New Line Theatre Creates Arch Incubator to Nurture New Works

New Line Theatre Creates Arch Incubator to Nurture New Works

New Line Theatre is very proud to announce the creation of the New Line Theatre Arch Incubator, to find, develop, and nurture new works of musical theatre, under the leadership of St. Louis native Wilson Webel.

The Arch Incubator will be an accepting, inclusive, and collaborative space for the creation, development, and production of original, innovative, and diverse musical theatre in the St. Louis metro area.

The incubator will also connect with educational, commercial, and nonprofit organizations in St. Louis and New York, to foster a growing partnership and understanding between the communities within the cities and to extend the life of new musicals beyond the St. Louis region.

New Line artistic director Scott Miller says, “I’ve been wanting to create something like this for years, but it’s been just too much to take on. When Wilson came to me and proposed this project, I was immediately on board. This is so important – for our company, for our audiences, and for the art form. Our region needs this Incubator.”

The Incubator will be a comprehensive program that gives artists a financially feasible environment in which to create musical theatre, and gives audiences a continuing source of the excellent musical theatre for which St. Louis is so well-known.

Webel has laid out a five-phase plan for the Incubator, which will be implemented over ten years, creating a lasting hub for new musical theatre and all those who create it, support it, and find joy in it. The first phase will include some small performances but will focus largely on fundraising.

Wilson Webel is a multi-skilled artist with a focus on theatrical production and management, and writing for the stage. He graduated in 2017 with a BA in Theatre from Saint Louis University and recently earned his MFA in Musical Theatre Writing from New York University’s Tisch School of the Arts.

During his time in St. Louis he worked with various theatre companies taking on many roles, from stage manager to dramaturg. While in New York he had the privilege of working with, and being mentored by, some of the leading artists in the musical theatre world today. 

Briana Whyte-Harris will be the Incubator’s Development Coordinator in New York.

Musical theatre artists interested in getting involved with the Incubator, in assisting, submitting work, learning through, collaborating with, or just wanting to know more, can email Wilson atUnderthearchincubator@gmail.com. At this time, the Incubator is taking only single song submissions for our first cabaret, and looking to connect with established composers, bookwriters, and lyricists.

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. The company 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 funding from the Regional Arts Commission and the Missouri Arts Council, a state agency.

New Line’s upcoming 29th season will include Cry-Baby, Head Over Heels, and Urinetown, as well as the company’s new film series, a reading of a new show, and more. For information about season tickets, visit the New Line subscription page.

For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change.

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.

Talkin’ ‘Bout My Generation: New Line’s Fresh, Funny ‘Be More Chill’ Has Real Heart

Talkin’ ‘Bout My Generation: New Line’s Fresh, Funny ‘Be More Chill’ Has Real Heart

By Lynn Venhaus
Managing Editor

Every generation has a musical that captures the zeitgeist
of the moment, that speaks to them in a special way. My generation of Baby
Boomers had “Hair,” Gen X had “Rent,” Millennials had “Spring Awakening” and
now Generation Z has the current cultural sensation “Be More Chill.” It’s
fierce, fun and frisky.

This is not just another teen misfit story, although it taps into familiar themes, bearing some resemblance to “Mean Girls,” Dear Evan Hansen” and “Heathers.”

With more dimensions than stock characters, the kids work
through messy life things – and as an adult, you just want to tell them “It
gets better,” but then we’d have no story conflicts, would we? It’s set in
suburban New Jersey and the time is now.

Is it ever. You’ll identify right away, as the dialogue is
a contemporary bulls-eye.
Besides being incredibly clever, another aspect that sets this realistic cautionary
tale apart is its sci-fi framework. To understand just what a big-bang this musical
clearly is, look at how it has tapped into a youthful energy that’s contagious,
no matter what demographic.

Giving this show both a relevancy and a relatability, New
Line Theatre is presenting the original regional version, which premiered in Red
Bank, New Jersey in 2015, with music and lyrics by the Tony-nominated Joe
Iconis and book by Joe Tracz, which is adapted from Ned Vizzini’s 2004 novel. An
off-Broadway smash hit in 2018, “Be More Chill” moved to Broadway in February
with an expanded version that is more ‘bigger is better.’

New Line keeps it focused with a tidy production, marked by
co-directors Mike Dowdy-Windsor’s and Scott Miller’s high-spirited and insightful
interpretation. This is arguably a defining moment for this fearless theater
troupe, and not only because they obtained the rights before its Broadway run, but
also because it’s a major leap forward as the company ends its 28th
season.

The well-cast ensemble, playing 11 characters, sparkles.
Each one has taken this show to heart with so much enthusiasm that it carries
over to the audience, which included many young fans expressing their delight
at every opportunity on opening night. Their joyous embrace of a show that
defines how they feel, look and act is refreshing. The powerful connection
between actors and theatergoers is electric and palpable. The performers feel
every word and the audience responds in kind.

Jayde Mitchell and Grace Langford

In one of the more memorable NLT debuts, Jayde Mitchell genuinely captured the teenage angst of nerdy Jeremy, who goes from zero to hero after a square little pill “from Japan” takes root in his brain, and this supercomputer communicates with a Squip (Super Quantum Unit Intel Processor). The Squip will guide his moves to become more popular at school. Mitchell announces himself as one to watch with his opening number, “More Than Survive,” and then transforms convincingly throughout, leading this finely tuned ensemble. The mysterious Squip, played with potent authority by Dominic Dowdy-Windsor, is stunningly dressed in a dapper black crocodile coat made by costume designer Sarah Porter. He is the catalyst for action good, bad and ugly. If he looks like Laurence Fishburne in “The Matrix,” it’s intentional.

Jayde Mitchell and Dominic Dowdy-WindsorDowdy-Windsor, always a strong singer, manages the beats of
the darker role, as he is usually cast in heroic or romantic leads, a la “Yeast
Nation” and “Zorba the Greek.” He’s terrific leading “Be More Chill” and
revealing more of his intentions in “The Pitiful Children.”

As we know from every John Hughes movie in the 1980s, being
a “Cool Kid” has its price, and losing/not valuing true-blue friends is one of
the harshest costs. Jeremy’s bestie, Michael Mell, must be sacrificed in his all-consuming
make-over quest to fit in and be liked – and not be invisible..

As Michael, dynamo Kevin Corpuz shines in a major supporting
role, giving his all – it’s a heartfelt performance, easily tugging at the
emotions in not only his delivery, but in his solo number, ‘Michael in the
Bathroom.”

Irrepressible Evan Fornachon plays Rich, a jerky Big Man on
Campus who likes to bully both Jeremy and Michael, displaying a menace that
makes his ‘a-ha’ moment all the better.

Jayde Mitchell and Evan FornachonJeremy’s Dad is played with marvelously droll delivery by
Zak Farmer, depressed over his recent divorce, who wanders around in a robe,
mortifying his son, who would like to have him put on some pants. How can you
not love a composer who gives you “The Pants Song”?

Farmer also doubles as Mr. Reyes, the cynical and animated
drama teacher. He is very funny, both in appearance with an interesting platinum
wig and in line delivery.

Another standout is Grace Langford playing ditzy Christine,
who had been the object of Jeremy’s affection before the hotter, sluttier girls
made a beeline for him once he had cool street cred. Her off-the-charts exuberance
over acting in school plays is a ‘been there, done that’ bright spot,
especially “I Love Play Rehearsal” and her candid “A Guy That I’d Kinda Be Into.”

Gossip girl Jenna is all attitude in the hands of Isabel
Garcia, who plays snarky, sassy and snotty with a duplicitous beaming smile.
Laura Renfro, as shallow Chloe, and Melissa Felps, as vapid Brooke, are
mercurial marvels here, powering through their characters’ hormones, secrets and
lies with glee, quickly flipping moods. Ian McCreary also displays the viper girls’
distasteful qualities as their shameless male counterpart Jake.

The meticulous attention to detail is evident in every
creative aspect, which are all in sync to create “a moment,” providing theater
patrons with an entirely memorable experience.

The simplicity of the music, with its repetitive lyrics and
catchy hooks, is deceptive, for music director Nicolas Valdez and his ace band
– Assistant music director Marc Vincent as conductor/keyboard, Jake Heberlie on
guitar, Joseph Henricks on reeds and keyboard, Clancy Newell on percussion and
Jake Stergos on bass are extremely tight in pacing and master the score’s
intricacies.

Choreographers Michelle Sauer and Sara Rae Womack gave both
a playful bounce and a vitality to the group musical numbers.

Combined with the ensemble’s exquisite harmonies, the peppy
group numbers “Be More Chill,” “Upgrade” and “Voices in My Head” get stuck,
well, in your head. And yes,  “The
Smartphone Hour” is literal, funny and nails the cellphone phenomenon.

Scenic designer Rob Lippert’s set is a clever mix of effective
futuristic symbols and as always, his set is supremely functional. Everything
has a purpose for being there. Propmaster Kimi Short did a dandy job assembling
pieces that suit the décor and lifestyles.

Lippert, also the lighting designer, has excelled in
creating precarious teen moods and a fantasy futuristic element with his illuminating
plan. Ryan Day’s sound work is seamless.

In her wheelhouse, Porter has populated the oh-so-fun and
cringe-worthy Halloween Party with a variety of spot-on costumes, showcasing
both personality and pop culture references. Her work throughout is accurate –
and cheeky. She gets the ‘90s love.

“Be More Chill” is fresh and funny, and not in a jaded
‘we’re so clever and smart’ way, but with real heart, and that may be the most
important aspect – the emphasis on real.

 The musical, in
lyrics and book, speaks to us in a captivating way that transcends labels and
genres. It
targets our humanity. To make people feel less alone in this world is
a remarkable thing.

(There is a wall of Post-It Notes at The Marcelle indicating what people imagine as their Squip. I didn’t take marker to paper opening night, but I’ve thought about it since, and mine would be Oprah. What’s yours?)

The New Line Theatre is presenting “Be More Chill” through June 22 but is sold out for its complete run. For more information about New Line, visit www.NewLineTheatre.com

#BeMoreChillSTL

Photos by Jill Ritter Lindberg

‘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

Bright Lights: Accolades Aplenty to Heat Up Winter

Bright Lights: Accolades Aplenty to Heat Up Winter

By Lynn Venhaus Managing Editor THE BIZ IN SHOW: Congratulations to the recipients of this year’s St. Louis Arts Awards, which took place Jan. 21 at the Chase Park Plaza Royal Sonesta Hotel. Arts honorees included: Chris Hansen, executive director of the Kranzberg Arts Foundation, received Arts Innovator of the Year; Carrie Houk of the Tennessee Williams Festival, Arts Startup of the Year; Noémi and Michael Neidorff, Excellence in Philanthropy; Ken Page, Lifetime Achievement in the Arts; Brent Benjamin, Saint Louis Art Museum, Excellence in the Arts; Sue Greenberg, Volunteer Lawyers and Accountants for the Arts, Champion for the Arts; and Amy Freet, Ferguson-Florissant School District, Art Educator of the Year.

Bryan Batt and Carrie Houk at A&E Arts Awards.

Nominations are sought from the community every spring by
the Arts and Education Council, who convenes a selection panel made of past
honorees, arts patrons, artists and others to review the nominations and select
the honorees.

A&E Council has recognized more than 175 artists,
educators, philanthropists, corporate citizens and arts groups since 1992.

Bryan Batt, who starred in “Mad Men” and appeared as Edna Turnblad in “Hairspray” at The Muny, will be returning in May for the Tennessee Williams Festival, Carrie Houk said. Exciting news to come! ***DOWN-HOME DIVA:  Grammy-winning artist, world-class soprano and proud resident of Lebanon, Ill., Christine Brewer can be seen in Doug Cuomo’s opera “Doubt” on PBS.

Christine Brewer of Lebanon, Ill.

The Minnesota Opera production is airing on the “Great
Performances” program and is now available for streaming on pbs.org/gperf and
PBS apps. Check local listings for programming. PBS Local is Ch. 9 KETC
and Ch. 8 WSIU in Carbondale.
The opera is based on playwright John Patrick Shanley’s acclaimed 2005 Broadway
play, which was later adapted into an Academy Award-nominated film in 2008
starring Meryl Streep and Philip Seymour Hoffman.

The Union Avenue Opera company produced “Doubt” here in the summer of 2016, with Brewer as Sister Aloysius.

Brewer was on hand to introduce a showing and participate in a Q&A Jan. 27 at The Hettenhausen Center for the Performing Arts on the campus of her alma mater, McKendree University, in Lebanon, Ill. The opera also stars Adriana Zabala as Sister
James, Matthew Worth as Father Flynn and Denyce Graves as Mrs. Miller

 Great Performances
Executive Producer David Horn said “Doubt’ is a powerful story that has
resonated with Broadway and movie audiences alike. Minnesota Opera has brought
the story to life in an exciting new way, highlighting the company’s depth of
talent and willingness to take on the challenge of an emotionally charged new
work.”

In 1964 at a Bronx Catholic Schools, a battle of wills is ignited when Sister James shares her suspicion that Father Flynn, the progressive pastor, may be abusing the school’s only African-American student. Sister Aloysius, the school’s iron-fisted principal, embarks on a personal crusade to discover the truth. Brewer will return to the Union Avenue Opera stage this summer as the Mother Abbess in “The Sound of Music.” Performance dates are July 5, 6, 12 and 13. ***NO DAY BUT TODAY: The Fox Network has confirmed that the original Broadway cast of  the landmark musical “Rent” will be on the “Rent Live!” telecast Sunday, Jan. 27, from 7 to 10 p.m. on KTVI (ch. 2 local).

The original 1996 cast includes Tony winner Idina Menzel
who played Maureen Johnson, Tony nominee Adam Pascal as Roger Davis, Tony
nominee Daphne Rubin-Vega as Mimi Marquez, Anthony Rapp as Mark Cohen, Jesse L.
Martin as Tom Collins, Fredi Walker as Joanne Jefferson, Taye Diggs as Benny
and Wilson Jermaine Heredia in a Tony-winning turn as Angel.

Original Broadway Cast 1996The live cast will include Vanessa Hudgens as Maureen
Johnson, Brennin Hunt as Roger Davis, Tinashe as Mimi Marquez, Jordan Fisher as
Mark Cohen, Tony nominee Brandon Victor Dixon as Tom Collins, Kiersey Clemons
as Joanne Jefferson, Mario as Benny and Valentina as Angel, with Tony nominee
Keala Settle as the “Seasons of Love” soloist.

Jonathan Larson’s musical about a group of friends
surviving in New York City at the during the AIDS crisis won the 1996 Tony
Award for Best Musical and a Pulitzer Prize, among many others. A film
adaptation was released in 2005, featuring most of the original cast.

Original director Michael Greif is helming the TV version.  Producers include Julia and Al Larson, Jonathan’s
sister and father.

 ***FIT AND FAB: Conquering Mount Olympus, St. Louisan Derik Scott, 30, is the Reigning Titan after competing Jan. 24 on NBC’s “The Titan Games,” which is hosted by Dwayne “The Rock” Johnson. Scott, a lawyer and professional mixed martial-arts fighter, grew up in Jefferson and south St. Louis counties. He is a 2006 graduate of Lindbergh High School and attended Lindenwood University, where he competed on the diving team and graduated in 2009.

Derik Scott of St. Louis

He earned his law degree from Baylor University and lived
in the Dallas area, moving back to the ‘Lou in 2015. This past summer, he moved
again, taking a job as general counsel with a chain of fitness centers.

His parents, Kevin and Dana Scott, owned Scotts Gymnastics
in Crestwood. He won his first national championship at age 7.

The 10-episode athletic competition show began Jan. 3 and is
produced by the team behind “America’s Ninja Warriors.”

Jeff Wright

HEAR YE: Local singer-actor Jeffrey M. Wright will be a guest performer at the CabaretFest in Provincetown, Mass., late May/early June. More details to come.

Alexandra Kay

Local singer-actress Lexi Krekorian returns to her roots, coming in from L.A. to play on Saturday, Feb. 16, with her Alexandra Kay Band at the Silver Creek Saloon & Grill, 2520 Masscoutah Ave., in Belleville. Matt Wynn will open the show that begins at 8:30 p.m. Cover is $5.

Lexi, aka Alexandra Kay, can be seen in the original Netflix reality series, “Westside.” She is from Waterloo, Ill.

The Zombies of PenzancePhoto by Jill Ritter Lindberg

***THE SINGING DEAD: The script, full piano-vocal score and live original cast recording of ‘The Zombies of Penzance” are now available on Amazon.com.

New Line Theatre’s world premiere of this comic-horror opera adaptation of Gilbert and Sullivan’s “The Pirates of Penzance” was in October 2018, with new text by Scott Miller and music adaptation and orchestration by John Gerdes. It contains adult language and adult content.

The cast album features the entire original St. Louis cast and band, recorded in front of a live audience at the Marcelle Theater in the Grand Center Arts District, recorded and mixed by New Line sound designer Ryan Day.

The show’s writers are also
accepting requests for production rights.

New Line’s original Zombies of
Penzance cast included Sean Michael as Frederic, Melissa Felps as Mabel,
Zachary Allen Farmer as Major-General Stanley the Zombie Hunter, Dominic
Dowdy-Windsor as the Zombie King, Kent Coffel as Zombie Sam, with Mara Bollini,
Robert Doyle, Matt Hill, Lindsey Jones, Tim Kaniecki, Kyle Kelesoma, Melanie
Kozak, Sarah Porter, Christina Rios, and Kimi Short.

The Zombies of Penzance band
included Nicolas Valdez (Conductor/Piano), John Gerdes (French Horn), Lea
Gerdes (Reeds), Joseph Hendricks (Bassoon), Emily Trista Lane (Cello), Twinda
Murry (Violin), Kelly Austermann (Reeds), and Hope Walker (Reeds).

The show was directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez.***

GO SEE A PLAY POLL: Want to see “Avenue Q” at the Playhouse at Westport? We are giving away two tickets for the Thursday, Jan. 31, performance. To enter this drawing, send your name, phone number and your answer to the question on Favorite Musicals About Neighbors by noon on Tuesday, Jan. 29 to: lynnvenhaus@gmail.com All entries will be placed into a drawing, and winner will be notified that afternoon.What Is Your Favorite Musical About Neighbors?Avenue Q The Fantasticks Fiddler on the Roof In the Heights Promises, Promises Rent

Send your choice to Lynn Venhaus, lynnvenhaus@gmail.com, by Tuesday. Jan. 29, at noon.***WORD: What do you say when you receive three Oscar nominations for Best Picture, Adapted Screenplay and Best Actor for “A Star Is Born”?

Oscar nominees Lady Gaga and Bradley Cooper“Everyone who worked on this film truly risked putting themselves out there — in the hope that in doing so people will connect and feel something deep and personal — the way films have made me feel since I was a kid.  When I got this opportunity I knew I had to risk it all because I may never get another chance — so to be here today in a place where people who have seen the film are talking about how it makes them feel, something deep — that simple human thing — that we need each other — and the Academy to recognize that this morning — I just am so grateful.” – statement from Bradley Cooper***

Awards March 25

THEATER PROM: More than 100 shows were produced by 40 companies during the calendar year for consideration for the St. Louis Theater Circle Awards. Nominations for the seventh annual ceremony were announced Jan. 25.Circle members recently voted for five nominees in 34 categories each — 54 shows received nominations, presented by 23 companies, and 120 artists recognized.

I am a founding member, and published the list here. https://stllimelight.com/2019/01/25/evita-streetcar-lead-st-louis-theater-circle-nominations/

The awards will be presented on Monday, March 25, on the Browning Mainstage at the Loretto-Hilton Center on the Webster University campus, home of The Repertory Theatre of St. Louis. Admission remains $15 per person, and tickets can be purchased through www.brownpapertickets.com. Instead of a pre-show dinner, appetizers and drinks will be available from Llewellyn Catering***

Nominations for the Theatre Mask Awards (plays) and Best Performance Awards (musicals) will be announced at the 10th annual AFL Trivia Night this Friday, Feb. 1 at St. Joseph’s Parish Center in Manchester. Go to this page to sign up and for more information. The 70s theme is just for costumes (optional) and tables.http://www.artsforlife.org/trivia-night-1.htmlTRIVIA TIME-OUT: Whether you are a RENT-head or not, you must admit that “Rent” changed the cultural landscape when it opened on Broadway April 29, 1996, after being workshopped and off-Broadway. The night it was to be unveiled to the public, Jan. 25, 1996, composer-writer Jonathan Larson was found dead from an aneurysm (later diagnosed Marfan Syndrome). At the New York Theatre Workshop, the cast went on to sing-through the score for a closed audience of Jonathan’s family and friends instead.After its move to the Niederlander Theatre, it spent 12 years there and is the 11th-longest running musical of all-time. And it also pioneered the Broadway ticket lottery. Here are a few questions – test your knowledge (Answers Below):

The musical is based on what Puccini opera?Anthony Rapp, who originated the role of Mark
Cohen, went to high school with stage and screen star John Barrowman and comic
actor Andy Dick in what northern Illinois town?Four cast members were nominated for Tonys, but
who won?The cast of “Rent” performed “Seasons of Love” on the
opening day of the 1996 Democratic convention (Aug. 26). A year later,
President Bill Clinton and his wife Hillary took Chelsea to see it for her 17th
birthday.
Another Broadway legend was inspired by seeing it when he turned 17 – Lin-Manuel
Miranda. He called it a revelation.
Here is the cast of “Rent” singing at the Chicago convention: https://youtu.be/WlOWRrXqTr4

Answers: 1. “La Boheme” 2. Joliet, Ill. 3. Wilson Jermaine Heredia, who played Angel. (Adam Pascal, Daphne Rubin-Vega and Idina Menzel were also nominated.) ***

Broadway fan David Letterman

MEMORY LANE: Friend to the Broadway theater community, David Letterman’s talk show “Late Night” debuted on Feb. 1, 1982, filmed at the NBC Studios in Rockefeller Center.

He moved to CBS on Aug. 30, 1993, broadcasting “Late Show” from the historic Ed Sullivan Theatre in mid-town Manhattan, in the heart of the Broadway theater district, and retired May 20, 2015. With his 33 year-tenure, he became the longest running talk show host ever.

Known for often presenting new musicals in thrilling live
performances, that mantel has moved to his successor, Stephen Colbert’s show in
the Ed Sullivan Theatre, and also Seth Meyer’s late-night show on NBC.
Letterman also involved local theaters and performers in comedy bits, and Broadway
stars were frequent guests.

When Letterman retired, Playbill published an article “Letterman Loves Broadway!” and included clips of some show performances, including “American Idiot,” “Catch Me If You Can,” “Nice Work if You Can Get It,” Spring Awakening,” “Jersey Boys,” “Lion King,” “Wicked,” “Million Dollar Quartet,” “The Producers,” “Spider-Man,” and “Young Frankenstein,” with revivals of  “Anything Goes,” “Cabaret,” “Hair,” “West Side Story,” “South Pacific” and “How to Succeed.”

Here is the article link with the video clips. “Matilda,” “Pippin” and “Rocky” have been removed, but all the mentions above are still there.

http://www.playbill.com/article/letterman-loves-broadway-see-more-than-two-dozen-thrilling-musical-performances-from-the-late-show-video-com-349539

New Line Brings Back John Waters’ “Cry-Baby” to Open 29th Season

New Line Brings Back John Waters’ “Cry-Baby” to Open 29th Season

New Line Theatre, “the bad boy of musical theatre,” has announced that one of the most popular shows in the company’s long history is returning — the outrageous rock musical “Cry-Baby,” based on the iconic John Waters film, a wild and wacky fable about class, justice, and rock and roll, featuring classic songs like “Girl, Can I Kiss You With Tongue?”, “The Anti-Polio Picnic,” “Screw Loose,” “Baby, Baby, Baby, Baby (Baby, Baby),” “I’m Infected,” and many more.

The show will run Sept. 26-Oct. 19 at the Marcelle Theater in the Grand Center Arts District,  to open New Line’s 29th season. The other two shows in the season have not been announced.

It’s 1954. Everyone likes Ike, nobody likes communism, and Wade “Cry-Baby” Walker is the coolest boy in Baltimore. He’s the 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, and at the center of this world are the star-crossed lovers, Cry-Baby and the square rich girl Allison, the 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 1950s America, Baldwin as 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. Director Scott Miller says, “After a disastrous original run on Broadway, we proved that this razor sharp, wickedly funny show is so much better than people thought. The authors commissioned new orchestrations just for New Line, and we brought the show back to life. Now, productions are happening around the country, which is so wonderful.”

The critics were unanimous in their praise for New Line’s American regional premiere of “Cry-Baby” in 2012. Judith Newmark wrote in the St. Louis Post-Dispatch, “If you just want to have a great time, then pick up tickets for New Lilne’s latest giddy extravaganza, Cry-Baby. You’ll laugh too hard to catch all the hilarious lyrics.” Mark Bretz wrote in The Ladue News, “A glorious and infectious American regional premiere by New Line Theatre. Under Miller’s devoted and painstaking direction, this Cry-Baby rocks the room with an effervescent energy, exploding across the stage.” Richard Green wrote for BroadwayWorld, “I couldn’t stop smiling and laughing through this stage-musical version of John Waters’ film, though I have to admit I never really tried. From the opening chords, which (of course) sound like some 1950s movie about teen rebels, we know we’re in for a counter-cultural extravaganza.” Chris Gibson at BroadwayWorld wrote, “At times, it’s like watching a throwdown between Little Richard and Pat Boone over who really sings ‘Good Golly, Miss Molly’ the best. This is a rockin’ good show! Go see Cry-Baby and enjoy!”

Open auditions will be held in June. Details will be posted to the New Line website.

Season tickets will go on sale in May. The season will include two more shows which will be announced soon.

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. The company 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 86 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.

New Line is very proud to announce that season tickets sales for the 2018-2019 season skyrocketed, a massive 258% increase over last season! New Line’s 28th season also includes “La Cage aux Folles” in March, and the St. Louis premiere of the new rock musical “Be More Chill” in June.

For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change.

Bring ‘The Zombies of Penzance’ Home for the Holidays

Bring ‘The Zombies of Penzance’ Home for the Holidays

In October, New Line Theatre premiered Gilbert & Sullivan’s comic horror operetta The Zombies of Penzance, and so many of our patrons asked if they could get a copy of the script or music.
NOW YOU CAN!
Both the script and the full piano-vocal score for The Zombies of Penzance are now available on Amazon.com. And soon (possibly before the end of the year), a live cast recording will be available as well, both on CD and streaming services!
You knew those zombies couldn’t stay dead!
Also, Scott Miller and John Gerdes, who created The Zombies of Penzance, are licensing the show for further productions, and inquiries have come in from companies across the country, including two Gilbert & Sullivan societies!
You can read more about The Zombies of Penzance, its (totally not true) backstory, and its incredible reception, here.
You can check out the Zombies of Penzance script here.
You can check out the Zombies of Penzance piano-vocal score here.

And if you’re a longtime New Line fan, you might also be interested in The Poster Art of New Line Theatre, a very cool book book of all our posters over the last 28 years, also available on Amazon.
And the 1995 original cast album of New Line’s world premiere vampire musical In the Blood, is now available on CD for the first time, and streaming soon, on Amazon, along with  the show’sscript and vocal selections.
AMAZON SMILE
And just a reminder, when you shop at Amazon, go to smile.Amazon.com instead (and bookmark it) — it’ll ask you to choose a charity (you’ll choose New Line Theatre), and then whatever you buy on the site will kick back a small donation to New Line! It really adds up!
And check out the many books and other musical theatre material by artistic director Scott Miller on his Amazon Author Page.
UPCOMING SHOWS
The New Line season continues in March with an all-new, intimate take on the classic La Cage aux Folles, and the season closes in June with the hot new rock musical Be More Chill, based on the bestselling novel, which opens on Broadway in March. And we’re close to announcing a really exciting 2019-2020 season!
Read more about La Cage aux Folles here.
Read more about Be More Chill here.
ABOUT NEW LINE THEATRE
New Line Theatre, “the bad boy of musical 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 86 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.
For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change.
 
 

Living Dead Enliven a New Line Original – ‘The Zombies of Penzance’

Living Dead Enliven a New Line Original – ‘The Zombies of Penzance’

By Lynn Venhaus
Managing Editor
Science Fiction, meet Musical Comedy, New Line Theatre-style, with a touch of Midnight Movie Madness.
Artistic Director Scott Miller co-directs musicals with Mike Dowdy-Windsor, and has certainly proven over the years that he beats to a different drummer. Hence, this calling card — an original and clever “The Zombies of Penzance,” where he makes the walking dead kick in a chorus line and put moves on sheltered single ladies.
These silly components make this quirky world premiere a dip into Monty Python territory. Miller has substituted singing and dancing zombies for musical comedy pirate characters, using the same structure of Gilbert and Sullivan’s famous comic opera, which makes it funnier. It may be one-joke, but it’s laugh-out-loud fun.

Turns out zombies have personalities in sync with pirates! Stranger things have happened, so just go with it, and enjoy the playful spirit. I mean, songs have titles like “Eat Their Flesh,” “Poor Walking Dead,” and “Hail, Zombies!” We can’t be serious, no matter how straight the characters play their predicaments.
The 1879 comic opera “The Pirates of Penzance,” by the British team of librettist W.S. Gilbert and composer Arthur Sullivan, was given new life in a Joseph Papp 1981 revival that won Kevin Kline the Tony as the swashbuckling Pirate King. It spawned many imitations and parodies, and a 1983 feature film. Here, you think of both those cartoonish roles and the roaming zombies that rule movie and TV screens, particularly this time of year.
The flimsy 19th century plot should be played for laughs – Frederic, 21, is released from his apprenticeship from tender-hearted pirates, but a technicality – he is a Leap Day baby — means he must serve another 63 years, but his true-love Mabel agrees to wait. We’re not talking “The Great Gatsby” level tragic romance.
Now, New Line has rewired the “Slave of Duty” to be a fresh zombie! Frederic is a new flesh eater, a pawn in the other zombie maneuvers as they aim their mark on Major-General Stanley and his nubile brood.
Let the wackiness ensue with Miller’s smart book and quick-witted lyrics, using Gilbert’s template. Listen carefully for laugh-out-loud humor, utilizing contemporary snarkiness.
St. Louis composer and orchestrator John Gerdes reconstructed Sullivan’s music, and it’s a mighty fine re-working. In music director Nicolas Valdez’s capable hands, he conducts a snazzy nine-piece band, including Gerdes on French horn, Lea Gerdes on reeds, Joseph Hendricks on bassoon, Emily Trista Lane on cello, Twinda Murry on violin and Kely Austermann/Hope Walker on reeds. Valdez is on keyboards. Their efforts are exquisite – love those strings!
Dowdy-Windsor, an oft-nominated director with Miller for St. Louis Theater Circle Awards (and winner for “Bonnie & Clyde”), also has a keen eye and sharp attention to detail.
The pair has moved the cast around – you hear the flesh-eaters before the heavily made-up zombies shamble through the audience to the Stanley home. Yet, this is not intended to be slick staging, but a motley crew invasion with a rag-tag feel.
Those dastardly decaying dudes have their eyes on Stanley’s bevy of beauties. However, Major-General Stanley, who professes to be a zombie, is actually a great zombie hunter.
Zak Farmer is as sharp as ever as the fearless father, but what stands out is his impeccable delivery of the difficult songs, particularly the often parodied “Major-General’s Song,” which is now “Modern Era Zombie Killer,” and “When the World Went Bad.” His impressive performance indicates how deceptively hard farcical fun is.
The charade will be up soon enough, but in the meantime, romantic entanglements are on the minds of those frisky young ones, who wish they were not at a disadvantage.
Dominic Dowdy-WindsorWith his strong voice, Dominic Dowdy-Windsor delivers superb vocals as the Zombie King, including the solo “Oh Better Far, to Live as Dead,” and his many duets and company numbers. Given the confines of the part, he can’t swashbuckle like the role model Pirate King, and I wish he could have more swagger.
Sean Michael and Melissa FelpsSean Michael, as the dullard Frederic, and Melissa Felps, as a rather colorless Mabel, are saddled with a drippy romance that’s the show’s centerpiece. Voices are fine and so is their earnestness, but those roles remain insipid. Their lack of chemistry doesn’t help either. (The 1981 revival starred Rex Smith and Linda Ronstadt).
So, the supporting cast’s efforts enliven the puffy piece.
The ladies play the giggly girly magnets up to a point, then reveal they’re no helpless ingenues. That’s a nice twist.
With Lindsay Jones as Kate, Christina Rios as Edith, Kimi Short as Isabel and Mara Bollini, Melanie Kozak and Sarah Porter as other daughters, you knew they weren’t going to be powder puffs, but amp up their grrrl power. Armed already with gorgeous voices, they are demure to a point, but then turn into warrior princesses.
Kent Coffel goes all in as Zombie Sam, playing everything for laughs – and he’s a delight. Other goofy zombies Robert Doyle, Matt Hill, Tim Kaniecki and Kyle Kelesoma physically turn into animated creatures.
Scenic designer Rob Lippert paid homage to George A. Romero, director of the 1968 cult classic, “The Night of the Living Dead,” the granddaddy of zombie lore,  in his ornate home interior, a cool touch. The set has the period look, but also a show within a show accents.
Costume designer Sarah Porter has outfitted everyone in appropriate garb for the tonal shifts — the frilly feminine dresses and petticoats for the girls and the natty Zombie attire for the guys. Kenneth Zinkl’s lighting design emphasizes the bewitching tone while Ryan Day’s sound work makes all those fast-paced lyrics easily understood.
These zombies might not terrify, after all, but they certainly provide a fun, frothy look in a lighter vein — at both vintage opera and the horror archetypes who proliferate this time of year. Barbara, they are coming — only armed with songs, dances and feelings.
One can’t resist the pull of brainy and talented people who set out for a road not taken before.
“The Zombies of Penzance” is presented by New Line Theatre Sept. 27 – Oct. 20, Thursdays through Saturdays at 8 p.m. at The Marcelle Theater, 3310 Samuel Shepard Drive in Grand Arts Center. For more information, visit newlinetheatre.com and for tickets, call 314-534-1111 or go to MetroTix.com
Photos by Jill Ritter Lindberg
 

New Line Theatre’s Scott Miller Publishes Book on 14 Oddball Musicals

New Line Theatre’s Scott Miller Publishes Book on 14 Oddball Musicals

New Line Theatre is proud to announce that artistic director Scott Miller has published another collection of essays, “LITERALLY ANYTHING GOES: 14 ODDBALL MUSICALS AND WHAT MAKES THEM TICK.” Miller’s fifth book of deep-dive musical theatre exploration is a surprising and entertaining journey into more than a dozen quirky but fascinating musicals, some famous, some less so.
The shows surveyed literally span the history of the art form, and New Line has produced them all — “The Threepenny Opera,” “Anything Goes,” “The Nervous Set,” “The Fantasticks,” “Zorba,” “Two Gentlemen of Verona,” “The Robber Bridegroom,” “Evita,” “Return to the Forbidden Planet,” “Kiss of the Spider Woman,” “A New Brain,” “Reefer Madness,” “Bukowsical”, and “Love Kills” — proving that there have always been oddball musicals and oddball musical theatre writers eager to crash through the existing conventions to something new and different. Times haven’t changed as much as we think.
And if you think some of these shows don’t seem all that oddball to you, see if you feel the same way after you read the book. As Miller puts it, “Anything Goes is the old-fashioned family classic that really isn’t any of those things;” and “The Fantasticks is a deceptively complex, Beat-inspired, jazz fable.”
Miller’s other analysis collections include From Assassins to West Side Story, 1996, now in its 8th printing (covering Assassins, Cabaret, Carousel, Company, Godspell, Gypsy, How to Succeed in Business Without Really Trying, Into the Woods, Jesus Christ Superstar, Les Misérables, Man of La Mancha, Merrily We Roll Along, My Fair Lady, Pippin, Sweeney Todd, and West Side Story);Deconstructing Harold Hill, 1999, (covering Ragtime, Camelot, Chicago, Passion, The Music Man, March of the Falsettos, Sunday in the Park with George, and The King and I); Rebels with Applause, 2001, (covering Hair, Rent, Oklahoma!, Pal Joey, Anyone Can Whistle, Floyd Collins, Jacques Brel, The Cradle Will Rock, Songs for a New World, and The Ballad of Little Mikey); andSex, Drugs, Rock & Roll, and Musicals, 2011, (covering The Wild Party, Grease, Hair, Jesus Christ Superstar, The Rocky Horror Show, The Best Little Whorehouse in Texas, I Love My Wife, Bat Boy, Hedwig and the Angry Inch, and High Fidelity).
Scott Miller is a musical theatre composer, lyricist, bookwriter, historian, consultant, fanboy, and the founder and artistic director of New Line Theatre in St. Louis. He has written nine musicals, two plays, and seven books about musical theatre. For fifteen years, he co-hosted the radio show Break a Leg: Theatre in St. Louis and Beyond on KDHX, and now he hosts the theatre podcast Stage Grok, available on iTunes and at StageGrok.com.
The cover art for Literally Anything Goes was designed by St. Louis artist Matt Reedy.
Miller has also recently put together a novelty book of 400 questions about the musical theatre, to test your knowledge, your opinions, and your insights into our art form. The book is called It’s a Musical! 400 Questions to Ponder, Discuss, and Fight About, and it’s addictive. It’s the perfect gift for the musical theatre obsessive who has everything. His other books include Strike Up the Band: A New History of Musical Theatre, and Let the Sun Shine In: The Genius of Hair.
AMAZON SMILE
And just a reminder, when you shop at Amazon, go to smile.amazon.com instead (and bookmark it) — it’ll ask you to choose a charity (you’ll choose New Line Theatre), and then whatever you buy on the site will kick back a small donation to New Line! It really adds up!
ABOUT NEW LINE THEATRE
New Line Theatre, “the bad boy of musical 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 85 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.
The 2018-2019 season includes the world premiere of The Zombies of Penzance in October, the classic La Cage aux Folles in March, and the new rock musical Be More Chill, based on the bestselling novel, next June.
Read more about The Zombies of Penzance here.
Read more about La Cage aux Folles here.
Read more about Be More Chill here.
For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change.