of the most original show tunes in the past decade.

Besides the peppy song-and-dance numbers, the crowd-pleasing show provokes oodles of laughter and features an expertly tuned high-energy ensemble all-in with the snappy repartee and fun hijinks.

With its scaled-down setting and a smaller cast, this upbeat show flows smoothly on the Marcelle Theatre’s intimate stage. Scenic designer Rob Lippert used Shakespeare’s famous Globe Theatre as his guide, and director Scott Miller builds the action on two levels.

“Something Rotten!” opened on Broadway in 2015 and received 10 Tony Award nominations, including Best Musical, with Christian Borle winning the only one, as Best Featured Actor in a Musical as William Shakespeare. This is the regional professional premiere.

Written by Karey Kirkpatrick and John O’Farrell as both a love letter to literature and a send-up of musical comedy, it never takes itself too seriously.

Karey and brother Wayne Kirkpatrick penned a clever music score and lyrics that the New Liners deliver in a zippy and zany style that has the audience engaged at “Welcome to the Renaissance,” the opening number.

The time is 1595, and William Shakespeare is an idol-like bard. Meanwhile, brothers and playwrights Nick (Chris Kernan) and Nigel (Marshall Jennings) Bottom crave the same rock-star celebrity and fame. They are desperately in need of a hit but disaster plagues their endeavors.

Then one day, Nick listens to a soothsayer, Thomas Nostradamus (not THE Nostradamus, but his neophyte nephew), who predicts that musicals will be the next big thing.

When Nostradamus guesses Shakespeare’s next hit will be “Omelette,” wackiness then ensues.

The book’s cheeky wit comes through when principals engage in wordplay and display their sterling comic timing. It’s as if everyone is winking while they are smiling.

As the downtrodden Nick, Kernan confidently leads the ensemble. A versatile performer, he delivers “God, I Hate Shakespeare” and “Bottom’s Gonna Be on Top” with aplomb and “Make an Omelette!” showcases his character’s despair and stubbornness.

An ebullient Jennings, as the talented but shy brother Nigel, works well with Kernan, and they deftly land the theater-insider quips. When conflicts arise, their clash is believable.

Jennings and Melissa Felps are a charming romantic pair. As the Puritan lass Portia, Felps is radiant, and their strong voices soar in the ballads, blending beautifully in “I Love the Way” and are bouncy in “We See the Light.”

Jason Blackburn is comical, delivering double-entendres as Portia’s overbearing, religious zealot father Brother Jeremiah, who does not approve of his daughter’s relationship.

In one of his best performances, Clayton Humburg swaggers like a rock star as the egomaniac Shakespeare, encapsulating all the preening cliches in his “Will Power” introduction and has fun with the sly references. He’s amusing in his lament, “Hard to Be the Bard.”

Carrie Wenos uses both her comedic and vocal skills as Nick’s supportive wife Bea, a burgeoning feminist, and has fun with “Right Hand Man.”

And as Nostradamus – not “THE” soothsayer but his nephew Thomas – Jeffrey Izquierdo-Malon has a daffy debut that’s part Monty Python, part Marx Brothers.

The merry ensemble – Robert Doyle as Shylock and Lord Clapham, Chris Moore as a Minstrel and Peter Quince, Mara Bollini as Francis Flute, Kent Coffel as Robin Starveling, Brittany Kohl Hester as John Snug, Ian McCreary as Tom Snout, Maggie Nold as Helena and a psychic, and Alyssa Wolf as Miranda and an astrologer — are plugged into presenting the low-brow Mel Brooks’ type humor as well as the ‘higher brow’ theatrical and Shakespearean jokes.

Music Director Mallory Golden capably conducts band members Joe Akers on trumpet, Jack Catalanotto on guitar, John Gerdes on bass, Joe Hendricks on reeds and Des Jones on percussion while she plays keyboards. The band is strategically placed under the balcony.

Sarah Porter’s playful costume design allows the performers to move while wearing such period attire as puffy pants and petticoats.

Ryan Day’s sound design and Matt Stuckel’s lighting design seamlessly enhance the action.

Choreographer Alyssa Wolf’s crisp and snappy dance routines really shine, but the standout is “A Musical,” a hilarious pastiche of Broadway hits. “It’s Eggs!” is a rib-tickler too.

By the time the show wraps up with a reprise of “To Thine Own Self” and “Welcome to America,” your sides may ache from laughing and you may notice you have been grinning for over two hours.

“Something Rotten!” is a must-see comedic gem, a well-cast, well-staged show that’s a bright spot in local theater this fall.

New Line Theatre presents “Something Rotten!” from Sept. 23 through Oct. 15, at 8 p.m. Thursdays through Saturdays, at The Marcelle Theatre, 3310 Samuel Shepard Drive, in the Grand Arts District. For more information, visit www.newlinetheatre.com

Nostradamus. Photos by Jill Ritter Lindberg.

New Line’s Fine Singers Aim Zingers in a Spirited ‘Urinetown’ That’s As Timely As Ever

New Line’s Fine Singers Aim Zingers in a Spirited ‘Urinetown’ That’s As Timely As Ever

By Lynn Venhaus

Zeitgiest, meet “Urinetown.”

In this Twilight Zone reality we seem to live in now in the 21st century, the subversive “Urinetown” the musical has never seemed timelier. Or funnier. Or scarier.

What once was merely laugh-out-loud outrageous 20 years ago has morphed into a gasp-filled hit-nail-on-head satire where sleazebag politicians are even slimier, greedy corporate bastards are more cruel, ecological disaster seems more imminent and cries of revolution are not far-fetched but absolutely necessary.

This wicked musical comedy composed by Fairview Heights, Ill., native Mark Hollmann, with co-lyricist and book writer Greg Kotis, appears to grow more relevant as the gap continues to widen between the haves and have nots.

Resurrecting one of its past triumphs, from 2007, for the cross-your-fingers 30th season, New Line Theatre’s savvy choice allows a confident, polished ensemble to have fun romping through the ripe-for-parody American legal system, ridiculous bureaucracy, corrupt municipal politics, and foolish mismanagement of natural resources.

The time is 2027 and the focus is urination. Yes, that indispensable body function. But, because we’re in a near dystopian future, there is no such thing as a free pee – and we can’t squander flushes and there is a limited water supply.

If you gotta go, it will cost you. A severe 20-year drought has resulted in the government banning private toilets. Citizens must use public amenities that are regulated by a single evil company that profits from charging a fee to conduct one of humanity’s basic needs.

So, what happens if you disobey? You are punished by a trip to Urinetown, never to return. Egads!

A rabble-rouser emerges – Bobby Strong, and he launches a People’s Revolution for the right to pee. Let’s hear it for urinary freedom! As he does with every role, energetic Kevin Corpuz is passionate in his hero’s journey.

This cast has the vocal chops to entertain in lively fashion, and with nimble comic timing, hits the sweet spot between exaggerated naivete and cheeky irreverence. Jennelle Gilreath, effectively using a Betty Boop-Shirley Temple voice, is the child-like street urchin Little Sally.

Bobby leads the poor rebels – performed by local live wires Grace Langford as pregnant Little Becky Two Shoes, Ian McCreary as Tiny Tom, Chris Moore ss Billy Boy Bill, Christopher Strawhun as Robbie the Stockfish and Jessica Winningham as Soupy Sue.

They are part of a first-rate ensemble in such crisply staged musical numbers as “It’s a Privilege to Pee,” “Snuff That Girl,” “Run Freedom Run,” and “We’re Not Sorry.”

Not only do Hollmann and Kotis take on capitalism, social injustice and climate crisis, but also cleverly twist the great American musical art form itself, with resemblance to Bertolt Brecht and Kurt Weill’s “The Threepenny Opera” and the populist champ “Les Miserables.”

With silly characters modeled after old-timely melodramas, Kent Coffel is Officer Lockstock, Marshall Jennings is Officer Barrel, and Sarah Gene Dowling is tough urinal warden Penelope Pennywise, all having fun with their goofy over-the-top roles.

Kent Coffel, Marshall Jennings as Officers Lockstock and Barrel. Photo by Jill Ritter Lindberg

Bobby’s downtrodden parents, Joseph and Josephine Strong, are played by solid veterans Mara Bollini and Zachary Allen Farmer, also doubling as rebels, while fellow New Line regulars Todd Schaefer is the dastardly profiteer Caldwell P. Cladwell and Melissa Felps his darling daughter, Hope, who falls in love with Bobby. Both Schaefer and Felps play it straight, although they are winking to the audience the whole time as the heads of Urine Good Company, aka UGC.

Corpuz and Felps soar in “Follow Your Heart” while Bobby’s “Look to the Sky” and Hope’s finale “I See a River” showcase their skills.

Playing a caricature of an oily grifter and elected official Senator Fipp is Colin Dowd, doing his best Matt Gaetz impersonation, and Clayton Humburg is weaselly as Cladwell’s assistant Mr. McQueen. The “Rich” folk have fun with “Don’t Be the Bunny,”

Co-directors Scott Miller and Chris Kernan’s fresh take goes darker, which suits the capricious winds of an ever-evolving global pandemic that we have lived through for 27 months. Not to mention clinging to a democracy with fascist and authoritarian threats very much present. And hello, global warming.

Kernan’s choreography is a highlight, and music director Tim Clark keeps the tempo brisk. He conducts a tight band of Kelly Austermann on reeds, Tom Hanson on trombone, Clancy Newell on percussion and John Gerdes on bass while he plays keyboard.

The upside-down world we’re in is enhanced by Todd Schaefer’s grimy set, Sarah Porter’s astute costume design, Ryan Day’s sound design Kimi Short’s props,  and Kenneth Zinkl’s lighting design.

After an off-Broadway run, “Urinetown” opened on Broadway in 2001 and was nominated for nine Tony Awards, winning for best book, best music score and best direction. The fact that it’s stature has grown over the years is a reflection of our current time – and while that is rather frightening, this show continues to say something worth saying through its devilish use of heightened reality.

It’s holding up a mirror, even though it’s presented in a funhouse way, and that is indeed admirable.

In that spirit, leave your paranoia behind and get ready to laugh at the zingers launched with glee. New Line Theatre’s “Urinetown” is worth a sojourn as time keeps on slipping into the future.

New Line Theatre presents “Urinetown” June 2-25, with performances Thursday through Saturday at 8 p.m. at the Marcelle Theatre. For tickets or more information, visit ww.newlinetheatre.com

Photos by Jill Ritter Lindberg

Love Is Love: Passion and Art Make for Potent ‘ A Man of No Importance’ by R-S Theatrics

Love Is Love: Passion and Art Make for Potent ‘ A Man of No Importance’ by R-S Theatrics

By Lynn Venhaus
Managing Editor
Passion drives the characters and the R-S Theatrics production of a miraculous
little musical that has something to say. The title “A Man of No Importance” is
a misnomer, for Alfie Byrne is a remarkable human being whose significance is mirrored
in the faces of his fellow Dubliners.
In a blockbuster musical theater climate that regularly serves feel-good fluff and
spectacle, Broadway heavyweights Lynn Ahrens and Stephen Flaherty wrote pensive
Irish-inflected music and lyrics and four-time Tony-winning playwright Terrence
McNally penned the book for a heartfelt rumination on friendship, acceptance,
creative expression and social mores for a 2002 Lincoln Center production.
This unconventional off-Broadway diamond in the rough feels like a pot o’ gold
discovery today. McNally, whose bold work on gay themes has been heralded
worldwide, adapted the 1994 film “A Man of No Importance” starring Albert
Finney into an introspective work of substance, a fanfare for the common man with
wry humor and touching moments.

Unlike the grand ambition of their masterpiece “Ragtime,” McNally,
and Ahrens and Flaherty, through their songs, give meaning to modest people and
their small-scale dreams and desires. And it’s in a specific setting – a working-class
Dublin parish in 1964, with quaint characters, during a time of innocence as
the world is changing.
With grace and laser-focus, director Christina Rios has created a cozy setting
that feels like the earnest characters are in your living room, that they are
part of your daily life and live next door.

“A Man of No Importance” at R-S TheatricsThe snug space gives the top-flight cast an opportunity to
gel like a community – the way an amateur theater group does, how church parishes
do, and why co-workers, pub mates and newcomers connect. You feel their moods,
temperaments.

Good-natured Alfie Byrne (Mark Kelley) is a bus conductor
by day, with a poet’s soul, and a creative force at night. Inspired by his
mentor Oscar Wilde, he fervently directs the St. Imelda’s Players, coming alive
fired up by art.

While kind and outgoing, he is also forlorn, a square peg
trying to fit into a round hole, as Alfie is a closeted homosexual when it was
still a crime in Ireland.

At home, he lives with his surly sister Lily (Stephanie
Merritt), who finds his hobbies peculiar, particularly his penchant for making
foreign dishes for dinner distasteful – Bolognese sauce, curry? She has decided
not to marry until he does, which adds to her exasperation. Merritt’s strong vocal
prowess is displayed in “The Burden of Life” and the touching ‘Tell Me Why” in
second act.

Stephanie Merritt and Michael B. PerkinsHer blustery steady beau, Carney (Michael B. Perkins), is the neighborhood butcher. Quite a ham on stage, he leads his enthusiastic castmates in the upbeat “Going Up!” – a fun song any thespian can identify with, setting the stage for the rehearsals to come.

But in an ugly character development, Carney also thinks it
is his moral duty to make the local church aware they are putting on “pornography,”
for he is appalled at Alfie’s choice for the next production – Wilde’s controversial
“Salome,” based on the tragic Biblical characters.

Miffed that he’s not the lead, Carney riles up the ladies’
sodality while the rest of the troupe are trying to find a way to costume the
seven veils and paint a realistic dummy head of John the Baptist. He wraps his
thoughts around it in “Confusing Times.”

Perkins has several stand-out songs, including the dandy comical
duet with Merritt, expressing outrage about Alfie’s proclivities “Books.”

Perkins also doubles as the flamboyant Wilde in dream
sequences, handling both with aplomb.
While Father Kenny (Dustin Allison) is shutting down the program, the church
hall teems with cast members, and we are introduced to a quirky assortment of folks
in this interesting patchwork quilt of a show.

Alfie loves these people. They’re home. They’re his “other”
family.

Lindy Elliott as AdeleThere are the housewife diva-wannabes who flutter about him
– Miss Crowe (Kay Love), Mrs. Curtin (Nancy Nigh), Mrs. Grace (Jodi Stockton)
and Mrs. Patrick (Jennifer Theby-Quinn). Besides Carney, on the men’s side is
widowed Baldy (Kent Coffel), Rasher Flynn (Marshall Jennings) and Ernie Lally
(Dustin Allison).

All gifted singers, they are outstanding in the ensemble
numbers “A Man of No Importance,” “Our Father,” “Art” and several reprises. Nigh
has fun carrying out Naomi Walsby’s tap choreography in “First Rehearsal.”

Alfie has a secret crush on his co-worker, bus driver Robbie Fay (Kellen Green). He’d like to cast him as John the Baptist but Robbie’s not convinced. A lovely young woman, Adele Rice (Lindy Elliott), is new to town, and Alfie’s inspiration to tackle his mentor’s masterwork. Could she be his “Salome”?

Elliott, very impressive in this key role, sweetly sings a
reprise of “Love Who You Love,” and she and Kelley have a touching song
together, “Princess.”

Kellen Green as Robbie

As the handsome, conflicted Robbie, Green is terrific, trying
to find his way — and has a secret too. He robustly delivers “The Streets of
Dublin,” one of the show’s best numbers, and has a moving duet, “Confession” with
Kelley. He shows his prowess on the violin and in a reprise of “Love Who You
Love” as well.

Another highlight is Kent Coffel’s tender rendition of “The
Cuddles Mary Gave,” as the character Baldy mourns his late wife.

Anchoring the whole shebang is Mark Kelley, a revelation as
Alfie. He understands this sensitive soul and his pain. He imbues Alfie with so
much conviction that his bittersweet songs, “Love’s Never Lost” and “Love Who
You Love” are affecting and the triumph of “Welcome to the World” is
well-earned.

As the dialect coach, sound designer and fight
choreographer in addition to the lead, Kelley has galvanized this production.
The fight is realistic thanks to assistant fight choreographer Rhiannon Skye
Creighton and Perkins as fight captain.

The Irish accents are spot-on and never waiver – kudos to
the cast’s commitment on getting it right. It makes a difference setting the
proper tone, and the lived-in quality of the production is noteworthy.

Kent Coffel and Mark KelleyThe orchestra is very much a key part of the production,
and not just because conductor Curtis Moeller doubles as a character, Carson.
The cast interacts with them and vice versa, and they excel at giving an authentic
Celtic sound to the score. Moeller is on keyboard, with Benjamin Ash on bass,
Twinda Murry and Hanna Kroeger playing violins, Emily T. Lane on cello, Adam
Rugo on guitars and Marc Strathman on flutes. They achieve a lush sound that piquantly
flavors the show.

Amanda Brasher’s costume designs are a treat. She nailed the characters perfectly, from vintage frocks to the nubby knit sweaters to the assortment of hats defining personalities. Stockton’s Mrs. Grace wears a stunning ballet-slipper pink lace two-piece suit straight out of Jackie Kennedy’s closet.

The musical is a slow simmer but worth the investment as the sympathetic characters ripen. While the story spotlights a different time in another country, it illustrates the universal social awakening that “Love is Love is Love.” And being accepted for who you are is a worthy topic no matter when or where.

R-S Theatrics’ “A Man of No Importance” is to be admired
for its wholehearted mounting of a little-known show, illuminated by a talented
group of performers who feel like family at the finale.

Jodi StocktonR-S Theatrics presents “A Man of No Importance”
Fridays and Saturdays at 8 p.m. Sundays at 7 p.m., Aug. 9 – 25, at the Marcelle
Theatre, 3310 Samuel Shepard Drive in Grand Center For more information or for
tickets, visit www.r-stheatrics.com
or call 314-252-8812.

New Line Theatre Announces Casting and Season Tickets for 29th Season

New Line Theatre Announces Casting and Season Tickets for 29th Season

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.

‘La Cage Aux Folles’ Embraces Freedom — and Sparkle

‘La Cage Aux Folles’ Embraces Freedom — and Sparkle

By Lynn Venhaus
Managing Editor
There is a sparkle that emanates, not just because of the outward snazzy sequined
outfits and shimmery set in New Line Theatre’s “La Cage Aux Folles,” but also inward
from the all-male drag chorus, Les Cagelles. Their unbridled enthusiasm for a
show celebrating “Be Yourself” is obvious, and underneath their wigs and cosmetic
enhancements, it’s endearing.

In fact, one strongly feels the liberation of the drag chorus, supporting players and in the tour-de-force performance from Zachary Allen Farmer as the drag diva Zaza/Albin. That palpable sense of freedom is one of the production’s most enduring qualities.

Set in the 1980s on the French Riviera, Georges (Robert
Doyle) and Albin (Farmer) have lived as a married couple for years and work
together – Georges runs the nightclub downstairs and Albin is the star
performer Zaza. They have raised the now-grown Jean-Michel (Kevin Corpuz) as
their son since birth, in their own version of a loving nuclear family. Biologically,
he’s Georges’ son, born from a one-night dalliance with a woman who has chosen
not to be an integral factor in the boy’s life.

When Jean-Michel becomes engaged to Anne (Zora Vredeveld), her
ultra-conservative parents, politician dad Dindon (Kent Coffel) and mom (Mara
Bollini), are invited to dinner, prompting panic, for fear of exposing their ‘alternative’
lifestyle to disapproval, and ultimately, difficulties for Jean-Michel.

The ensuing melodrama and potential disasters are more akin
to an episode of “I Love Lucy” – and it’s all because of trying to hide who
they really are. But then, what the hell – dignity eventually reigns. In the
meantime, wackiness ensues for plenty of side-splitting laughs, with co-directors’
Scott Miller and Mike Dowdy-Windsor’s deft touch.

Focusing on characters who are loud, proud and know who they are is the hallmark of “La Cage Aux Folles” in all its art forms, from the hilarious 1973 French play by Jean Poiret, to the French film adaptation in 1978 to the Tony-winning Jerry Herman-Harvey Fierstein Broadway musical in 1983 to the American movie version in 1996 “The Birdcage” to the Tony-winning Broadway revivals in 2004 and 2010.

It’s not a new view, by any means. You would think by now,
people wouldn’t have to keep defending themselves, but homophobia still exists
in the most insidious and cruel ways in the 21st century. Therefore,
“La Cage Aux Folles” remains timely, and important, and most importantly, fun.

As always, “La Cage” boldly stands up to hypocrisy, ignorance and self-righteous prigs with sharp social commentary wrapped in light-hearted comedy and hummable music. This delectable confection as a crowd-pleaser is a brilliant offense, and Fierstein’s smart script is redolent with both zingers and heartfelt moments.

But this cast emphasizes it with their own perceptible
feeling of family, that intangible quality that sells the show, and underlined
by the confident directors.

Zora Vredeveld, Kevin Corpuz, Kent Coffel and Mara Bollini. Photo by Jill Ritter Lindberg.Farmer triumphantly leads this family in one of his finest performances. The actor, with multiple St. Louis Theater Circle nominations spanning seven years, has long since proven his versatility. He has been moving before – as the loner in “The Night of the Living Dead” and the slighted genius Leo Szilard in “Atomic,” and charming — the protective dad in “The Zombies of Penzance” and befuddled Sir Evelyn Oakleigh in “Anything Goes,” and comical as the iconoclast “Butkowski” and villain in “Celebration,” but the high-wire demands of Zaza/Albin go beyond the physical and present the biggest challenge.

Farmer is believable as this temperamental drama queen,
both in carriage and conviction. He looks fabulous, rocking the outfits – especially
that gorgeous lilac gown in the show-stopping “I Am What I Am,” notably after a
real-life 163-lb. weight loss. He projects effeminate airs, but not in a campy,
cartoonish way – they are organic to his character.

Because he isn’t merely window-dressing, Farmer’s transparency
showing the quicksilver mood swings — the hurt, the love and the defiance — ring
true. That makes him genuinely affecting as a transvestite man, while pushed to
the sidelines by convention, who refuses to be a cliché.

Robert Doyle and Zak Farmer. Photo by Jill Ritter Lindberg.Farmer is so sensational that perhaps Georges suffers in
comparison. As written, the part is in the parlance of a ‘straight man’ in a
comedy duo, and Robert Doyle is rather bland in the role, more in the shadow of
the very flamboyant characters. A few of the early songs seem a little shaky –
the duet “With You on My Arm” and “Song on the Sand,” but it could have been a
lower range issue on opening night. In the second act, “Look Over There” was
much more assertive.

The young engaged couple – Corpuz and Vredeveld – also are
secondary to the daffy proceedings because of the big personalities unleashed
here. They have a sweet dance interlude and competently convey their roles, but
really, the focus is pulled more towards the outrageous goings-on.

Tielere Cheatem as Jacob. Photo by Jill Ritter Lindberg.As the mercurial butler Jacob, Tielere Cheatem is dandy cavorting
in whirlwind prima donna mode. Strutting like a peacock, all attitude and
motion, Cheatem is a nimble laugh-riot making numerous scene-stealing entrances
in a procession of increasingly over-the-top outfits. His comic timing is
impressive.

When a pompous bigoted politician is set up for comeuppance, you know good humor will result, and the expressive Coffel milks it for laughs. And Bollini, as the snobbish wife and mother, is a good sport.

Both also play progressive restaurateurs M. and Madame
Renaud, and their “Masculinity” scene giving Albin tips on how to be macho is a
standout.

Lindsey Jones and Zak Farmer. Photo by Jill Ritter Lindberg.Lindsey Jones is used effectively as Jacqueline, a chic
restaurant owner whose place is the setting for some fireworks and several
terrific numbers – “La Cage aux Folles” and “The Best of Times.”

As previously mentioned, the spirited Les Cagelles are a
high point with their ebullience and energy — Jake Blonstein, Dominic
Dowdy-Windsor, Evan Fornachon, Tim Kaniecki, Clayton Humburg and Ian McCreary are
gleeful as real accomplished showmen.

Photo by Jill Ritter Lindberg.Fornachon, as the dominatrix Hanna, is quite comfortable
cracking a whip. A running gag is his ‘physical’ relationship with nightclub stage
manager Francis (Joel Hackbarth).

As a cohesive cast, it does not matter who’s really gay or
straight, all are convincing and display a commitment to their characters by
not relying on superficial stereotypes.

Behind the scenes are several unsung heroes – namely, stellar costume designer Sarah Porter, whose work is stunning. She also guided the make-up and wig applications with outstanding results.

Sara Rae Womack and Michelle Sauer choreographed the peppy musical numbers, moving Les Cagelles well in the provided space.

Nicolas Valdez’ work as music director is also exceptional –
he leads the Jerry Herman score with vitality, and the vocalists enunciate the
lyrics well. Herman, who crafted such iconic shows as “Hello, Dolly!” and “Mame,”
succeeded here with a traditional score but with a definitive light touch.

Valdez’ band – Kelly Austermann on reeds, Ron Foster on trumpet, Tom Hanson on trombone, Clancy Newell on percussion and Jake Sergos on bass – is a finely tuned ensemble that created a smooth, effortless flow of upbeat tempos and poignant ballads. They are hidden behind a scrim, which worked out well.

Next to the grand “I Am What I Am,” my favorite number was “The
Best of Times,” delivered crisply as a robust, sentimental tune summing up the
show’s poignancy – and a swell sing-a-long moment.

Rob Lippert’s colorful scenic design had plenty of pizzazz –
a functional combination of glitzy showplace and living quarters. And his
lighting design competently alternated between daylight and nightlife. Ryan Day’s
expert sound design is consistently good.

There is an obvious joy and compassion in this work, and because everyone involved is having such a good time, it carries over to the audience. After all, love is love is love is love.

None of us need permission to be who we are, but “La Cage Aux Folles” reminds us that we are all free to be you and me. And that’s mighty fine any time.

Photo by Jill Ritter LIndbergNew Line Theatre presents “La Cage Aux Folles” March 1 through March 23, Thursday through Saturdays at 8 p.m. at The Marcelle Theatre in the Grand Arts District. For tickets, visit Metrotix.com or call 314-534-1111. For more information, visit www.newlinetheatre.com

Mustard Seed’s Reprise of ‘All Is Calm’ Strongest One Yet

Mustard Seed’s Reprise of ‘All Is Calm’ Strongest One Yet

By Andrea Braun
Contributing Writer“Last night I had the strangest dream I ever had before. I dreamed that men had all agreed to put an end to war.” –Chad Mitchell Trio
Entering Kyra Bishop’s set feels much like walking onto a battlefield. It is dark and dreary, no color to speak of, just browns and grays all around. There are rolls of copper wire, downed trees, and a backdrop so primitive it is held up by rope. Then, in the distance a man is singing a traditional Scottish ballad, “Will ye go to Flanders?” Gradually other voices join him and nine soldiers enter. It is 1914 at Christmas, and these guys are already tired of the fighting and their voices reflect that sense of weariness, of hopelessness.
But what they also demonstrate is a remarkable ability to sing solo, in ensembles or all together. This is the fourth production of “All Is Calm”  that Mustard Seed has mounted since its premiere in 2012, the third one I’ve seen, and the strongest yet.

The ensemble changes, though five of the cast members have appeared in the show at least a couple of other times. What is remarkable is that whoever is in front of us is fully believable, invested in the roles, and able to bring off every single number in the show from the sublime to the silly.
I couldn’t single out any cast members because they were all so good; here they are in alphabetical order: Kent Coffel, Anthony Heinmann, Christopher Hickey, Greg Lhamon, Gerry Love, Michael Lowe, Sean Michael, Abraham Shaw, Jeff Wright
The center of the story is a real event. On a memorable night in the first year of World War I, the British and Irish and the Germans stopped fighting. Just like that. They had been in mortal combat for days, perhaps weeks, and while they don’t exactly beat their swords into plowshares, they spend a night burying their dead together, playing soccer with each other, decorating a tiny Christmas tree, and most of all, singing the holiday songs of their cultures.
Besides song, the men recite quotations from soldiers’ letters, from the Pope and Winston Churchill, and most moving, two of the so-called “War Poets,” Wilfred Owen and Siegfried Sassoon. These young men created a body of literature about the war experience, and there is nothing romantic about it, nothing “sweet and right” about dying for one’s country, as Owen expresses in his ironically  titled “Dulce et Decorum est,” about a slow and horrible death from mustard gas. All these statements give the audience a sense of how the troops from the lowliest private to the prime minister were feeling about the job at hand. So, why did they do it?
Because they were called to duty. Because patriotism motivates both sides in war. And, probably not least because they could be hanged for treason if they ran away. But there is also a sense of real camaraderie here, not only on one’s own side, but among all the men—perhaps more accurately boys—who have been called to kill the other side who look just like them. The Royal Family is 100 percent German, for example. They just changed their names from Saxe, Coburg and Gotha to Windsor. Done and dusted. It wasn’t so easy for the young men who had to take sides, however.
Lighting design is a character too. Generally, the lighting designer does the job by not being particularly notable, but here, the light literally brings life, especially in the Christmas tree scene wherein “Silent Night” begins in a minor key when the tree comes out, then as the lights gradually go up, the song becomes harmonic. Credit goes to Michael Sullivan.
Jane Sullivan and Zoe Sullivan handle costumes and sound respectively and with their usual expertise. Director Deanna Jent and Musical Director Joe Schoen keep everything moving, and in its fifth production, the show works like a well-oiled machine.
“All Is Calm” is by Peter Rothstein, with musical arrangements by Erick Lichte and Timothy C. Takach. Its history is fascinating, having had its public debut on Minnesota Public Radio. Jent notes that: “While not shying away from the horrors of war, it presents a moment of hope that seems to have been transformative for the men involved in the event.”
In only six years since All Is Calm was first presented, our country seems to have gone to war with itself. May the peace among a group of people whose immediate “job” is to kill the “enemy,” serve as an example of the way we might all treat each other and perhaps even someday agree “to put an end to war.”
“All Is Calm” will run through Dec. 16 at the Fontbonne University Fine Arts Theatre. Details are available at www.mustardseedtheatre.com.