Celebration (2016)

words by Tom Jones
music by Harvey Schmidt
Sept. 29-Oct. 22, 2016
Marcelle Theater
http://www.newlinetheatre.com/celebrationpage.html

THE CAST
Potemkin – Kent Coffel
Orphan – Sean Michael
Angel – Larissa White
William Rosebud Rich – Zachary Allen Farmer
Revelers – Colin Dowd, Sarah Dowling, Christopher Lee, Todd Micali, Nellie Mitchell, Michelle Sauer, Kimi Short

THE NEW LINE BAND
Conductor/Piano – Sarah Nelson
Guitar – D. Mike Bauer
Keyboard 2 – Sue Goldford
Percussion – Clancy Newell
Bass – Jake Stergos

THE ARTISTIC STAFF
Directors – Scott Miller, Mike Dowdy
Music Director – Sarah Nelson
Choreographer – Michelle Sauer
Stage Manager/Lighting Technician – Brendan O’Brien
Scenic Designer – Rob Lippert
Costume Designer – Sarah Porter
Sound Designer – Benjamin Rosemann
Lighting Designer – Kenneth Zinkl
Props Master – Mike Dowdy-Windsor
Scenic Artists – Patrick Donnigan, Richard Brown,
Melanie Kozak, Paul Troyke, Kate Wilkerson
Box Office Manager – Jason Klefisch
Volunteer Coordinator – Alison Helmer
Graphic Designer – Matt Reedy
Videographer – Kyle Jeffery Studios
Photographer – Jill Ritter Lindberg

REVIEWS
“A sort of deconstruction and laying bare of the elements that make life so fantastic and worth living. New Line Theatre, in its visual and titillating production of Celebration, embraces the conceit with skill and fluidity. . . All the details fit together well and the effect is marvelous, creating the atmosphere of an exclusive party at a decadently fading disco. . . The songs are showy and catchy and the dialogue witty, allowing lead actors Larissa White, Zachary Allen Farmer, Sean Michael and Kent Coffel to shine. A little quirky and weird, Celebration is a delightfully provocative musical gem filled with intentional pomp and theatrical circumstance.” – Tina Farmer, KDHX

“I’m so glad New Line Theatre opened their 26th season with this fanciful and tune-filled musical. Through their superlative efforts we’re able to see the premiere of a version that’s been revised by Tom Jones. I’m not sure what was changed, but what we’re privy to is a very engaging and entertaining production that will make you wonder why it isn’t performed with more regularity. The score itself is gorgeous, and I cannot recommend this neglected gem highly enough. . . a genuinely fun experience. . . With a truly memorable score and many amusing moments, one wonders why this musical isn’t more well known and successful. That’s why I urge you to check out New Line Theatre’s wonderful production of Celebration.” – Chris Gibson, BroadwayWorld

“Co-directors Scott Miller and Mike Dowdy-Windsor have assembled an amazing cast to add polish and luster to Tom Jones’ and Harvey Schmidt’s musical. But they’ve also resurrected the forgotten style of a more beautiful time in this delightful piece. Aging hippies take note, your heart will find a home in Celebration. . . Part fable, part love triangle, and part 1960s hippie/Brechtian/Fantasticks-style love-in, this seldom-seen show succeeds brilliantly thanks to its post-Vietnam urgency, its post-Civil Rights egalitarianism, and perhaps even a soupçon of pre-Watergate naiveté—along with excellent leads and the sheer wit and exuberance of the whole ensemble.” – Richard Green, TalkinBroadway

“In a world full of remakes, rip-offs and rehashes, it’s nice to know that there are still surprises. . . New Line Theatre has proven time and again that what stumbles on the big stage can spring into life in a black box theater. Under the direction of Scott Miller and Mike Dowdy-Windsor, New Line’s current staging of Celebration is a mystical journey that brings rebirth and rejuvenation.” – Paul Friswold, The Riverfront Times

“New Line Theatre’s world premiere of the revised Celebration features fantastic performances. . . This is a show that is a bit shocking, very funny and ultimately speaks volumes about the human condition. . . Once again, Scott Miller’s cast is top-notch. . . I’m extremely excited and honored to have been among the first few people in the world to see his revised version. I wouldn’t want to see it done any other way.” – Jeff Ritter, Critical Blast

“The rediscovery of neglected work is one of New Line’s strengths, and this jazzy life-cycle fable has a lot to recommend it. . . .Co-directors Scott Miller and Mike Dowdy-Windsor make everything sing with the winsome, alluring voice that we’ve known and loved since The Fantasticks debuted in 1960.”“ – Judith Newmark, St. Louis Post-Dispatch

“Brisk and lightweight in appearance but abetted by universal themes of hope and beauty, age and death, Celebration is an intriguing musical written by the creators of The Fantasticks, which it strongly resembles in style and execution. The two-act story, first performed in 1969 and recently revised by bookwriter Tom Jones for New Line Theatre, is breezily performed by New Line’s cast within the cozy confines of the company’s Marcelle Theater under the watchful direction of Scott Miller and Mike Dowdy-Windsor. . . It’s rarely performed by professional companies in America, so do yourself a favor and make a resolution to experience the seasons of Celebration at the Marcelle Theater while there’s still time.” – Mark Bretz, Ladue News

“Being an allegory, it’s a plot that must be experienced to be appreciated. Add the bouncy, cynical, often jazzy score and you’ve got the makings of yet another musical that fits perfectly into the black box of the Marcelle that is the home to New Line. . . Sarah Nelson leads a strong band which brings out the clever and exciting score. Scott Miller and Mike Dowdy-Windsor co direct and set the mysterious and sometimes eerie feel of the story beautifully to stage.” – Steve Allen, Stagedoor St. Louis

“New Line Theatre is the first to premiere this revised version. Under the lively direction of Scott Miller and Mike Dowdy-Windsor, the intimate black box space at the Marcelle seems like a marvelous fit.” – Andrea Torrence, St. Louis Theatre Snob

“Under the innovative co-direction of Scott Miller and Mike Dowdy-Windsor, this restless relic gets a new dawn, and a swell cast seizes the day, strange as it may seem. . . Music Director Sarah Nelson crisply leads four other superb musicians in Schmidt’s unmistakable compositions. . . While the show was created in turbulent times, pleading for a sliver of hope to emerge, its message — to survive in a very cold, cruel world is tough, but the noble choice, no matter how hard the struggle — remains timeless.” – Lynn Venhaus, Belleville News Democrat

“The theme and mood of the production is stylishly presented, lending much to the overall entertainment value of the production and augmenting the performances of the excellent cast. Celebration is an entertaining production inventively staged. It’s not for everyone, as like almost all of New Line’s shows, this is for mature audiences. For the most part, Celebration is a witty, energetic, and extremely well-cast show that’s well worth checking out.” – Michelle Kenyon, Snoop’s Theatre Thoughts

DIRECTOR'S NOTES
Celebration is an experiment. It’s a primal ritual drama about Inanna, the Sumerian goddess of fertility, love, sex, and wisdom, re-enacting the ritual of the hieros gamos, or Sacred Marriage, which takes place during the New Year Festival, symbolizing the union of the goddess Inanna/ Ishtar and her lover Dumuzi.

Doesn't that sound like a great idea for a musical comedy?

All theatre is ritualistic in some way, but Celebration isn't just a modern descendant of ritual; it is actually ritual itself.

Bookwriter-lyricist Tom Jones wrote in the introduction to the 1973 published script, “Celebration is different. It is a fable. It has ritual overtones. It is based upon ancient ceremonies depicting the battle between Winter and Summer. It was suggested by an editorial in the New York Times about the meaning of the Winter Solstice. It annoyed the hell out of some people. It delighted others. It ran for only 109 performances on Broadway. But it is done often around the country and the world. And it has been phenomenally successful in Scandinavia (where the Winter Solstice is something to be reckoned with).”

There is no subplot here, no secondary couple, no eleven o'clock number. No, our four leads are the four seasons. This isn't just a story about nature; this is a story of nature. This isn't a story about the passing of time; this is the story of time. There is no Fourth Wall. And our stage is infinite. Which means the audience's imaginations do much of the work.

This really isn't like any other musical you've ever seen. (I find that's true of a lot of the shows New Line produces.) This is ritual disguised as linear narrative. This is a storytelling experiment. The “story” here is just the changing of the seasons and the calendar, and the climax is literally the clock striking twelve on New Year's Eve.

At the end of his intro to the published script, Jones wrote, “We did Celebration first at our Portfolio Studio. It felt good there. It belonged. When we moved it into the Ambassador Theatre on Broadway, it didn't feel as good. It seemed somewhat silly up there, not because it was less effective than a Broadway musical, but because it wasn't a Broadway musical. Who knows? Perhaps we will do it again someday. With revisions. And in a proper place.”

Tom Jones has given New Line Theatre the honor of premiering his revised Celebration, right here in St. Louis in our beautiful blackbox theatre. A proper place, indeed.

Tell Me on a Sunday (2016)

book and lyrics by Don Black
music by Andrew Lloyd Webber
August 11-27, 2016
Marcelle Theater
http://www.newlinetheatre.com/tellmepage.html

THE CAST
Emma – Sarah Porter

THE NEW LINE BAND
Conductor/Piano – Nate Jackson
Cello – Eric Bateman
Percussion – Clancy Newell
Reeds – Harrison Rich
Bass – Jake Stergos

THE ARTISTIC STAFF
Director – Mike Dowdy-Windsor
Directing Intern – Daniel Washelesky
Music Director – Nate Jackson
Stage Manager/Lighting Technician – Michael Juncal
Scenic & Lighting Designer – Rob Lippert
Costume Designer – Sarah Porter
Sound Designer – Benjamin Rosemann
Props Master – Kimi Short
Dialect Coach – Laurie McConnell
Scenic Artists – Patrick Donnigan, Gary Karasek,
Melanie Kozak, Kate Wilkerson
Box Office Manager – Kimi Short
Volunteer Coordinator – Alison Helmer
Graphic Designer – Matt Reedy
Videographer – Kyle Jeffery Studios
Photographer – Jill Ritter Lindberg

REVIEWS
“New Line's Tell Me on a Sunday is surprisingly moving. . . as intimate as a handwritten letter, and as welcome, too. It's a surprising change of pace for the man who ambushed the world with the monstrous Starlight Express. Of course it's no surprise that New Line Theatre's season-closing production of the show wrings so much joy from Tell Me on a Sunday; the company has a way with musicals . . . a lovely little show that celebrates our human need for love. It's an undeniable winner...” – Paul Friswold, The Riverfront Times

“This newest production's director, Mike Dowdy-Windsor (who's made this show deeply personal and witty and strangely enlightening), says this batch of songs, united by a single, complex character, is what Sir Andrew calls 'the definitive version.' The well-known composer is probably right: Sarah Porter has four or five necessary costume changes, and about as many (unseen) lovers through the roughly 70 minute musical. But what makes it definitive is that it's all so psychologically clear and enthralling, full of twists and turns and self-deceptions that we laugh at how deep it all goes, into Emma's dreams, and (often) into her scorn as well. It's like Sex and The City, without the sex; or Bridget Jones' Diary, with more than twice as many lovers. And in lieu of sex (and in lieu of Hugh Grant or Colin Firth), we get a boatload of great songs that take us on one stirring emotional journey after another, thanks to Ms. Porter's searching soul. It's a very fair trade.” – Richard Green, TalkinBroadway

“I was thoroughly enthralled and impressed by the production. The performance, transitions, and direction ensure the show is an absolute delight while establishing Sarah Porter as a rising star in St. Louis theater. . . Porter expertly handles the vocals and, under the direction of Mike Dowdy-Windsor, deftly navigates the emotional context of the story. . . What captivated and mesmerized me was Porter's remarkable performance, and for that I could watch the show again and again.” – Tina Farmer, KDHX

“This production by New Line Theatre is probably the closest you'll find to its original vision. . . it radiates perfection under Mike Dowdy-Windsor's direction, and in the process, provides actress Sarah Porter with an excellent vehicle to showcase her exceptional talents. . . a one person show would seem to be a rather daunting task for any performer to undertake. But Porter has the chops and the seasoning to completely personify Emma, making her character fully realized, and giving incredible voice to the beautiful score that flows constantly through the show. There are some truly special tunes among Webber and Black's compositions, and Porter completely inhabits each and every one of them, making us laugh at times, but more often, touching our hearts in a deeply personal way. . . I recommend that you see it as soon as possible. It's a real treat!” – Chris Gibson, BroadwayWorld

"Heartaches and hope are the recurrent themes of the Andrew Lloyd Webber one-act musical, Tell Me On a Sunday, which has been ferociously tackled by New Line Theatre. . . A feisty Sarah Porter, who has brought a number of independent, willful and lively women characters to vivid life for New Line, fearlessly seizes the intimate stage at The Marcelle Theatre, grabbing our hearts as she commands our attention for a 23-song cycle without an intermission. . . Porter gives a virtuoso performance, a marathon of mettle — a testament to her talent but also her ability to courageously show us every facet of this ordinary woman. . . This show is a stripped down, change of pace for New Line, and appealing summer fare to close their vibrant 25th anniversary season.” – Lynn Venhaus, Belleville News-Democrat

“New Line Theatre’s local premiere of this one-act is an enjoyable and entertaining evening thanks to the sweet, clear voice and animated expressions of Sarah Porter as Emma. Furthermore, she’s given substantial support by the muscular musical accompaniment of the New Line Band under Nate Jackson’s disciplined musical direction. . . The tunes range from thoughtful ballads to spirited, body-swaying numbers which demonstrate Webber’s considerable musical range, while Black’s easy-going lyrics prove a wise match for the infectious melodies. . . a touching presentation of one young woman’s search for fulfillment in an often indifferent and complicated world...” – Mark Bretz, Ladue News

“Sarah Porter is pure magic . . . Gifted with beautiful eyes that capture your attention and a smoky voice that can crack wise one moment and make your lower lip quiver with deep emotion the next, Sarah is the perfect choice to play Emma as she owns the stage and the audience’s attention for a little over an hour with no intermission. . . a brisk but brilliant experience that cements Sarah Porter as a hometown star . . . I’m telling you right now to plan to see New Line Theatre’s production of Andrew Lloyd Webber’s Tell Me on a Sunday as soon as possible.” – Jeff Ritter, Critical Blast

“The show is not about incidents. It’s about feelings. Which Sarah Porter embodies with total conviction. She and her director Mike Dowdy-Windsor have thoroughly explored Emma’s psyche, and they bring an abundance of drama and variety to the piece, along with vivid characterization and lively movement. Porter pleases eyes with her costumes and ears with her singing.” – Gerry Kowarsky, Two on the Aisle

“Sarah Porter shines in Tell Me on a Sunday . . . As a member of the New Line Theatre ensemble, Porter has shown plenty of range in role after role, season after season. . . But she takes on her biggest challenge in New Line’s latest production. . . She meets that challenge with aplomb — and charm to spare.” – Judith Newmark, St. Louis Post-Dispatch

“Sarah Porter nails it, kills it and every other theatrical cliche you can think of with a stellar breakout performance. . . Sarah Porter not only sings the role with perfection, her acting is superb and she maintains that British accent throughout in a show that’s completely sung. Facial expressions, body language and the range of disappointment, hope and joy in her voice make for a character and a show that you can’t help but fall in love with. What a stunning performance.” – Steve Allen, Stage Door St. Louis

“Porter certainly does shine. It’s a remarkable performance, played out with an impressively believable English accent, as well. . . This is a show that could easily come across as more of a concert than a play, but thanks to the clever, dynamic staging of director Mike Dowdy-Windsor and Porter’s superb performance, that doesn’t happen here. This is a fully staged, fascinating story, centered around a complex character who is learning about herself as she learns about her world and her relationships. There’s a lot to talk and think about, as well as some real humor and drama.” – Michelle Kenyon, Snoop’s Theatre Thoughts

Atomic (2016)

book and lyrics by Danny Ginges
music and lyrics by Philip Foxman
Orchestrations by Andy Peterson
June 2-25, 2016
Marcelle Theater
http://www.newlinetheatre.com/atomicpage.html

THE CAST
Leo Szilard – Zachary Allen Farmer
Trude Weiss – Ann Hier
Enrico Fermi – Reynaldo Arceno
Arthur Compton – Ryan Scott Foizey
Edward Teller / General Groves – Sean Michael
Physicist / Bartender / Factory Girl – Victoria Valentine
Leona Woods – Larissa White
J. Robert Oppenheimer / Paul Tibbets – Jeffrey M. Wright

THE NEW LINE BAND
Conductor/Piano – Jeffrey Richard Carter
Guitar – D. Mike Bauer
Guitar/Keyboard – Adam Rugo
Cello – Eric Bateman
Bass – Jake Stergos
Violin – Twinda Murry
Percussion – Clancy Newell

THE ARTISTIC STAFF
Directors – Scott Miller, Mike Dowdy
Music Director – Jeffrey Richard Carter
Stage Manager/Lighting Technician – Michael Juncal
Scenic & Lighting Designer – Rob Lippert
Costume Designer – Sarah Porter
Sound Designer – Benjamin Rosemann
Props Master – Kimi Short
Scenic Artists – Patrick Donnigan, Gary Karasek,
Melanie Kozak, Kate Wilkerson
Nuclear Physics Consultant – Kathleen Dwyer
Box Office Manager – Kimi Short
Volunteer Coordinator – Alison Helmer
Graphic Designer – Matt Reedy
Videographer – Kyle Jeffery Studios
Photographer – Jill Ritter Lindberg

REVIEWS
“New Line Theatre’s Atomic is thrilling. . . It is a complex story that presents multiple viewpoints on the purpose of applied science, the ethics of war, the depths of the human conscience and the dangers of bureaucracy. That’s a heavy load for a musical to carry, but New Line Theatre’s current production of the show makes it look effortless. . . What could be a play bogged down in conceptual arguments is instead a very human story about our best and worst tendencies as a species. Ambition, curiosity and altruism jostle with overweening pride, blind obedience and vengeance.” – Paul Friswold, The Riverfront Times

“Full of surprisingly humor and heart, this is great theatre, and I could tell from the discussions that happened during intermission, one that will surely provoke a lot of lively debate. It’s essentially must-see entertainment that will have you pondering many of its myriad of aspects and points of view long after the lights have dimmed. . . It’s the thoughtful and touching book and lyrics by Danny Ginges and music and lyrics of Philip Foxman that will really grab you. And, also the performances of a splendid cast. . . Atomic is an artistic triumph! New Line Theatre has succeeded in putting together a production that does this piece the justice it deserves. There’s warmth, humor, tension, and pathos to be found here, and it’s all been done with precision and care.” – Chris Gibson, BroadwayWorld

Atomic is a musical blast with persuasive power. . . A fascinating, riveting examination of the moral quandaries faced by a group of brilliant scientists whose pursuit of knowledge had terrifying consequences. . . A musical score that fuses driving rock with pop melodies and well-placed ballads makes Atomic a sobering, compelling and engrossing story that blends facts with philosophy and morality in a reflective and intriguing way. . . this revised version of Atomic is gripping, gritty stuff...” – Mark Bretz, Ladue News

“History comes to life with a strong cast and an intriguing script in New Line Theatre’s production of Atomic, a musical account of the Manhattan Project. . . Atomic is a strong production and audiences who appreciate theater’s ability to spur conversation may particularly enjoy this thought-provoking show.” – Tina Farmer, KDHX

“A long forgotten but important historical figure gets his due in the zealous rock musical Atomic, which bursts with passionate performances, an expressive score and combustible conversations. New Line Theatre’s smart production features a synergetic ensemble fully committed to telling this complex, fascinating story about Leo Szilard. We Americans should know of him, but unfortunately many of us don’t. Call this thoughtful, accessible work by Australian book writer/lyricist Danny Ginges and composer Philip Foxman a noble public service and a surprising, welcome eye-opener. . . Atomic is a highly dramatic equation that adds up to an insightful and reflective show, allowing New Line to reveal another facet of its range, this time focusing on science while projecting a very powerful, bigger picture.” – Lynn Venhaus, Belleville News Democrat

“If you think the theatre season in St. Louis is pretty much over when spring rolls around, think again. Atomic is ‘the bomb’ and well worth checking out. . . This cast is, quite frankly, ridiculously talented. I’d be happy to watch a production with any one of these fine actors, but all eight at once is a must-see event. . . Towards the end of the first act, the crowd started cheering and whistling after each song...” – Jeff Ritter, Critical Blast

“It’s the most cerebral rock musical New Line has ever staged. It might be the most cerebral rock musical ever written. That’s a compliment to the show, its performers and its directors, Scott Miller and Mike Dowdy. . . Atomic is a dark play, in keeping with its subject matter. But when the Enola Gay reaches Hiroshima, lights seem to explode above and all around us. That’s the darkest moment of all.” – Judith Newmark, St. Louis Post-Dispatch

“You really have to give credit to the authors on one major point: they bring clarity and thoughtfulness to the complex problems of making the bomb, the terrible pressures to complete the task, and the social issues raised by all of this. Even in act one, great moments emerge again and again. . . There’s really no shortage of compelling performances, but each of their greatest moments come when they’re reduced to utter simplicity, in grief or ponderous shame, or in the wake of betrayal. . .Here, science is the language of the future, holding out the promise of the endless power of the atom. But these scientists will only be listened to when the talk turns to mass-murder. In New Line’s staging, it’s a time of impossible dreams and impossible choices.” – Richard Green, TalkinBroadway

“Directors Scott Miller and Mike Dowdy have energized the story by casting powerful singers and actors and bringing out the heart of the story without getting too sappy or preachy. . . As always, New Line’s musical maestro, Jeffrey Carter has put a splendid band together. . . Rob Lippert’s set and lighting design is spectacular.” – Steve Allen, Stagedoor St. Louis

“it’s an interesting show, far more about moral dilemmas than anything else, a good portrayal of near-unanswerable questions about justification for nuclear war. How far do we go, and what does it take to stop us? . . . It’s a good score, melodic and generally quite winning. . . Not easy theater. But quite interesting and very different.” – Ann Pollack, St. Louis Eats & Drinks

Atomic is still early in its life, only having had a handful of stagings after an off-Broadway run a couple of years ago, and though New Line’s run is over, it’s exciting to know that contemporary shows like this are being produced right in our own backyards.” – Andrea Torrence, St. Louis Theatre Snob

“An extremely well-staged, well-cast, compelling piece of theatre. . . New Line’s production of Atomic is the show’s St. Louis debut, and only the fourth overall production of this intense, intriguing show. In the hands of directors Scott Miller and Mike Dowdy, along with the first-rate cast and crew, the show is a fascinating examination of the history of nuclear development as well as a stirring examination of the moral dilemmas inherent in the project. It’s a story that’s sure to provoke much thought and conversation.” – Michelle Kenyon, Snoop’s Theatre Thoughts

DIRECTOR'S NOTES
New Line’s production of Atomic is the show’s fourth, after its premiere in Australia (where both writers are from), a brief run off Broadway, big rewrites, and then a production in Michigan.

I’ve realized as we’ve worked that this isn’t the kind of smartass, ironic story we usually tell, and I’ve had to be careful not to fall back on habits that better suit a different kind of show. There are moments of pretty dark irony here and there, but overall this is a very sincere, very earnest script, because these physicists take their work and the questions around it very seriously. And the stakes are astronomical.

The reviews of the show off Broadway often said this was a musical about the Manhattan Project, but that’s not exactly true. This show is about the morality and moral questions swimming around the making of the bomb. This is a morality tale, not a history lesson.

This is a show about Dangerous Ideas. Pandora’s Box. Which is why it has to be a rock musical. This is a story about big emotions, big rebellion (in various forms), big questions, and big moral complexity. Rock is the language of rebellion, of danger and wildness. What other musical language could adequately portray these people, their emotions, their rage, and their fear?

The energy and intensity of this story demand rock and roll.

I’ve realized that Atomic is not a Hero Myth story, as so many of our shows are. This is a Frankenstein story. Leo and his fellow physicists create a monster, which they lose control of, and it rampages through the world killing people.

The show’s writers have created a dual personality for this show, part Brecht, part contemporary drama. That duality is present in the story itself, in the battle between science and government/military, in the conflicted emotions of these characters, even in our own moral assessment of the atom bomb as we watch this story.

Maybe the coolest thing about Rob Lippert’s set for this show is that our audience watches this gripping, morally complex drama, with the other half of the audience – with America – as backdrop.

Like 1776 does, Atomic takes these historical figures out of the history books and gives them full, rich, complicated humanity. I can’t even imagine having to grapple with questions like this...

As with every show, my only job here has been to understand what Danny Ginges and Philip Foxman wrote, and then figure out how to make that as clear as possible to you, our audience. Not to impose a “vision” or anything on it, just to follow the script and score wherever they take us. This is good storytelling and we just had to trust it.

We hope you find this story as powerful as we do.

American Idiot (2016)

music by Green Day
lyrics by Billie Joe Armstrong
book by Billie Joe Armstrong and Michael Mayer
March 3-26, 2016
Marcelle Theater
http://www.newlinetheatre.com/americanidiotpage.html

THE CAST
Johnny – Evan Fornachon
Will – Brendan Ochs
Tunny – Frederick Rice
St. Jimmy – Chris Kernan
Whatsername – Sarah Porter
Heather – Larissa White
Extraordinary Girl – Sicily Mathenia
Favorite Son – Kevin Corpuz
Rock & Roll Boyfriend – Clayton Humburg
Ensemble – Kevin Corpuz, Cameisha Cotton,
Clayton Humburg, Jeremy Hyatt,
Omega Jones, Sean Michael, Ariel Saul,
Tanya Sapp, Gabe Taylor

THE NEW LINE BAND
Conductor/Piano – Sue Goldford
Guitar – D. Mike Bauer
Guitar – Aaron Doerr
Bass – Andrew Gurney
Violin – Twinda Murry
Cello – Jessica Nations
Percussion – Clancy Newell

THE ARTISTIC STAFF
Directors – Scott Miller, Mike Dowdy
Music Director – Jeffrey Richard Carter
Stage Manager/Lighting Technician – Michael Juncal
Scenic Designer – Rob Lippert
Costume Designer – Sarah Porter
Sound Designer – Benjamin Rosemann
Lighting Designer – Kenneth Zinkl
Props Master – Kimi Short
Scenic Artists – Patrick Donnigan, Melanie Kozak, Gary Karasek, Kate Wilkerson
Box Office Manager – Kimi Short
Volunteer Coordinator – Alison Helmer
Videographer – Kyle Jeffery Studios
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

REVIEWS
"Where does Scott Miller find so many appealing young performers for his New Line Theatre shows? American Idiot is no exception. The large cast – a mix of New Line veterans and newcomers – delivers passionate performances, sings with authority and moves (you can’t exactly call it dancing) with hormone-fueled abandon. It’s just the cast that Miller – the company’s artistic director, and co-director of this show with Mike Dowdy – needs for this angry and melancholy musical. . . But the show is at its strongest when the whole ensemble is onstage, a living force-field of alienation." – Judith Newmark, St. Louis Post-Dispatch

"It’s the perfect musical for New Line, and for directors Scott Miller and Mike Dowdy: gritty and real, and entirely propelled by great music and magnificent singing under the baton of Sue Goldford. So many moments of outstanding vocal artistry come roaring out at us in the dark, sculpting (through punk rock!) and defining barely formed youth, that the characters become real in a way that reaffirms the highly poised ‘realities’ of opera itself. . . somehow, both the popular and the classical merge seamlessly, getting their full due in this very intricately sung yet captivatingly natural and highly compelling production." – Richard Green, TalkinBroadway

"Entertaining and effective, American Idiot is a sensory onslaught that flashes with brilliance. . . A captivating reinterpretation of the American Dream. . . New Line Theatre mines these themes in a deeply satisfying production that features an abundance of young talent. . . The cast are uniformly strong singers and the interpretations of the songs are spot on. . . The themes resonate with contemporary audiences, and the talented cast invites them along for a nihilistic-tinged roller-coaster ride that entertains at every turn, making American Idiot a show not to be missed." – Tina Farmer, KDHX

"The disconnect I felt with the touring production vanished in the cozy confines of The Marcelle. . . This is a real hit, that genuinely rocks the house! . . . Scott Miller and Mike Dowdy dynamically reshape this show in a way that brings it right up in the audience’s face. There’s no disconnect here; you’re always plugged in. It’s an complete assault on the senses. . . Go see New Line Theatre’s production of American Idiot while you can!" – Chris Gibson, BroadwayWorld

"American Idiot is a show about youth and raging against a world you live in but aren’t old enough to shape. . . The New Line Band rocks the shit out of the music, particularly guitarists D. Mike Bauer and Aaron Doerr. Directors Scott Miller and Mike Dowdy went with a narrow stage and a deep riser for the audience, more in line with a rock show than a play. The result is a close, sweaty show that feels alive at all times." – Paul Friswold, Riverfront Times

"Some insanely entertaining and thought-provoking musical theater is happening at New Line Theatre. . . Shows like this don’t often make it to venues in St. Louis, so take advantage of the opportunity to see this adrenaline fueled show before it’s gone..." – Donald Miller, Alton Telegraph

"With conductor Sue Goldford and her band delivering a raucous and resonating interpretation of Green Day’s music, meshed with boisterous performances by the cast under the careful direction of Scott Miller and Mike Dowdy, this American Idiot makes sense of the disaffection of youth in the post 9/11 United States. . . New Line’s presentation superbly captures the musical essence of the album and show as well as making the most of the straightforward plot. . . You’ll likely find yourself swaying and tapping along with the many infectious tunes by Green Day that are well adapted to the stage." – Mark Bretz, Ladue News

"The fury that simmers within generations of young adults is nothing new, but New Line’s current production of Green Day’s American Idiot, adapted from the band’s 2004 concept album of the same name, is painted in sharp-edged, pop-punk strokes that strike a familiar chord, particularly now. With the country in the midst of a divisive political season, Billie Joe Armstrong and Michael Mayer’s rock opera about coming of age in a post 9/11 world of uncertainty, taps into an angry restlessness that’s as palpable today as it’s ever been. . . This fully executed musical is magnetic, whether you’re a Green Day fan or not. With doses of surprising introspection, a dedicated cast and heart-pumping music, you’ll leave the theatre with a memorable high." – Andrea Torrence, St. Louis Theatre Snob

"New Line Theatre’s American Idiot is a sly but powerful wake up call . . . New Line’s dynamic directing duo of Scott Miller and Mike Dowdy has assembled another sterling cast of local and regional actors backed by the always excellent New Line Band." – Jeff Ritter, Critical Blast

"Generation X has something to say in American Idiot, and goes straight for the jugular to get our attention. New Line Theatre’s art provocateurs shake the rafters in the explosive regional premiere of the 2010 Tony-award winning musical, an in-your-face introspection for anyone disillusioned, submissive or seething in post-9/11 USA." – Lynn Venhaus, Belleville News-Democrat

"Thanks to the New Line corps of young talent, it works beautifully with singers that are actors leading the way and the pulsing sounds of the Green Day score carrying us along. . . Directors Scott Miller and Mike Dowdy bring their usual spirit and flair to the proceedings and keep the show moving at a frenetic pace." – Steve Allen, StageDoorStL

"The musical based off of the Green Day album American Idiot is rocking the Marcelle Theatre in Grand Center here in St Louis. New Line Theatre is known for producing edgy and hard hitting shows. This show is no exception. From the start to finish the show is a train ride that doesn’t slow or show mercy." – Erin Karll, Onstage

"American Idiot was an album first, and then it was a musical. Now, it’s on stage at the Marcelle Theater in Grand Center in a big, loud, angry, and extremely thoughtful production from New Line Theatre. With the first-rate singing that New Line is known for, as well as a stellar cast and striking physical production, American Idiot makes a strong impression. . . It’s a gritty, high powered, emotionally charged rock opera that presents a compelling picture of the lives of three young men on a journey for fulfillment in difficult times. It’s definitely not for kids, but for adults and older teens, this is a show that provides a lot to think about. It presents a striking auditory and visual tableau of life in early 2000’s America, with a soundtrack by a band that helped define the cultural atmosphere of that era." – Michelle Kenyon, Snoop’s Theatre Thoughts blog

DIRECTOR'S NOTES
America is a very angry place right now. And boy, do we have some theatre for you that taps into that zeitgeist and tries to understand it...

It’s interesting to work on American Idiot, as Hamilton dominates the world of musical theatre. People talk about how Hamilton will fundamentally change the art form (and I think they’re right and I’m really glad), but it reminds me that Rent was just as paradigm shattering in 1996, just as revolutionary, just as "fusion-ary" and influential. I realize that American Idiot holds up the center of a political rock theatre trilogy. As tuned into its own zeitgeist as Rent was, so is American Idiot, and so is Hamilton.

American Idiot is a triple Hero Myth, as Johnny, Will, and Tunny all respond in different ways to the cultural upheaval of a post-9/11 world, and all three go on spiritual journeys to find their place in the world, their path – their “Real,” as Passing Strange would put it.

Heroes’ journeys can be concrete, as in an actual journey, or they can be interior. Or both. In American Idiot, director and bookwriter Michael Mayer gives us all three versions. Will stays behind, and his journey is interior, about learning to grow up and stop being selfish (just like Rob Gordon in High Fidelity). Both Johnny and Tunny take actual journeys, but Tunny literally goes to the other side of the world, while Johnny physically travels to New York, but then journeys inside through the use of drugs. All three of them travel to “the underworld” in one way or another, as many classic heroes do.

All the big ideas in the show are present in the original Green Day album but more abstract, more thematic, more metaphoric. In the context of our triple Hero Myth, “Wake Me Up When September Ends” is no longer about the death of Billie Joe Armstrong’s father, but instead it transforms September into a symbol, the month that contained 9/11 and all the anniversaries, the post-9/11 mindset in its totality, forever with us. This song of personal loss and pain becomes instead a song about societal loss, and about social oppression and delusion. September becomes the culture of the War on Terror.

What’s different about these three journeys from their archetypes is this additional element not always present in stories like these. Not only do these men have to find their individual paths, but at the same time, a very aggressive, oppressive culture is pushing them onto a different path, into a mindset they know instinctively is false and toxic. The entire conflict of our story is set up in the first sentence of the show, "Don’t wanna be an American idiot!"

In other words, "Your Real is not my Real. Your fear is not my fear. Your path won’t get me to my destination. But how can I find my own Real, how can I avoid being an American idiot, if Bush and Cheney’s Real is the only Real anyone recognizes? How can I find my Real when their Real permeates everything?"

None of the three finds much good in the path he chooses, but ultimately we see the problem isn’t the three paths; the problem is the world has gone mad. And the triumph for any of our three heroes is in not going mad as well, each finding sanity in his own Real and staying on his own road, just as humans have done during times of turmoil and upheaval for centuries.

Just as our Hero Myths have taught us.

25 to Life! An Evening with New Line Theatre (2016)

a world premiere concert
January 5-6, 2009
Sheldon Concert Hall

THE CAST
Reynaldo Arceno, Mike Dowdy, Colin DeVaughan, Zachary Allen Farmer, Ryan Foizey, Nikki Glenn, Joel Hackbarth, Lindsey Jones, Taylor Pietz, Sarah Porter, Anna Skidis, Deborah Sharn, Kimi Short, Keith Thompson, Larissa White, Jeffrey M. Wright

THE ARTISTIC STAFF
Director – Scott Miller
Sound – Tim Albert
Lighting – Gabe Taylor
Pianist – Scott Miller

THE SONG LIST
ACT I
“Four Jews in a Room Bitching” (from March of the Falsettos) – Zak, Dowdy, Joel, Jeff
“Children, Children” (from Bat Boy) – Colin, Company
“Timid Frieda” (from Jacques Brel…) – Taylor, Sarah, Colin, Joel
“You Could Do Better Than Him” (from Bonnie & Clyde) – Rey, Jeff
“Once in a While” (from The Rocky Horror Show) – Ryan (on guitar), Larissa
“Sorry-Grateful” (from Company) – Keith, Joel
“Poor Child” (from The Wild Party) – Deborah, Rey, Kimi, Jeff
“Dear One” (from Kiss of the Spider Woman) – Nikki, Dowdy, Larissa, Ryan
“Ballad of Floyd Collins” (from Floyd Collins) – Colin (on guitar), Kimi, Zak, Anna
“Fight for Me” (from Heathers) – Anna
“The Stuff” (from Reefer Madness) – Nikki
“There Are Worse Things I Could Do” (from Grease) – Sarah
“Worse Things” (from Attempting the Absurd) – Larissa, Company

ACT II
“Misery” (from Cry-Baby) – Ryan, Taylor, Zak, Sarah, Kimi, Lindsey, Company
“The Tale of Zachary Church” (from In the Blood) – Zak
“The I Love You Song” (from Spelling Bee) – Anna, Zak, Deborah
“Wicked Little Town” (from Hedwig and the Angry Inch) – Rey
“The Ballad of the Sad Young Men” (from The Nervous Set) – Lindsey
“Used to Be” (from Hands on a Hardbody) – Keith, Jeff, Ryan, Nikki, Anna, Taylor, Joel
“Deeper in the Woods” (from The Robber Bridegroom) – Dowdy, Company
“Moments in the Woods” (from Into the Woods) – Deborah
“This Plum is Too Ripe” (from The Fantasticks) – Taylor, Ryan, Joel, Dowdy
“You Don’t Know”/“I Am the One” (from Next to Normal) – Kimi, Jeff, Ryan
“A Great Big Cloud of Smoke” (from Johnny Appleweed) – Rey, Joel, Company
“The Hills of Tomorrow” (from Extreme Sondheim) – Full Company

Heathers (2015)

book, music, and lyrics by
Laurence O’Keefe and Kevin Murphy
based on the film by Daniel Waters
October 1-24, 2015
Marcelle Theater
http://www.newlinetheatre.com/heatherspage.html

THE CAST
Veronica Sawyer – Anna Skidis
J.D. – Evan Fornachon
Heather Chandler – Sicily Mathenia
Heather Duke – Cameisha Cotton
Heather McNamara – Larissa White
Martha Dunnstock – Grace Seidel
Ram Sweeney – Omega Jones
Kurt Kelly – Clayton Humburg
Young Republicanette – Brenda Bass
Preppy Stud – Kevin Corpus
Hipster Dork – Colin Dowd
Beleaguered Geek – Alex Glow
Kurt’s Dad/Veronica’s Dad/Principal Gowan – Joel Hackbarth
Ms. Fleming/Veronica’s Mom – Lindsey Jones
Ram’s Dad/Big Bud Dean/Coach Ripper – Chris Kernan
Stoner Chick – Victoria Valentine

THE NEW LINE BAND
Conductor/Piano – Sue Goldford
Guitar – D. Mike Bauer
Bass – Andrew Gurney
Violin – Twinda Murry
Percussion – Clancy Newell
Reeds – Harrison Rich
Trumpet – Patrick Swan

THE ARTISTIC STAFF
Directors – Scott Miller, Mike Dowdy
Directing Intern – Jeremy Hyatt
Music Director – Jeffrey Richard Carter
Choreographer – Robin Michelle Berger
Stage Manager/Lighting Technician – Gabe Taylor
Scenic Designer – Rob Lippert
Costume Designer – Sarah Porter
Sound Designer – Benjamin Rosemann
Lighting Designer – Kenneth Zinkl
Props Master – Kimi Short
Scenic Artists – Kathleen Dwyer, Melanie Kozak, Gary Karasek, Kate Wilkerson
Box Office Manager – Kimi Short
Volunteer Coordinator – Alison Helmer
Videographer – Kyle Jeffery Studios
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

REVIEWS
“Laurence O'Keefe and Kevin Murphy's witty, and at times beautiful, show goes deeper into the mindset of heartthrob killer J.D. than the film does. The original's dark and subversive edge is still present – hoo-boy, is it present – but there is also a tenderness that wasn't really possible in Reagan's America. In New Line Theatre's production (the show's regional premiere), directors Scott Miller and Mike Dowdy nurture that tenderness without shying away from the darkness. The result is a show that is sharp and unflinchingly honest in its depiction of high school killers, even with the remove afforded by satire. It is as entertaining as it is terrifying.” – Paul Friswold, The Riverfront Times

“Now you can see Heathers in all its pitch black glory with New Line Theatre's amazing production, which opens their 25th season. Not only is it a fantastic and edgy show, but it also marks their first presentation in their new venue, the Marcelle Theater (lovingly designed by Rob Lippert). This is a dazzling and intense show that features a smartly crafted book and score, courtesy of Laurence O'Keefe and Kevin Murphy, as well as an excellent cast and expert direction. This is beyond must-see entertainment. This is an accomplishment you absolutely have to check out. You'll be dazzled by its brilliance, and completely floored by the wonderful performances you'll be witness to.” – Chris Gibson, BroadwayWorld

“A racy rock score drives 120 mph into the dark, libidinous story with a narrative intelligence reminiscent of Gilbert and Sullivan on coke. This deeply disturbing story of bullying and the pressures of forced teen adulthood unfolds with truth and consequences, authentic sadness, and eventually, more hope than the movie was ever able to muster. . . This quirky, seductive rock operetta, with satiric teeth, tasteful tongue-and-cheek titillation and societal timeliness, is performed with musical intelligence and dramatic enthusiasm by a robust cast, many of whom seemed fresh and new to St. Louis.” – Chris Limber, Buzz On Stage

“It is an overwhelming experience—admirably put forth, but ruthlessly intense in the final twenty minutes or so. . . In the upside-down world of teenagers, where belonging is more important than almost anything else, the wicked girls' entrance is greeted with a heavenly choir of harmonies from the rest of the ensemble. Their overall musicianship, and the various forms of artistry that blossom throughout this Heathers, may be the greatest achievement of all. . . a rarely produced show that's challenging, lovingly produced and bitchy fun, as fans of New Line Theatre have come to expect.” – Richard Green, TalkinBroadway

“New Line Theatre kicks off its season, the first at their new home in the smartly renovated Marcelle Theater on the east end of Grand Center, with a bang. A little poison and a big bomb are also included in the dark comedy, but it's the heart, and a prescient message about teen isolation, mental health and violence, that may stay with audiences. . . The most surprising aspect of New Line Theatre's excellent production of Heathers may in fact be the insidious way the show cheerfully turns from dark humor to intense pathos – the story is affecting and the storytelling completely effective. The result is a spectacular production, with a breakout performance by Anna Skidis, that celebrates the company's 25th anniversary and new home.” – Tina Farmer, KDHX

“In New Line Theatre’s bold regional premiere, a fearless cast and crew is able to achieve a balance in tone that transcends vulgar lyrics and shock-value scenarios. . . co-directors Scott Miller and Mike Dowdy frame this jagged little pill in Reagan-Era Me Decade ephemera and infuse the characters with plenty of attitude. They understand that in order for the dark material to mean more than a typical coming-of-age flashback, the characters can’t be caricatures, and consciously steer away from camp. That gives the youngsters more emotional depth than initially drawn, resulting in dynamic performances and a show that doesn’t only entertain. The pair have harmoniously collaborated on a number of neglected musicals that needed New Line’s nurturing to thrive, and with their astonishing attention to detail, polish Heathers into a bright-colored gem. . . it’s indeed one of the standouts of the year.” – Lynn Venhaus, Belleville News-Democrat

Heathers The Musical is an amazing way to kick off New Line Theatre’s 25th season. Once again, they’ve taken a diamond in the rough and polished it into a magnificent gem for the audience to behold. The show is packed with serious topics and thought provoking subject matter, but also manages to provide us with laughs and plenty of catchy tunes. The entire cast is overflowing with talent, ne’er a weak point to be found. This is one show that you do not want to miss while you have the chance.” – Kevin Brackett, ReviewSTL

“With sparkling performances by Anna Skidis and Evan Fornachon in the primary roles of Veronica and J.D., New Line’s Heathers continues the company’s rich history of bringing challenging musical theater to St. Louis audiences. . . Heathers is a good production of an offbeat little musical that typifies New Line Theatre’s strength: Offering a new look at established works or an introduction to little-seen gems that are revived with Miller’s innate insight.” – Mark Bretz Ladue News

“New Line Theatre kicks off its 25th anniversary in its new space at the Marcelle Theater with the premiere of the wickedly morbid and hysterical musical Heathers. Based on the 1989 cult film of the same name, this show has all the elements that theater-goers have come to expect from artistic director, Scott Miller: provocative themes, pathos, dynamic performances from its cast, and a cheeky sense of fun. . . Heathers is hysterically funny and outrageous and is a strong indicator that although the venue for New Line Theater has changed, its vision of entertaining and challenging audiences remains the same.” – Donald Miller, Alton Telegraph

“On Friday night, New Line Theatre celebrated its 25th anniversary in ideal fashion: It opened a smart new show, Heathers, in its sleek new theater, the Marcelle. . . Heathers – a hideous and hilarious musical inspired by the 1989 cult movie of the same name – continues New Line’s long look at kids in some kind of trouble: emotional, social, political, sexual. In shows such as Hair, Grease, bare, Passing Strange, Cry-Baby and Rent, New Line has explored musicals about teens and young adults trying to figure out how, or even why, to live.” – Judith Newmark, St. Louis Post-Dispatch

“New Line’s anniversary kicks off with what they do best – providing hilarious, daring, sometimes unsettling, but always unflinching, insightful looks at the world we live in, and those on the fringes. Go see it.”—Andrea Torrence, St. Louis Theatre Snob

“Tightly directed by Miller and Mike Dowdy, and interlaced with choreographer Robin Michelle Berger's work, it fits together like Lycra. Scenic design by Rob Lippert and costumes from Sarah Porter make it feel pretty authentic. Very funny despite some of the subject matter, it's a great opening show, well crafted and well cast, for the brand-new Marcelle Theater.” – Ann Pollack, St. Louis Eats and Drinks

“It’s a dark, sometimes brutal show, but with a surprisingly hopeful ending, and it takes the high school movie genre and examines it in intriguing ways. It’s a spectacular production, highlighting the always excellent singing that New Line is known for, as well as some strong characterization and a great use of New Line’s new theatre space. Heathers the Musical is a hit.” – Michelle Kenyon, Snoop’s Theatre Thoughts

“If Heathers makes you squirm a little, that’s good – it means they’re doing it right. . . Yes, Heathers – movie and musical alike – are shocking. They’re also cautionary tales about conformity, and morality plays about doing the right thing even if it makes you less popular. . . In many ways Heathers is more relevant now than it was in the late 80s.” – Jeff Ritter, Critical Blast

Heathers is quite a feather is New Line’s cap.” – Gerry Kowarsky, Two on the Aisle

DIRECTOR'S NOTES
Heathers is about selfishness, and the moral and emotional damage that come from it, maybe the inevitable result of the 1980s Me-First Reagan Revolution, a reaction to the turmoil and cultural upheaval of the 1960s and 70s. If the hippies believed in community, then community must be suspect. If the hippies condemned greed, then greed must be good.

Heathers is about the breakdown of institutions in 1980s America – the family, the community, the government, the educational system – as Reagan convinced many Americans to distrust our institutions, as he successfully turned government into a dirty word. Americans had always believed that We the People are the government, but Reagan changed that, portraying our system of government – our collective act of democratic self-governance – as a massive, scary giant who’s out to get us, in the process all but severing the sacred connection between The People are their government.

With no trust in our government, no trust in community, and a growing suspicion of The Other, Reagan turned individualism into a cult and delegitimized the responsibility to community that had always been such a cornerstone of American life. The myth of “rugged individualism” that played such a role in the settling of our continent was revived and deified, partly in response to the communalism of the 60s and the universal distrust Reagan nurtured in his followers.

Can we blame the kids in Heathers for being self-centered? Look at the world surrounding them, clueless teachers, ineffectual and/or absent parents, no role models, no responsibility to others, no empathy. This is the world J.D. wants to destroy, a cold, callous, selfish time and place that could produce the Heathers.

Most teen comedies are about conforming. If the lead character is unable to conform, they have to be “removed” from the community. But in Grease, Cry-Baby, and Heathers, it works in the opposite direction. In these stories, the protagonist goes from insider to outsider; but also at the same time, from outsider to insider, because both Grease and Cry-Baby present two conflicting communities. In Heathers, Veronica goes from outsider to insider, and then back to outsider again. Because in the world of Westerberg High, it turns out that being an outsider is way better than being an insider.

In the conforming 80s, much of our storytelling was about all this – to conform or not to conform – and after the turmoil of the 60s and 70s, many people were choosing conformity. Heathers is a cautionary tale about the dark side of “fitting in,” arguing that “fitting in” is an inherently selfish act. Veronica goes from being empathetic (which is the whole point of the first part of the opening number, “Beautiful”) to being callous and selfish, then finally back to empathetic again.

Today, as many in our culture continue to demonize The Other, Heathers is a blunt reminder to take care how we treat those Others…

The Threepenny Opera (2015)

music by Kurt Weill
book and lyrics by Bertolt Brecht
American adaptation by Marc Blitzstein
May 28-June 20, 2015
Washington University South Campus Theatre
http://www.newlinetheatre.com/3popage.html

THE CAST
Capt. Macheath – Todd Schaefer
Mr. J.J. Peachum – Zachary Allen Farmer
Mrs. Peachum – Sarah Porter
Polly Peachum – Cherlynn Alvarez
Tiger Brown – Christopher “Zany” Clark
Lucy Brown – Christina Rios
Jenny Diver – Nikki Glenn
Reverend Kimball / Warden Smith – Reynaldo Arceno
Readymoney Matt – Brian Claussen
Crookfinger Jake – Kent Coffel
Charles Filch – Jeremy Hyatt
Walt Dreary – Todd Micali
Molly – Kimi Short
Betty – Margeau Steinau
Bob the Saw – Luke Steingruby
Dolly – Larissa White

THE NEW LINE BAND
Piano/Conductor – Jeffrey Richard Carter
Trombone – Tom Hanson
Percussion – Clancy Newell
Guitar – Adam Rugo
Trumpet – Patrick Swan
Reed I – Marc Strathman
Reed II – Rebecca Parisi

THE ARTISTIC STAFF
Director – Scott Miller
Directing Intern – Alex Glow
Music Director – Jeffrey Richard Carter
Stage Manager/Lighting Technician – Kristina Cirone
Scenic Designer – Rob Lippert
Costume Designer – Sarah Porter
Sound Designer – Benjamin Rosemann
Lighting Designer – Kenneth Zinkl
Props Master – Kimi Short
Scenic Artists – Kate Wilkerson, Melanie Kozak, Patrick Donnigan, Gary Karasek, Sharon Russell
Box Office Manager – Svetlana Slizskaya
Volunteer Coordinator – Alison Helmer
Videographer – Kyle Jeffery Studios
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

REVIEWS
“New Line Theatre presents the show it was created to perform. . . The Threepenny Opera is the oldest show New Line Theatre has ever staged. It might also be the hottest, the sharpest and the best. The moment music director Jeffrey Carter and his sly ensemble begin the overture, a shudder of pleasure rips through the theater. Whether or not you know what’s coming, the music seems to announce, this is going to be an evening to remember. Director Scott Miller founded New Line 24 years ago precisely to do shows like this, shows that squeeze modernity in a ruthless musical vise. Though it’s set in Victorian London and debuted in Weimar Berlin, The Threepenny Opera feels as raw as your butcher’s best – or as an open wound. It’s also very funny.” – Judith Newmark, St. Louis Post-Dispatch

"For the next three weeks you have a choice in how you stay informed about current events: You can either suffer through another local newscast as the tone whiplashes between banal levity and grim images of oppression, crime and human misery -- or you can soak up the horrible truth at New Line Theatre's near-perfect production of The Threepenny Opera." – Paul Friswold, The Riverfront Times

“It very well could be some awful commentary on recent news events that led to riots in St. Louis and New York and Baltimore. But it's also a Threepenny that doesn't seem to give a pfennig or a fig what you think of it. And, you have to admit, that's pretty Brechtian right there. This latest New Line musical is faithful to the original, in that it's very much a haughty celebration of the lowly, who've been failed by life again and again. Then, by adding a snarky, playful vision, the production becomes more like a gleeful victory lap for cause of social liberalism – a modern American show in venerable trappings, that shouts, 'I told you so' to all those who refuse to acknowledge the shoddiness of 150 years of do-it-yourself Reconstruction in the U.S. It's not a hopeless modern black America, of course – but the stage is populated by the utterly bereft (the denizens of London dockyards) who live by their own rules, and avoid the law at all costs. From a director who usually looks backward in time for context, and also revels in the shocking, we now get the biggest shock of all: that this 1928 show, one of the highlights of the German Weimar period, seems to have snapped out of hopelessness and morphed into the first rebellious musical of the 'post-Ferguson' era.” – Richard Green, TalkinBroadway

“New Line Theatre gives us this stage noir classic with all its wickedness intact. It's a pitch-black masterpiece that sucks you in with its nightmarish charms. This is the Marc Bliztstein translation, and I only mention that because there have been numerous attempts at re-imagining the work over the years. New Line Theatre gives us the Brecht/Weill collaboration I've imagined in my mind after only hearing select musical pieces, and watching a fuzzy copy of G.W. Pabst's 1931 film. This is true art, and a show that you absolutely need to see! . . . New Line Theatre has put together a compelling and completely engaging production of The Threepenny Opera. So few have seen in all its dingy glory, and this is your chance to do so.” – Chris Gibson, BroadwayWorld

“The granddaddy of dark, decadent musicals, The Threepenny Opera still packs a punch with its biting social commentary that has remained relevant through the ages. The current production being staged by New Line Theatre is fresh, vital and deliciously subversive, underscoring author Bertolt Brecht’s sly observations that crime does indeed pay, whether for a rogue like Macheath or for the pillars of a society that diminishes the humanity of the less fortunate. . . Director Scott Miller’s two-act presentation has a spring in its seditious step that keeps this interpretation amusing and entertaining throughout. The look of the show, with wildly eccentric characters that populate the fringes of the stage, gives it a humorously decadent texture that permeates the performances and accentuates the wry commentary in Brecht’s script.” – Mark Bretz, Ladue News

“A wicked good time . . . Director Scott Miller clearly understands the social commentary, wickedly dry humor, and musical intricacies of the show. His guidance and insight clearly benefit the production, as does his ability to assemble a cast capable of handling the themes and complexity with the appropriate touch.” – Tina Farmer, KDHX

“The best actors in St. Louis, and a top notch band. . . The show was written nearly a century ago, and it may never be more relevant than it is right now. The world's in chaos and it's our fault. Maybe we're all Mack the Knife! The show was great, well acted and sung . . . So if you're looking for a fun yet challenging show, check out New Line's Threepenny Opera. It might just change how you look at life!” – Jeff Ritter, Critical Blast

“The appeal of the piece is its ability to offer a blistering commentary on the evils of unbridled capitalism while retaining a strong sense of humor about itself. While it’s never preachy, the message here is clear – when options are severely limited, the poor and powerless often turn to less than admirable methods to survive. It’s no coincidence that one of the few remotely sympathetic characters is a prostitute who betrays Macheath. The three-act show moves along fairly briskly, in large part due to its talented cast and tight direction. If you seek an evening of dark but entertaining musical theater, this is the show for you.” – Donald Miller, The Telegraph

“Standing on its own, the New Line production flavors The Threepenny Opera with broad comedy and wields its pointed barbs very sharply. . . New Line is challenging us to get up, go out, and do something about the sorry state we see.” – Lynn Venhaus, Belleville News Democrat

“A fine cast all around. . . a 7-piece house band handles the score with élan,. . . Scott Miller's done a good job directing it, and given his love for Stephen Sondheim, perhaps the Sweeney Todd inference isn't accidental. A worthwhile evening.” – Ann Pollack, St. Louis Eats and Drinks

The Threepenny Opera is a contradiction in several ways. It’s simultaneously comedic and bleak, energetic and gloomy. It’s a story without any real heroes, but where some villains are more villainous than others. It’s a classic that I’d never seen before, and New Line’s latest production has proven to be a memorable introduction. . . New Line’s production brings the show to the St. Louis audience in a vivid and highly accessible way.” – Michelle Kenyon, Snoop’s Theatre Thoughts

“You'll find much to enjoy in New Line's Threepenny Opera.” – Bob Wilcox, KDHX-TV

DIRECTOR'S NOTES
Despite what many people think, audiences do not want escape. More than anything, audiences want truth. They find human connection in that truth.

Escape is disconnection. That’s not what audiences want. That’s not what Threepenny’s bookwriter and lyricist Bertolt Brecht wanted. And it’s not what New Line does.

With most shows – and in particular, most musicals – the idea is to get the audience on the hero’s side, to get them to empathize with the protagonist(s), so that they are emotionally invested in the resolution of the central conflict. But Brecht very intentionally and aggressively steps away from that basic premise of storytelling.

He doesn’t just step away from it. He wrestles it to the ground, takes a shit on it, runs over it with his car, douses it in gasoline, and sets it on fire.

No, we’re putting on a horror show.

In Brecht’s theatre, the idea is to get the audience to recognize a great social truth or problem, and to understand its effects on their lives. Threepenny’s central argument is that it’s not possible to be a moral or decent person, and also survive, in modern capitalism. And let’s be honest, for many people in America today, that is true, or at least nearly true.

In other words, like its descendants, Bat Boy, Chicago, Cabaret, and Urinetown, Threepenny’s agenda is to present a sociological (comic) horror story. It’s Frankenstein, but we are the mad scientist. Instead of zombies robbed of their humanity, these monsters are just regular people, just like you and me, robbed of their humanity. They’re not transformed into monsters by a supervillain or a radioactive spider, but by us, by the society that we are part of.

We are to blame, Brecht is saying.

What makes the show most unsettling is that morality is not just subverted here; it is absent. But Brecht and composer Kurt Weill are not asking you to approve; they are asking you to understand. They’re not offering up an excuse; just an explanation. Brecht has created a reverse morality tale, a stark, cautionary fable, but he is serious about his comedy, and he’s arguably right. It’s not a crazy idea that a broken society creates broken people – that’s the central theme of our last two shows, Bonnie & Clyde and Jerry Springer the Opera.

Brecht died in the 1950s but he’s still talking to us. He’s telling us that there is a price to pay for amoral, unfettered capitalism, for wild income inequality, and for an apathetic electorate. Brecht and Elizabeth Warren. He’s telling us that if we don’t want our world to look like Threepenny, we have to act, we have to take power, we have to use our Democracy as it was intended, to work the will of all the people, not just the will of Tiger Brown, the Peachums, and their 2015 counterparts...

Which is why the revivals of Threepenny keep coming. When Mack sings, “So listen closely to Mack the Knife,” he means it.

And we’d better hear him.

Jerry Springer the Opera (2015)

music by Richard Thomas
book and lyrics by Stewart Lee and Richard Thomas
March 5-28, 2015
Washington University South Campus Theatre
http://www.newlinetheatre.com/springerpage.html

THE CAST
Jerry Springer – Keith Thompson
Warm-Up Man/Satan – Matt Pentecost
Steve – Matt Hill
Dwight/God – Zachary Allen Farmer
Chucky/Adam – Ryan Foizey
Montel/Jesus – Marshall Jennings
Zandra/Irene/Mary – Lindsey Jones
Peaches/Baby Jane – Taylor Pietz
Andrea – Christina Rios
Shawntel/Eve – Anna Skidis
Tremont – Luke Steingruby
Jerry’s Inner Valkyrie – Kimi Short
Studio Audience – Reynaldo Arceno, Tyler Cheatem, Joel Hackbarth, Ann Hier, Sarah Porter, Michelle Sauer, Kimi Short, Christopher Strawhun

THE NEW LINE BAND
Piano/Conductor – Jeffrey Richard Carter
Guitar – D. Mike Bauer
Second Keyboard – Sue Goldford
Percussion – Clancy Newell
Trumpet – Patrick Swan
Reeds – Robert Vinson

THE ARTISTIC STAFF
Director – Scott Miller
Assistant Director – Mike Dowdy
Directing Intern – Alex Glow
Music Director – Jeffrey Richard Carter
Choreographer – Robin Michelle Berger
Dance Captain – Michelle Sauer
Fight Choreographer – Nicholas Kelly
Stage Manager/Lighting Technician – Gabe Taylor
Scenic and Lighting Designer – Rob Lippert
Costume Designer – Sarah Porter
Sound Designer – Benjamin Rosemann
Props Master – Kimi Short
Severed Head Design – Patricia Edmonds
Scenic Artists – Kate Wilkerson, Melanie Kozak, Patrick Donnigan, Gary Karasek, Sharon Russell
Box Office Manger – Alex Glow
Volunteer Coordinator – Alison Helmer
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

REVIEWS
“Director Scott Miller's take on the lowbrow show lives up to the promise in both halves of its name. There are Springer's startling revelations, dirty secrets and white-trash fights, but in the play, this human misery is actually a battle for the soul of mankind played out across Earth and Hell (with a special guest appearance from God). Richard Wagner himself would high-five Springer after witnessing the audacity of this production, which is both hilarious and surprising in its gravity.” – Paul Friswold, The Riverfront Times

“With Jerry Springer: The Opera, New Line brings us the St. Louis premiere of a musical that has actually achieved a modicum of success, but it's not a choice that you're likely to find anywhere else in this region due to its adult nature and content. New Line is dedicated to taking those kind of risks. And, I'm so glad they are, because I love seeing presentations that push the envelope, especially when they're done so brilliantly. . . I really loved this show, and I think you should see it. It has a kind of artistic 'shock value' that you won't find anywhere else.” – Chris Gibson, BroadwayWorld

“A few weeks ago, I asked Scott Miller what was redemptive about Jerry Springer. Now, that I've seen it, I can say 'just about everything.' And yet this play about the human condition made me laugh more than I've ever laughed in a theater before. And I'll never again hear the F-word without imagining an operatic delivery!” – Nancy Fowler, KWMU

“Superficially, of course, this show belongs on a shelf in a 'place of honor' with John Waters' outrageous Pink Flamingos and its competition to be named 'the filthiest person in the world'. . . . But look a little deeper and you'll find something enduringly beautiful and simple also running through, in structure and style. Because there may be a river leading back to Thornton Wilder's Our Town underneath it all. . . John Waters would be proud. So would Thornton Wilder." – Richard Green, TalkinBroadway

“With a sure hand and acerbic wit, New Line Theatre's artistic director Scott Miller once again stages a thoroughly enjoyable evening of musical entertainment and humor. . . The guests and audience members handle the vocal gymnastics of opera well. . . Their interpretations were uninhibited and their songs and interactions delightfully energetic, with chaotically choreographed numbers and unexpected quiet moments that added brief introspection to the exhibitionistic spectacle on stage. . . a quality production with strong direction and spot-on performances, and I applaud the company for the bold and daring theater they produce.” – Tina Farmer, KDHX

“For those who aren't squeamish about such depravity -- especially set to music -- it’s a joy ride that keeps you laughing and gasping throughout the three acts. There’s even a moral or two of sorts.” – Steve Allen, Stagedoor St. Louis

“While this isn't a musical for the faint-hearted, honestly, there is something disarming and inherently funny about the pairing of operatic music with dirty lyrics, and with this ensemble, under Scott Miller's zestful direction, the emotion churning below the surface of these outrageous stories goes a long way in making the profane more palatable. . . these people aren't freaks. They're all yearning for their Jerry Springer Moment -- bigger than life characters that get bigger than life numbers.” – Andrea Torrence, St. Louis Theatre Snob

"In St. Louis, there’s only one theatre and one director that I can think of with the audacity to even attempt to do this nutty show: Scott Miller’s New Line Theatre. As usual, his troop of fine thespians is not shy about performing edgy material. If you blanch at Avenue Q’s full frontal puppet sex and masturbation songs or feel ill at ease with the irreverent humor of The Book of Mormon, then I’d encourage you to get your fix of operatic theatre at the Fox this weekend. If, however, you like your theatre bold, if you’re the type of person who stretches their neck to see the body when you pass a car wreck, or if you have a peculiar predilection for adult diapers, Jerry Springer: The Opera is for you. . . New Line Theatre’s production of Richard Thomas and Stewart Lee’s Jerry Springer: The Opera was filthy fun. It’s also completely uncensored. You have been warned." – Jeff Ritter, Critical Blast

Jerry Springer: The Opera, which makes The Book of Mormon look like Kiss Me, Kate, is not for everybody. It is in fact the most vulgar musical I have ever seen. That’s not a knock, though, merely a description. Director Scott Miller and his cast roll in the gutter with unbridled zeal, singing about infidelity, the Ku Klux Klan and, oh, yeah, 'adult babies' who choose to wear diapers. . . The combination of outrageous staging, foul language, and stabs at religion shove Jerry Springer the Opera to the edge of musical theater.” – Judith Newmark, St. Louis Post-Dispatch

“There's mention of sex, of course, in multitudinous variations, and other bodily functions, addictions, strange personal, uh, preferences, and antiestablishmentarianism, both political and theological. It's a veritable encyclopedia of offensiveness. What fun! The opening is a choral work, beautiful music, exquisitely sung. Then one begins to pay attention to the lyrics, and there's the contrast. . . Another trait of Miller is his seeming habit of casting gifted singers even though they don't resemble television anchors. This reflection of real life is one of his most endearing qualities, and this show is a great example of how that benefits the audience.” – Ann Pollack, St. Louis Eats and Drinks

“What New Line’s rendition does have is a number of performers whose strong, crystalline clear voices adapt well to an operatic style on the many clever arias written by the composers. . . Jerry Springer: The Opera is juvenile, rude, crude and lewd, but also a lot of fun.” – Mark Bretz, Ladue News

“This modern work is as cheeky as John Waters’ film canon, and as tawdry as the sleaziest current reality shows. Copiously laced with profanity, the show gleefully shocks and offends. If you are a Judgy McJudgerson, stay away. If you are adventurous, can withstand swear words, and appreciate the fearlessness of the New Line regulars, it can be an interesting night of theater. . . Co-directors Scott Miller and Mike Dowdy swiftly move the piece, maintaining the high jinks spirit and allowing the characters to have their moments of infamy. In turn, the tight cast immerse themselves in this gaudy, bold show. They all have a blast, and want us to be entertained by the shenanigans. They follow Jerry’s advice: Take care of each other.” – Lynn Venhaus, Belleville News-Democrat

DIRECTOR'S NOTES
TV Guide once called The Jerry Springer Show the worst show in the history of television. Critic Janice Kaplan wrote in TV Guide that coming on television to tell one’s secret is like “defecating in public.” I'm sure lots of people (most of whom have never seen Springer) would agree. But then why has the show been on the air for more than two decades, to such consistently strong ratings?

It's easy to smile smugly and conclude America is just stupid. Talk show host Sally Jesse Raphael famously said, “Nobody wants to watch anything that’s smarmy or tabloid or silly or unseemly – except the audience.”

But America isn't stupid. A big part of the appeal is that humans crave narrative. It's how we learn, how we preserve our history and culture, how we share experiences, how we explain ideas, and how we entertain ourselves. Narrative is the primary form of human communication, and the most universal is the narrative of a human life. The Jerry Springer Show offers up two or three narratives every day, human hero myths in miniature. And in those stories, no matter how outrageous (and no matter whether we think the stories are 100% true or not), we see ourselves, because we recognize universal human themes – love, loss, betrayal, lust, revenge, humiliation, despair, triumph, joy. We've all felt these things, though maybe (hopefully) not to the extreme degree we see on Springer.

The Jerry Springer Show offers us what Bat Boy, Little Shop of Horrors, Cry-Baby, and Urinetown offer us, exaggerated but truthful human behavior under a magnifying glass. But the exaggeration doesn't obscure the truthful. And notice that, like Springer, all the shows I mentioned are about the Other, the outcasts, the misfits. As Elayne Rapping wrote in The Progressive, “The people on these shows are an emotional vanguard, blowing the lid off the idea that America is anything like the place Ronald Reagan pretended to live in.”

So what's the Big Picture point of Jerry Springer the Opera? Why did Richard Thomas and Stewart Lee write this wildly unique show? It's clearly more than just an elaborate goof. There's genuine weight tucked away amidst the obscene, high-energy lunacy.

At one point in Act II, Baby Jane tries to save Jerry by saying, “Jerry is not to blame. With or without Jerry's show, we'd all end up the same. Jerry did not make it so. He merely holds a mirror to it.”

It’s a legitimate argument, right? Does Jerry create that culture or just pander to it? Or is it some of both? The mistake is to think that Jerry controls his guests and his show; the real Jerry would be the first to admit he's just a ringmaster, not God.

As you can see, though Jerry Springer the Opera is insanely funny and outrageous, and incredibly vulgar, it's also a whole lot more than that. And that's really cool.

Enjoy the ride.