Love Kills (2009)

the world premiere
book, music, and lyrics by Kyle Jarrow
arrangements by Nathan Leigh
October 1-24, 2009
Washington University South Campus Theatre
Show Webpage
Production Photos

Caril Ann Fugate – Taylor Pietz
Charlie Starkweather – Philip Leveling
Sheriff Merle Karnopp – Zachary Allen Farmer
Gertrude Karmopp – Alison Helmer

Director – Scott Miller
Assistant Director – Matt Saltzberg
Stage Manager – Trisha Bakula
Set Designer – Frank Bradley
Costume Designer – Darren Hansen
Lighting Designer – Kenneth Zinkl
Sound Designer – Matthew J. Koch
Lighting Technician – Trisha Bakula
Props Master – Trisha Bakula
House Manager – Ann Stinebaker
Box Office Manager – Vicki Herrmann
Graphic Designer – Matt Reedy
Photographer – Jill Ritter

Guitar/Conductor – Mike Renard
Bass – Dave Hall
Percussion – Mike Schurk

Love Kills is a gripping and fascinating evening in the hands of director Scott Miller and New Line Theatre. . . Love Kills is not a comforting evening, not by a long shot. Identify too much with one couple or the other and you’re bound to feel bad about yourself. But Jarrow keeps feeding you moments in which you want the four of them to achieve everything they desire, even when the characters are at cross-purposes. The end result is much like navigating love – how do you give yourself to someone else and hold on to yourself at the same time? Life is long; if you’re lucky, long enough to figure it out.” – Paul Friswold, The Riverfront Times

“I make it a point to seek out productions by New Line Theatre because I know I’ll see something edgy and original, and with the world premiere of Kyle Jarrow’s provocative work Love Kills they’ve, once again, fulfilled that desire. Jarrow’s musical meditation on the relationship between Charlie Starkweather and Caril Fugate, who embarked on a killing spree in Nebraska during the late 1950s, is an intriguing piece that succeeds in confounding expectations. The question as to whether or not Caril Fugate actually participated in the murders is one of the issues raised by Jarrow, and if there’s any truth to be gleaned from the facts presented in this dramatization, then New Line’s compelling production will provide you with the opportunity to judge for yourself. . . [Scott] Miller, who’s also the artistic director of New Line, likes to color outside the lines, and his determination here reveals his passion for bringing fresh and challenging new musicals to the St. Louis region. This might be considered a risky choice, but I’m glad he and the company were willing to take it on, because I might not have gotten the chance to experience it otherwise. . . If you’re looking for something outside the norm, then you should definitely check out New Line’s production of Love Kills.” – Chris Gibson,

“Watching their story unfold through a raw punk-flavored rock score and fine acting on the parts of all four cast members is sublime. The bad boy of musical theatre is gloriously back! . . . Composer Kyle Jarrow defines Love Kills as an ‘emo rock musical,’ and in the sense that it is highly charged and personal, that’s fair. Scott Miller directs with passionate intensity, and it’s among the finest work I’ve seen from this company, which is saying a lot. This isn’t the world’s best musical, but I defy anyone to leave it without much to ponder and plenty to talk about. I hope audiences will give it the attention it deserves.” – Andrea Braun, KDHX-FM

“To open its 19th season New Line Theatre has the good fortune to host the world premiere of Jarrow’s rock musical Love Kills, which tells the grisly story of the multiple spree killings of Starkweather and Fugate in one act and a tidy 95 minutes. . . . New Line’s effort, under the expert guidance of artistic director Scott Miller, features a quartet of terrific performances by Miller’s carefully chosen cast and excellent singing . . . Miller keeps a tight focus on the gritty story throughout, demonstrating a precise ability to handle such sobering drama. . . Given the subject matter, Love Kills is surprisingly fresh and provocative material that immediately grabs audience interest . . . New Line’s world premiere offering of Love Kills provides a memorable evening of pathos and pulsating music that will give you reason to ponder the varying effects of love and violence in surprising fashion.” – Mark Bretz, Laude News

“I had a wonderful surprise at New Line’s production of Love Kills, a world premiere. . . The show bowled me over. It has a very well-crafted story and a powerful score, with more variety than might be expected from a rock score.” – Gerry Kowarsky, Two on the Aisle, KDHX-TV

“New Line Theater’s Love Kills is a strange but effective view of a killer and his paramour, and how they became who they are.” – Harry Hamm, KMOX-AM

“Scott Miller directed effectively on what is almost a bare stage, and the trio of Mike Renard on guitar, Dave Hall on base and Mike Schurk on drums was first-rate. An interesting evening and a look at what came out from under a Nebraska rock.” – Joe Pollack, St. Louis Eats and Drinks

Love Kills, directed by Scott Miller, is performed without an intermission, but you won’t even notice because the story is engaging and moves along at a quick pace. It will leave you with plenty to talk about: What would you do in the name of love?” – Gabe Hartwig, St. Louis Post-Dispatch

BEST MUSICAL OF 2009: “I’d like to congratulate both Stages and New Line Theatre for their amazing productions in 2009, especially New Line’s Love Kills, one of the best musical versions of a dramatic (and real-life) story I’ve ever seen.” – Andrea Braun, Playback STL

TOP TEN SHOWS OF 2009: “It would have been easy for Kyle Jarrow to score his tale of killer Charlie Starkweather and Caril Fugate’s incarceration, Love Kills, to a more conventional and period accurate 1950s flavored beat, but that would have softened his characters and weakened the emotional impact overall. Jarrow opts instead for a harder edge that suits the material much better, after all, Charlie isn’t Danny Zuko, he’s a murderer. New Line Theatre brings this dark vision to life under Scott Miller’s taut direction, but it’s the grounded performance of Alison Helmer along with Zachary Allen Farmer’s quiet intensity as Merle, the sheriff, that really makes this piece cook.” – Chris Gibson,

What do we do when children kill?

Both impulse control and empathy are located in the frontal lobe of the brain, and that area does not fully develop till around age 23. Recent research on human brain development also suggests that if a child doesn’t get enough physical affection in the early years, the frontal lobe does not develop at all. And when a person has neither empathy or impulse control, it’s a whole lot easier to kill.

Great. So what do we do with that information? Obviously, violent criminals have to be locked up. But that doesn’t mean we can’t try to understand them, their motivations, their thought processes, and even the psychological or physical damage that may have led them to this point. That’s why we wanted to produce Love Kills. Sometimes the job of theatre is to ask big questions without insisting on any particular answers.

So why choose a story set in 1958 if we want to talk about violence today? Because just like today, the end of the 1950s was a tumultuous time, a turning point in American culture and politics. Just one year after the Starkweather murders, Allen Ginsberg wrote in The Village Voice, “No one in America can know what will happen. No one is in real control. America is having a nervous breakdown.” Sounds like 2009, doesn’t it?

For the last fifty years, American politics has been entirely about a battle between the 1950s (conservatism) and the 1960s (liberalism). In this last election, McCain (the 50s) lost decisively to Obama (the 60s), but one look at cable news tells you the fight isn’t over yet.

Charlie Starkweather was right at the heart of all this in 1958 – he represented everything adults feared about the coming 1960s: rock and roll, drugs, teen sex, teen movies, fast cars, “juvenile delinquents,” in fact, all of teenage culture. To some extent, Love Kills is about this big, ongoing cultural battle, with Charlie and Caril (and their music) representing the chaos and anarchy of the coming 1960s, and Merle and Gertrude as defenders of what’s right and decent and worthy of Eisenhower’s (smothering but ordered) 1950s. Charlie and Caril were the real-life demons that terrified adults in movies like The Wild One and Rebel Without a Cause.

But why is that terror still with us? Because we’re not just afraid of crime anymore – we’re afraid of our children, of healthcare, hip-hop, terrorism, the media, race, sex, swine flu, France – you name it, we fear it.

And more than anything else, we still fear and fetishize the Other, first the Communists in the 50s, then the juvenile delinquents, then the Blacks, then the hippies, then the gays, then the rappers, then the Mexicans, then the “terrorists” (i.e., all Arab men), and now some even fear our Black President. But none of it is rational, and all of it will lead to more violence.

If we want to live in peace, we must confront our fear, examine it, name it, and conquer it. Sometimes it’s important to face our demons and stare them down.

Welcome to the jungle.

The 25th Annual Putnam County Spelling Bee (2009)

book by Rachel Sheinkin music and lyrics by William Finn
conceived by Rebecca Feldman and The Farm
July 16-August 8, 2009
Washington University South Campus Theatre
Show Webpage
Production Photos

Leaf Coneybear – Aaron Allen
Logainne Schwartzandgrubenierre – Emily Berry
Douglas Panch – Brian Claussen
Chip Tolentino – Mike Dowdy
William Barfée – Nicholas Kelly
Marcy Park – Alexis Kinney
Olive Ostrovsky – Katie Nestor
Mitch Mahoney – John Rhine
Rona Lisa Peretti – Deborah Sharn

Director – Scott Miller
Choreographer – Robin Michelle Berger
Stage Manager – Trisha Bakula
Costume Designer – Amy Kelly
Set Designer – Todd Schaefer
Lighting Designer – Kenneth Zinkl
Lighting Technician – Trisha Bakula
Props Master – Trisha Bakula
House Manager – Ann Stinebaker
Box Office Manager – Vicki Herrmann
Graphic Designer – Matt Reedy
Photographer – Jill Ritter

Piano/Conductor – Chris Petersen
Cello – Ethan Edwards
Second Keyboard – Joel Hackbarth
Percussion – Clancy Newell
Reeds – Robert Vinson

“Laughter rocked the house and spontaneous applause broke out often. A standing ovation ensued, and the audience left The 25th Annual Putnam County Spelling Bee in great good humor.” – Andrea Braun, KDHX-FM

“An over the top delight. New Line Theatre’s current production is a perfectly cast show filled with moments of high hilarity. . . I can’t remember when I’ve laughed so hard and so long at a show. New Line’s presentation of The 25th Annual Putnam County Spelling Bee is priceless entertainment.” – Chris Gibson,

“All of the stress and self-doubt of puberty are relived in delightfully meticulous and humorous detail in director Scott Miller’s uproariously magnificent production of this surprise Broadway hit from 2005. Miller has assembled a smart and energetic cast who throw themselves hilariously into their squirming roles, while also managing some poignant moments as well. Indeed, this version plays even better than did the touring show at The Fox a year ago, as Spelling Bee is a small musical that is most effective in a cozier venue. . . New Line’s Spelling Bee is what e-n-t-e-r-t-a-i-n-m-e-n-t is all about and a positive life lesson to boot.” – Mark Bretz, Ladue News

“Life may be pandemonium, as the lyrics goes, but Miller’s direction is quite disciplined, and his cast is top-notch.” – Peter Filichia,

“This Spelling Bee radiates the goofy, familiar charm of a sketch comedy show that you try not to miss. You know the players; the fun lies in seeing what they’ll do this time. . . It’s just a sweet, imaginative look at pressure and how we badly we sometimes handle it. The adults laughing in the audience may have more finesse than the kids portrayed on stage – but we wouldn’t laugh if we didn’t know exactly how they feel.” – Judith Newmark, St. Louis Post-Dispatch

“[Bookwriter] Rachel Sheinkin and [composer] William Finn celebrate the pariah in devastatingly funny songs. Scott Miller’s production is exceptionally fine, exploiting the large laughs of the precociously confident William Barfée (Nicholas Kelly), a mucously enhanced young man who lauds his magic spelling foot in a Busby Berkeley-esque fantasia (courtesy of choreographer Robin Michelle Berger). Miller just as deftly develops the quieter moments, such as parolee-cum-rules enforcer Mitch Mahoney (John Rhine), who sings of wanting to beat the children to teach them real pain, but instead hugs and comforts them. Because that’s all anyone can do: Say ‘good job,’ and hope the vulnerable are resilient enough to take the punches when they come.” – Paul Friswold, The Riverfront Times

“A charming evening of song, wit and wisdom by New Line Theatre . . . The delightful production is more effective on the smaller stage, with its more intimate atmosphere, than it was when a touring company played the Fox a few years ago. Scott Miller’s direction is crisp and on the mark . . . Spelling Bee is a great deal of fun.” – Joe Pollack, St. Louis Eats and Drinks

“Sabotage, the casting off of perfection, and the tender beginnings of love stir the emotional pot of act two. In the end, only one speller emerges victorious, but everyone who came to see the play also wins, in terms of money and time well spent for a night’s entertainment.” – Nancy Larson, St. Louis Woman

TOP TEN SHOWS OF 2009: “Director Scott Miller crafted a hilarious production of The 25th Annual Putnam County Spelling Bee that had me rolling in the aisle. The cast, consisting of: Nicholas Kelly, Alexis Kinney, Katie Nestor, Deborah Sharn, Mike Dowdy, Aaron Allen, Emily Berry, John Rhine and Brian Claussen were all impeccable, and that’s not an easy task given William Finn’s catchy, but challenging score.” – Chris Gibson,

Spelling Bee is an unusual show. Even for us. It’s a musical unlike anything you’ve seen before. And it wasn’t created the way most musicals are created.

It all started in 2002 with director Rebecca Feldman and her New York-based improvisational group, The Farm, who created a comedy called C-R-E-P-U-S-C-U-L-E at the Present Company Theatorium in New York. Playwright Wendy Wasserstein made the trek to the Lower East Side theatre, in a rat-infested former chop shop, to see her weekend nanny perform in this sketch comedy show about a spelling bee. C-R-E-P-U-S-C-U-L-E was the brainchild of Feldman, who had never lived down misspelling bruise as bruze in a childhood bee.

Wasserstein loved the show and saw something in it for her friend, composer William Finn (Falsettos, A New Brain, Romance in Hard Times, Muscle), who did not bother to actually go see the show but watched a tape of it on his bed, falling asleep in the middle. But he still loved it. He was drawn to the concept of a spelling bee as a metaphor for human experience. “Sometimes you get the easy word, and sometimes you don't,” says the composer. He puts it best in one of his lyrics for the show: “Life is random and unfair.” With Finn now contributing the soul of the show, the central theme emerged: America’s obsession with Winning – one of the main drivers of the current Wall Street meltdown.

In 2004, now with a revised script by Finn’s former student Rachel Sheinkin, the show was workshopped and then produced by the Barrington Stage Company in Sheffield, Massachusetts. In February 2005, it opened off Broadway, and in May transferred uptown to Broadway, where it ran 1,186 performances, closing in 2008. Spelling Bee was honored with six Tony nominations and won two of them. The show also won three Drama Desk Awards, two Lucille Lortel Awards, and two Theatre World Awards.

Finn says about these characters, “These kids who feel like freaks when they arrive at the bee find others who are just like them, and they realize they’re not going to be alone for the rest of their lives.” He says that whenever he speaks to teenagers, he tells them they will be appreciated as adults for the very qualities that render them nerds in high school. He goes on, “Inevitably the cutest girl or the handsomest guy raises their hand and says, ‘But I’m happy here.’ And I say, ‘Well, I’m not really talking to you. I’m addressing everyone else’.”

Tonight we salute all the wounds, past, present, and future, that make us the neurotic, needy, crazy, beautiful people we all are.


Return to the Forbidden Planet (2009)

by Bob Carlton
based (loosely) on The Tempest
by Wm. Shakespeare
April 30-May 23, 2009
Washington University South Campus Theatre
Show Webpage
Production Photos

Dr. Prospero – Zachary Allen Farmer
Capt. Tempest – Michael Amoroso
Miranda – Tara Lawton
Cookie – Ted Drury
Science Officer – Nikki Glenn
Bosun – Philip Leveling
Ariel the Robot – Scott Tripp
Ship’s Engineer – Mike Dowdy
Weapons Officer – Tawaine Noah
Navigation Officer – Kimi Short

Director – Scott Miller
Choreographer – Robin Michelle Berger
Set Designers – David Carr and Jeffrey Breckel
Lighting Designer – Hans Fredrickson
Costume Designers – Betsy Krausnick, Thom Crain
Sound Designer – Robert Healey
Id Monster Designer – Pat Edmonds
Props Master – Trisha Bakula
Lighting Technician – Melissa Blair
House Manager – Ann Stinebaker
Box Office Manager – Vicki Herrmann
Graphic Designer – Matt Reedy
Photographer – Jill Ritter

Piano/Conductor – Chris Petersen
Bass – Dave Hall
Lead Guitar – Mike Renard
Rhythm Guitar/Trumpet – Patrick Swan
Percussion – Mike Schurk
Reeds – Marc Strathman

“Remember the halcyon days when we were terrified of the Russians, they were terrified of us, and Shakespeare wrote his first intergalactic R&B hit, “It’s A Man’s Man’s Man’s World?” Sweet fancy Moses, those were the days. Wait, that never happened. Or did it? Yup, looky here: Return to the Forbidden Planet. It’s sweet Billy Shakes vs. Golden Oldies vs. Space Age Love Songs. Just what Dr. Tempest ordered.” – Calendar Pimp, The Riverfront Times

“New Line Theatre presents a lot of intriguing work, but now and then it gets everything so right that you’re ready to see the show again before you’re out of the theater. Hair was like that; Bat Boy, too. And so is its new production, Return to the Forbidden Planet – a smart, giddy, musically ingenious spoof written by Bob Carlton and directed by Scott Miller.” – Judith Newmark, St. Louis Post-Dispatch

“Bob Carlton’s whimsical take on The Tempest as refracted through a 1950s sci-fi prism features a galaxy’s worth of fantastic rock & roll songs, punning wordplays on snippets of Shakespearian monologues and intentionally ‘Pigs in Space’ costuming (courtesy of Betsy Krausnick). But this is no parlor trick of a musical; there’s a rich vein of Shakespeare’s favorite ingredient – the wondrous depths of the human heart – that elevates the show from cunning stunt to artful meditation on the destructive nature of power and the redemptive power of love. . . Smart show, smart cast, smart director with an understanding of what’s going on under the notes and behind the dialogue – this is what audiences deserve.” – Paul Friswold, The Riverfront Times

“New Line artistic director Scott Miller meticulously blends the comic sensibilities of his talented cast with the brisk, jaunty style of the New Line band to make this foray into outer space a campy and delightful journey. There are stars aplenty in this cosmos.” – Mark Bretz, Ladue News

“The most delightful musical to hit St. Louis in many years. . . a wondrous evening of musical theatre.” – Joe Pollack, KWMU-FM

“Irresistible. Under the guidance of director Scott Miller, New Line Theatre is presenting a thoroughly engaging and enjoyable production . . . This is a fun show, and director Scott Miller has assembled a talented cast and crew that seems to be having a blast” – Chris Gibson, KDHX-FM

Forbidden Planet plays for laughs, which it receives in abundance. . . [Director] Miller takes chances, and they nearly always pay off.” – Andrea Braun, The Vital Voice

“I’ll tell you one show in 2009 that thrilled me and delighted me. I went back to see Return to the Forbidden Planet three times, and I’ve heard it said that when a theatre critic goes back for fun, that’s a good sign. I thought it was absolutely brilliant. . . It was exhilarating, it was really was.” – Judith Newmark, St. Louis Post-Dispatch on KDHX-FM

Return to the Forbidden Planet is wacky and chaotic on the surface, but it’s also really smart, retaining the serious themes of its earlier versions, William Shakespeare’s The Tempest and the 1956 film Forbidden Planet.

Just like the film and the play, Return to the Forbidden Planet is about the idea of expanding human consciousness with technology (or Jedi-like magic in the original play), unknowingly releasing the dangerous power of the human id, and thereby butting up against that timeless and universal truth, that power corrupts and absolute power corrupts absolutely.

Today, more than ever before, we are developing many new technologies that literally expand the boundaries and power of human consciousness, through the internet (and its various applications, Facebook, Wikipedia, YouTube, and so many others), the iPhone, the Blackberry, and more devices coming every day. Dr. Prospero’s discovery and use of “telegenesis” is a clear metaphor today for the creation of blogs, viral videos, online discussion groups, social networking sites, and much more. Not only does human consciousness now extend beyond our physical selves, it extends around the globe. A blogger’s voice, his thoughts and ideas, are instantly materialized in every corner of the planet, and we’re getting closer and closer to those ideas being instantaneously translated, so that even language will no longer be a barrier.

We’ve only begun to understand what this revolution means. It will change the world as much as electricity and television have. Moore’s Law says that the microchip doubles in capacity every eighteen months (this pattern has held since 1958). With that in mind, imagine what technology will look like in twenty-five years, and Dr. Prospero’s Id Monster suddenly seems a bit less ridiculous.

Return to the Forbidden Planet has at the center of its tale the biggest of all moral questions: should we restrict or block science, even when it crosses into moral gray area? Dr. Prospero’s discovery seems to him a giant step forward for humankind, an expansion and extension of human consciousness greater than any that has come before. But he doesn’t foresee the inherent downside, that he would greatly intensify the mind’s power without also greatly increasing the mind’s ability to control itself. It’s a problem illustrated by the old joke, “Don’t think about an elephant” – it’s nearly impossible to do because the mind is hard to consciously control. In any arena, increasing power without increasing control usually leads to disaster, and it’s a problem we keep bumping up against as we continue to evolve.

Decades ago, we discovered nuclear power, but we still can’t control or contain it. The world’s greatest fear today is that Iran or North Korea or, worse yet, a band of rebel terrorists, will use a nuclear bomb. We increased our power without sufficient control. We invented the internet, wildly expanding the reach of human consciousness, but with it came online predators, the loss of privacy, and the erosion of the idea of copyright. Again, we increased our power but we still can’t control it (though some believe the internet should never be controlled). And two of the newest technologies, gene mapping and embryonic stem cell research already scare people who foresee cloning and “designer babies.” This is the real issue at the heart of Return to the Forbidden Planet, and it’s why this remains a fascinating story.

A New Line Cabaret IV: Night of the Living Show Tunes (2009)

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

Mara Bollini, Nikki Glenn, Joel Hackbarth, Amy Kelly, Nicholas Kelly, Khnemu Menu-Ra, Katie Nestor, Talichia Noah, Jeffrey Pruett, John Rhine, Todd Schaefer, Deborah Sharn, Kimi Short, Margeau Baue Steinau, Scott Tripp, Jeffrey M. Wright

Director – Scott Miller
Lighting – Trisha Bakula
Pianist – Scott Miller

“Scott Miller and the ‘New Line All-Stars’ put together a really fun show last night. Yeah, it’s a musical theater revue – one with some really funny, smart material, a lot of it drawn from shows that New Line has staged in their entirety. . . The stately hall and the offbeat material made a great combination, elegant but relaxed – you know, like you have style, but you’re used to it.” – Judith Newmark, St. Louis Post-Dispatch

“A special evening of song designed, in part, to raise funds for the New Line Theatre scholarship fund, took place over the course of two nights in the shimmering acoustic surroundings of the Sheldon Concert Hall. Artistic Director Scott Miller tickled the ivories in expert fashion as a parade of local talent favored the audience with an eclectic mix of tunes culled from a wide variety of shows. It was a thoroughly enjoyable evening, and it definitely piqued my curiosity about some of the more obscure material that was presented.” – Chris Gibson, KDHX-FM

“Our Prayer” (from Brian Wilson’s Smile) – Company
“Spanish Sailing Ship” (from Songs for a New World) – John, Khnemu, Deborah, Kimi
“I Don’t Remember You” (from The Happy Time) – Todd
“Sometimes a Day Goes By” (from Woman of the Year) – Scott Tripp
“Look Over There” (from La Cage aux Folles) – Jeff  Pruett
“A Trip to the Library” (from She Loves Me) – Katie
“Somewhere That’s Green” (from Little Shop of Horrors) – Kimi
“Sara Lee” (from And the World Goes ‘Round) – Nick, Mara, Margeau
“Madeleine” (from Jacques Brel) – Nikki, Talichia, Khnemu, Joel
“Ready to Settle” (from High Fidelity) – Margeau, Mara
“I Love You” (from Little Me) – Joel, Katie, Company
“The Stuff” (from Reefer Madness) – Deborah
“There’s a Fine, Fine Line” (from Avenue Q) – Nikki
“Don’t Know Where You Leave Off” (from Sweet Smell of Success) – Khnemu, Kimi
“Getting Married Today” (from Company) – Amy, Nick, Talichia, Company

“Four Jews in a Room Bitching” (from March of the Falsettos) – Joel, Khnemu, Todd, Scott Tripp
“And They’re Off” (from A New Brain) – Jeff Pruett, Company
“Fathers and Sons” (from Working) – Jeff Wright, Men
“The World Was Dancing” (from Songs for a New World) – Todd, John, Deborah, Kimi
“And I Am Telling You I’m Not Going” (from Dreamgirls) – Talichia
“Poor Child” (from The Wild Party) – Jeff Wright, Deborah, Margeau, Jeff Pruett
"Baby, Dream Your Dream (from Sweet Charity) – Mara, Nikki
“Unrequited Love” (from Promenade) – Katie, Mara, Margeau, Wright, Nick, John
“I’m Going Home” (from The Rocky Horror Show) – Scott Tripp, Katie, Mara, Margeau, Wright, Nick, John
“Vacation/No Holds Barred” (from Pump Boys/Dinettes) – Talichia, Kimi, Joel, John, Todd
“I Believe” (from Spring Awakening) – Company
“Hear My Song” (from Songs for a New World) – Kimi, Deborah, John, Khnemu, Company
“Hills of Tomorrow” (from Merrily We Roll Along)  – ompany