Bloody Bloody Andrew Jackson (2012)

Book
by Alex Timbers
Music and Lyrics by Michael Friedman
Sept. 27-Oct. 20, 2012
Washington University South Campus Theatre
Show Webpage
Production Photos

THE CAST
Andrew Jackson – John Sparger
Band Soloist – D. Mike Bauer
Lyncoya, et al. – Stephanie Brown
Martin Van Buren, et al. – Brian Claussen
James Monroe, et al. – Mike Dowdy
John Quincy Adams, et al. – Zachary Allen Farmer
The Storyteller – Amy Kelly
Henry Clay, Chief Black Fox, et al. – Nicholas Kelly
“Rock Star” soloist, et al. – Todd Micali
Rachel Jackson, et al. – Taylor Pietz
Cheerleader, et al. – Sarah Porter
John Calhoun, et al. – BC Stands
Cheerleader, et al. – Chrissy Young

THE ARTISTIC STAFF
Director – Scott Miller
Fight Choreographer – Nicholas Kelly
Costume Designer – Amy Kelly
Scenic Designer – Scott L. Schoonover
Lighting Designer – Kenneth Zinkl
Sound Designer – Donald Smith
Stage Manager – Alex Moore
Props Master – Alison Helmer
House Manager – Ann Stinebaker
Box Office Manager – Vicki Herrmann
Lighting Technician – Trisha Bakula
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

THE NEW LINE BAND
Piano/Conductor – Justin Smolik
Guitar – D. Mike Bauer
Bass – Dave Hall
Percussion – Clancy Newell

REVIEWS
“It's kind of hard to describe the new musical Bloody Bloody Andrew Jackson, but only because it's such a phantasmagorical journey through the life and presidency of Andrew Jackson. Parts of it are downright hilarious, while others are amazingly informative. Kind of like what Bill Cosby used to say during the opening credits of the Fat Albert show: ‘If you're not careful, you might learn something before it's done.’ New Line's current presentation of this wild and woolly excursion into history is a rockin' riot, filled with catchy tunes and funny, anachronistic humor that rarely misses the mark. . . It's a colorful and engaging tale guaranteed to delight even the most jaded theatre-goer. . . New Line Theatre's production of Bloody Bloody Andrew Jackson earns my highest recommendation. This is must-see modern musical theatre at its finest (and weirdest).” – Chris Gibson, BroadwayWorld

“From its sensational opening number, ‘Populism, Yea, Yea!,’ this show presents its take on history without the reverence of old bio-pics (Abe Lincoln in Illinois) or the thoughtful British gloss of new ones (The King's Speech). According to Alex Timbers, who wrote the Bloody Bloody book, and Michael Friedman, who wrote the music and lyrics, our politics demand discussion in a truly American vernacular: rock 'n' roll. . . Looking at the past through a modern prism, Bloody Bloody Andrew Jackson reminds us that America is still a very young country. Of course we recognize Jackson and his contemporaries. As the great Southern novelist William Faulkner famously observed, the past isn't dead. It isn't even past.” – Judith Newmark St. Louis Post-Dispatch

“When the 7th President of our United States, Andrew Jackson, swaggers out onstage, in eyeliner, black nails and with a microphone in his holster, telling the audience that they are sexy, you can bet that this is not gonna be your grandma's American History lesson. Not that we would really expect that – not from New Line Theatre. . . Scott Miller directs the insanity with abandon – adroitly melding the anachronistic profanely funny 2000s style comedy with a touching reality, especially where it counts: in scenes between Andrew and Rachel, and scenes between Andrew and Black Fox. Justin Smolik leads the tight band with D. Mark Bauer adding vocals. . . So if you like your history with a little hysteria, you should definitely consider checking out this rollicking rock musical at New Line Theater.” – Bob Mitchell, KDHX

“This is a New Line show if there ever was one. It’s smart, sassy, political, and has a compelling score. . . The excellence of the material and the staging make this a vintage New Line production. [John] Sparger is a commanding figure as Jackson, and he’s surrounded by a terrific ensemble in which almost everyone plays multiple roles. We are treated to irreverent portrayals of some of the country’s most revered politicians, including three presidents, a vice president, and a speaker of the house. Most of the performers are New Line regulars who remind us of how deep a pool of talent New Line has to draw from these days. . . This production is an ideal match of artists and material, and it gives us plenty to think about as the November election approaches.” – Gerry Kowarsky, Two on the Aisle

“New Line Theatre, is presenting the regional premiere of this raucous, rowdy and rapacious one-act extravaganza, which is often rude, crude and lewd, so be wary of taking children for a ‘history lesson.’ The arch, Goth style of this production, though, is brimming with energy. . . The show has so much vitality and dynamism. . . Bloody Bloody Andrew Jackson is frantic, antic and full of surprises as it speculates on how the west was really won and how America creates its heroes.” – Mark Bretz, Ladue News

“Bodacious and unconventional, Bloody Bloody Andrew Jackson is a turbo-charged history lesson in the guise of an emo-rock musical. Naturally, New Line Theatre would open its 22nd year as the region's first company to produce this irreverent work, especially fitting during an election year. The parallels between politics then and now are striking and a tad eerie. Liberty, what a concept! Director Scott Miller has long led the charge for alternative adult musicals, and he stretches the medium's boundaries while celebrating them, certainly admirable. Because he is fearless when pushing the envelope, Miller presents this snarky take on our seventh president with his tongue planted firmly in his cheek.” – Lynn Venhaus, Belleville News Democrat

“It's all handled in a very buoyant, funny, ironic, idiotic way, by the extremely knowledgeable producer/director Scott Miller. And most of his genuinely unbeatable 'all-stars' are along for the ride: the singers and actors who delightfully recur from show to show. John Sparger, in the title role, has never looked or sounded better, or been funnier. And then there's just this Costco-sized bundle of talented people backing him up.” – Richard Green, TalkinBroadway

“In Michael Friedman and Alex Timbers’ hard-rocking musical, Bloody Bloody Andrew Jackson, our seventh president is a smoldering rock star who makes love to the country with the same intensity with which he wages war against his enemies. His macho populism and belief in the common man come through in heartfelt songs that cast a modern light on the age-old problem of politics: How do you get your way without losing your soul?” – Paul Friswold, The Riverfront Times

“I can hardly think of a better way to catch a break from the onslaught of this year's presidential campaign than to check out this saucy, contemporary, in-your-face look at our seventh president. Bloody Bloody Andrew Jackson opens New Line Theatre's 22nd season, and this show is right up its alley. . . Under Scott Miller's high-speed direction and Justin Smolik’s tight direction of the New Line Band, this boisterous cast of New Liners deliver the musical numbers with their usual zest, and just enough cheek, complete with anachronisms like cell phones and cheerleaders. . . This is a history lesson that will prove much more interesting and entertaining than anything you've heard in school.” – Andrea Torrence, St. Louis Theatre Snob

“The satirical Bloody Bloody Andrew Jackson, directed by artistic director Scott Miller, lives up to its name with a stage awash with the blood of so-called 'Indians,' Spaniards and Jackson himself. The history books want to know: Was our seventh president a great leader who doubled our country’s land mass or a mass murderer, an 'American Hitler'? Sound like a comedy? Not really. But Bloody Bloody, written by Alex Timbers, is laugh-out-loud hilarious. Its humor is assisted by Michael Friedman’s emo (emotional hardcore) rock score and in-your-face lyrics.” – Nancy Fowler, St. Louis Beacon

“It's quite an accomplishment for the St. Louis theater scene, and I readily recommend Bloody Bloody Andrew Jackson to my readers, especially those who are willing to try a production that may be outside of their usual comfort zone. To me, pushing the envelope and doing the unexpected is the most exciting aspect of acting, and you won't find too many musicals that push the envelope harder than this.” – Jeff Ritter, The Trades

“It’s the most fun you’re ever likely to spend with a politician. Director Scott Miller has brought his magic touch into play milking the irony and laughs out of every line, pratfall and stage picture. . . If you’re in the mood for a bizarre look at this iconic period in American history, you’re in for a treat with Bloody Bloody Andrew Jackson. It should be required viewing for every college American History course.” – Steve Allen, Stagedoor STL

DIRECTOR'S NOTES
Bloody Bloody Andrew Jackson is the story of one of our country’s most interesting Presidents growing up, just as America itself was growing up, as our nation was becoming a more serious, more literal democracy. This is a show about complexity, about gray area, about the Jekyll & Hyde in all of us; and also about American politics, about the lenses through which we see history, our biases and political agendas.

Andrew Jackson is the Rorschach Test of Americans Presidents, so complicated that almost everyone can find something in him that resonates. He was equal parts Barack Obama (charismatic populist and intrinsically American success story), John McCain (crusty war hero), Sarah Palin (loud, clumsy outsider), and George W. Bush (cocky, loyal, and charming).

His first biographer James Parton wrote, “Andrew Jackson, I am given to understand, was a patriot and a traitor. He was one of the greatest of generals, and wholly ignorant of the art of war. A writer brilliant, elegant, eloquent, without being able to compose a correct sentence, or spell words of four syllables. The first of statesmen, he never devised, he never framed a measure. He was the most candid of men, and was capable of the profoundest dissimulation. A most law-defying, law-obeying citizen. A stickler for discipline, he never hesitated to disobey his superior. A democratic autocrat. An urbane savage. An atrocious saint.”

A PBS documentary about Jackson contained the following list of chapters: The Wild Young Man, The War Hero, The Slave Master, The Candidate, The First Imperial President, The Defender of the Union (against secession), The Great White Father (the ironic nickname given to him over his “Indian Removal Program”), and The Prophet (of democracy literally “of the people”).

Jackson was all of those. And he lived at an amazing moment in our American Experiment. His election in 1828 was the first Presidential campaign decided by popular vote, the first grassroots Get Out the Vote effort, and the first overtly public campaign for President.

His presidency brought to the forefront for the first time many of the issues we still fight over today, including “states’ rights” and nullification, separation of powers, the expansion of executive power, fiercely divided politics, new mass media and more. Because he was the first President elected by popular vote, the Jacksonian Era was a difficult time for our country, a kind of early adolescence.

Just as our extreme political hostility today in this new century is born of a genuinely divided culture, so too was Jackson’s world. And to dramatize all this tumult and complexity for a modern audience – and perhaps to teach us some lessons for our times – Alex Timbers and Michael Friedman have created a rock musical in Bloody Bloody Andrew Jackson that captures those people and those times; and the show’s angry, cocky, ironic, rock and roll aesthetic captures even more so that era’s emotional zeitgeist, so freakishly like our own today.

High Fidelity (2012)

Book by David Lindsay-Abaire
Music by Tom Kitt
Lyrics by Amanda Green
Based on the novel by Nick Hornby
May 31-June 23, 2012
Washington University South Campus Theatre
Show Webpage
Production Photos

THE CAST
Rob – Jeffrey M. Wright
Laura – Kimi Short
Dick – Mike Dowdy
Barry – Zachary Allen Farmer
Ian – Aaron Allen
Liz / Jackie – Talichia Noah
Anna / Alison – Terrie Carolan
Marie LaSalle – Margeau Baue Steinau
TMPMITW / Bruce Springsteen – Todd Micali
Klepto-Boy – Nicholas Kelly
Futon Guy / Skid – Keith Thompson
Hipster / Neil Young / Skid – Ryan Foizey
Charlie – Chrissy Young
Penny – Taylor Pietz
Sarah / Marie’s back-up singer – Sarah Porter

THE ARTISTIC STAFF
Director – Scott Miller
Choreographer – Robin Michelle Berger
Costume Designer – Amy Kelly
Scenic Designer – Scott L. Schoonover
Lighting Designer – Kenneth Zinkl
Sound Designer – Donald Smith
Stage Manager – Trisha Bakula
Dance Captain – Taylor Pietz
Props Master – Alison Helmer
House Manager – Ann Stinebaker
Box Office Manager – Vicki Herrmann
Lighting Technician – Trisha Bakula
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

THE NEW LINE BAND
Piano/Conductor – Justin Smolik
Lead Guitar – D. Mike Bauer
Rhythm Guitar – Aaron Doerr
Bass – Dave Hall
Percussion – Clancy Newell
Second Keyboard – Jeffrey VanDiver

REVIEWS
“Earlier this season, New Line Theatre staged two regional premiers: the wry, insightful Passing Strange and the raucous, insightful Cry-Baby. High Fidelity – by turns wry and raucous, and maybe the most insightful of all – makes an inspired conclusion. . . When New Line artistic director Scott Miller first staged High Fidelity on the heels of its Broadway failure, he rescued it from obscurity; it’s gone on to a number of successful productions at colleges and small theaters around the country. This production, also directed by Miller, is a kind of victory lap: a showcase for the musical’s clever songs, endearing characters and above all for the New Line gang. A talented bunch both onstage and behind the scenes, with High Fidelity they once again welcome theater-goers into their smart inner circle.” – Judith Newmark, St. Louis Post-Dispatch

“The Number One reason to see this revival production of High Fidelity: IT ABSOLUTELY ROCKS!” – Chris Gibson, BroadwayWorld

“After four years, and rave reviews from critics, High Fidelity has returned to St. Louis. . . What stands out most about this production of High Fidelity is the passion that went into it. You can tell that these actors are singing and dancing their hearts out; you can feel the raw energy and emotion that they radiate with their performances. I listened to the original cast recording of the show, and I can honestly say that some of the recorded numbers couldn’t hold a candle to the New Line versions. . . High Fidelity is a fantastic show, filled with pure rock energy and a myriad of memorable songs. It would truly have been a tragedy if it wasn’t revived after being left for dead on Broadway. Instead of just taking the movie and slapping some songs into it, the cast and creatives really make it their own. With great performances and powerful rock music that is fondly familiar, it is a must see show that you don’t want to miss.” – Kevin Brackett, ReviewSTL

“As always, Scott Miller’s direction is right on the money. He has found the secret of making this Broadway disappointment into a vehicle for fun and frenzy that you just wish wouldn’t end. . . If you’re ready for flat-out fun, don’t miss this terrific show. It bubbles with personality and just makes you feel good all over. Outstanding performances lead the way and the almost lost score with music by Tom Kitt and lyrics by Amanda Green along with the book by David Lindsay Abaire show that there’s life in any musical as long as it has heart, desire and a little help from Scott Miller.” – Steve Allen, Stage Door St. Louis

“New Line Theatre artistic director Scott Miller saw the beauty and buoyancy behind the weak Broadway effort that introduced High Fidelity as a rock musical in a disappointing effort that folded after just 14 performances on Broadway in late 2006. Miller’s New Line Theatre mounted the first regional presentation in 2008, a glorious triumph that Ladue News cited as the best production of the year. . . Now, New Line has brought High Fidelity back to its greatest success in a presentation that, if anything, is stronger and more engaging than its 2008 predecessor. . . If you love rock music and feel-good stories, High Fidelity should top your charts.” – Mark Bretz, Ladue News

“In true New Line fashion, director Scott Miller pared the show down to what was necessary: the tale of a commitment-shy Gen-Xer struggling, buoyed by his love of music, to grow up and become a human – and by focusing on that, he made the show a hit of the 2008 season. Not resting on his laurels, though, in this production Miller opens up the space a little, allowing musical numbers to joyously jump out at you. . . The newly revived show has lost none of its original verve – in fact you could say this show is ‘re-mastered’ – in its new space, it takes the already clean master material and polishes it further, opening up the stage to let the ‘confessional booth’ tone of this charged rock musical spill out into the laps of the audience and make us question our own behaviors in our relationships, and explore how to forgive and be forgiven. . . So if rockin’ music with a good story is your idea of great entertainment, plan on seeing New Line’s High Fidelity.” – Robert Mitchell, KDHX-FM

“Right now, we can enjoy a second helping of Miller’s take on the show. Once again, the results are dazzling. . .The entire production is proof again that High Fidelity is a musical with a future.” – Gerry Kowarsky, Two on the Aisle

“I was glad to see it again. I think I enjoyed it more this time and got more out of it.” – Bob Wilcox, Two on the Aisle

“If you've ever found salvation in a used-record bin, poured your soul into a mixtape or sunk into deep neurosis over the state of your romantic affairs, there is plenty here to appreciate.” – Mike Appelstein, The Riverfront Times

“Don’t dismiss them as merely regional theater – when a production such as this nails it, Broadway takes notice. Director Scott Miller and his terrific cast have certainly made a believer out of me.” – Jeff Ritter, The Trades

“New Line Theatre has revived High Fidelity after giving this musical its first regional premiere in 2008. Based on the novel by Nick Hornby, High Fidelity suffered a short life on Broadway, but New Line's artistic director, Scott Miller, has a thing about reviving Broadway flops. Seeing the potential and the heart at the center of this rock musical, he and his trusty crew at New Line gave it a new life then, and it's even better this time around. . . .Under Miller's perceptive direction, just about every aspect of the show seems to have been brought up a notch, and Jeffrey M. Wright's portrayal of our hero Rob Gordon (one of many wonderfully reprised roles from 2008) has matured. . . Check it out for some great songs, great performances, and a very good time.” – St. Louis Theatre Snob

DIRECTOR'S NOTES
In 2008, New Line Theatre resurrected this amazing piece of rock theatre after a misguided New York production, bad New York reviews, and a very short Broadway run. Its creators thought it was dead. And none of the New York licensing agencies would represent the show, so regional theatres wouldn’t produce it.

But we New Liners saw what was special here, the intelligence and emotion and deep human insight, and so New Line produced the show in 2008 for the first time since its Broadway run, bringing to St. Louis audiences the American regional premiere of High Fidelity. The show got rave reviews here and sold out all but one performance. Soon we were getting requests from other theatres for production rights, so we passed them along to the writers. And now, theatre companies across the country are producing this show. (And we did the same thing with Cry-Baby this season!) Now, finally a licensing agent in New York is licensing High Fidelity.

What could we see that they couldn’t see in New York?

What the Broadway team failed to understand is that High Fidelity is not a musical comedy and it’s not a love story. It’s the story of one guy – a man-child, really – learning to grow up. It’s a classic Hero Myth, like Star Wars and The Wizard of Oz. But in those two stories, the hero takes a physical journey that represents an interior journey. In High Fidelity, we’re on the inside from the get-go. In fact, we spend the entire show inside Rob’s head. But all the same elements are here – the wise wizard (Liz and/or Bruce Springsteen), the magic amulet (rock and roll), the trusty companions (Barry and Dick), and an evil wizard, which in this case is Rob himself, his own worst enemy.

The point is that Rob has to grow up before he can have a satisfying, adult relationship. It’s a journey all of us have gone on or are in the midst of. In Rob’s journey – and in his music – we find the universal human process of continual self discovery and (if we’re lucky) increasing self-awareness. We can see that transformation in Rob’s music and in his relationship to his music.

This is a story about experiencing music autobiographically, about using music to connect to others, about the way it makes your personal pain somehow transcendent – but also about how we can hide from our lives in music (or any art). So what better form in which to tell this story than a rock musical? And what better way to construct the score than in the musical vocabulary and language of these guys’ lives?

This is an original score that delivers dramatically but is also peppered with musical references to some of the great rock and pop artists of our time, the muscular American sound of Bruce Springsteen, the raw rage of Guns N’ Roses, the intellectual playfulness of Talking Heads, the fierce defiance of Aretha Franklin, the smoky groove of Percy Sledge, the driving cynicism of Billy Joel, the naked emotion of Ben Folds. This is a show that uses music as carefully and artfully as it uses dialogue to tell its story, comically, emotionally, often ironically. We hope you enjoy it as much as we do.

Cry-Baby (2012)

Songs by David Javerbaum and Adam Schlesinger
Book by Thomas Meehan and Mark O'Donnell
Based on the film by John Waters
New Orchestrations by Christopher Jahnke
March 1-24, 2012
Washington University South Campus Theatre
Show Webpage
Production Photos

THE CAST
Wade “Cry-Baby” Walker – Ryan Foizey
Allison Vernon-Williams – Taylor Pietz
Baldwin Blandish – Mike Dowdy
Mrs. Cordelia Vernon-Williams – Cindy Duggan
Pepper Walker – Marcy Wiegert
Wanda Woodward – Chrissy Young
Mona “Hatchet Face” Malnorowski – Sarah Porter
Dupree W. Dupree – Ari D. Scott
Lenora Frigid – Terrie Carolan
The Whiffles – Evan Fornachon, Devon A. A. Norris, Christopher Strawhun
Judge Igneous Stone and Everybody Else – Zachary Allen Farmer
Square Girls/Drape Girls – Jenifer Sabbert, Alexandra Taylor

THE ARTISTIC STAFF
Director – Scott Miller
Choreographer – Robin Michelle Berger
Costume Designer – Amy Kelly
Lighting Designer – Sean M. Savoie
Scenic Designer – Scott L. Schoonover
Sound Designer – Donald Smith
Stage Manager – Trisha Bakula
Dance Captain – Taylor Pietz
Props Master – Alison Helmer
Specialty Props – Pat Edmonds
House Manager – Ann Stinebaker
Box Office Manager – Vicki Herrmann
Lighting Technician – Trisha Bakula
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

THE BAND
Piano/Conductor – Justin Smolik
Lead Guitar – D. Mike Bauer
Rhythm Guitar – Joe Isaacs
Reeds – Robert Vinson
Bass – Dave Hall
Percussion – Clancy Newell

REVIEWS
“If you liked New Line’s productions of Return to the Forbidden Planet and Bat Boy, or if you just want to have a great time, then pick up tickets for its latest giddy extravaganza, Cry-Baby. You'll laugh too hard to catch all the hilarious lyrics. . . In fact, the whole ensemble captures the go-for-broke spirit that Miller, band leader Justin Smolik and choreographer Robin Michelle Berger relish. . . Now in its 21st season, New Line also stages serious musicals: Evita, Love Kills, Kiss of the Spider Woman and many more. And it stages them beautifully, albeit with unexpected twists. But Miller's intimate musical comedies have a distinctive charm all their own, part sketch comedy, part witty spoofs of musical-theater tradition. They don't come up that often, but when they do, they last a long time in memory.” – Judith Newmark, St. Louis Post-Dispatch

“I couldn't stop smiling and laughing through this stage-musical version of John Waters’ film, though I have to admit I never really tried. From the opening chords, which (of course) sound like some 1950s movie about teen rebels, we know we're in for a counter-cultural extravaganza. Long and lanky Ryan Foizey is fantastic as a pacifist Elvis Presley in red-scare America, and director Scott Miller and crew surround him with a cast that bristles with talent and dance that crackles with excitement.” – Richard Green, TalkinBroadway.com

Cry-Baby is a smash, a musical and cultural send up of drape and square mores, while at the same time, a parody of the typical ‘boy meets girl, boy loses girl, boy gets girl back’ scenarios that we've all been exposed to in more traditional shows. At times, it’s like watching a throwdown between Little Richard and Pat Boone over who really sings ‘Good Golly, Miss Molly’ the best and most authentic. . . Scott Miller and New Line Theatre have once again given us something outside the norm, and it's a joyous ride. This revision of Cry-Baby is a sheer delight, full of characters and situations from the movie by filmmaker John Waters, but also standing on its own with a clever and hilarious score (music and lyrics by David Javerbaum and Adam Schlesinger), having jettisoned the tunes from the film itself. Go see this play now. It’s wonderfully directed, smartly choreographed, and marvelously acted. . . This is a rave because this a rockin’ good show! Go see Cry-Baby and enjoy!” – Chris Gibson, BroadwayWorld

Four and half stars out of five. “A glorious and infectious American regional premiere by New Line Theatre. Under Miller’s devoted and painstaking direction, this Cry-Baby rocks the room with an effervescent energy, exploding across the stage through an array of dazzling moves choreographed by Robin Michelle Berger. . . Miller has a penchant for mining rare musical gems and, sometimes, resuscitating them from their moribund beginnings. Such is the case with this Cry-Baby, which will leave you shedding only tears of laughter.” – Mark Bretz, Ladue News

Three and a half stars our of four. “There’s an enthusiasm and energetic playfulness in New Line Theatre’s production of Cry-Baby that evokes some very clever laughs and lots of nostalgic friskiness. It’s a hallmark of the kind of amicably provocative show New Line likes to produce. . . Scott Miller has developed an enjoyable niche for his theater that is unique, important and always fun.” – Harry Hamm, KMOX

“Under Scott Miller's bull's-eye direction, Cry-Baby is bolstered by New Line's consistently energetic cast, including newcomer Ryan Foizey in the title role.  His charismatic Elvis Presley inspired Cry-Baby has just enough seeming volatility to make him seem dangerous, but all the heart to make him genuine.  Doesn't hurt that he has a great voice, too.” – St. Louis Theatre Snob

“Scott Miller almost always settles into a high-octane groove with his productions at New Line Theatre. That's true of his current offering, Cry-Baby, the musical adapted from John Waters’ film of the same name.” – Bob Wilcox, KDHX

“Scott Miller directs stylishly. . . Miller’s direction and the cast’s talent make it a fine diversion, something to see if you need a break from preparing your taxes.” – Joe Pollack, St. Louis Eats and Drinks

DIRECTOR'S NOTES
As we began work on Cry-Baby, we realized how misguided the original Broadway production was. This show is not old-school musical comedy, as the original creative staff seemed to think; and the fact that it isn’t is one of its central devices.

Cry-Baby starts off as a full-throttle 1950s musical comedy – the populist art form of the story’s period – but the opening number is not even allowed to end before the Drapes (the “bad” kids) invade not just the picnic, but the show itself. They assault this 1950s musical comedy world with rock and roll, transforming this musical comedy into a rock musical. And the two forms war with each other for the rest of the show, with Baldwin and his Whiffles living and singing musical comedy, but slowly losing their turf to the rock musical world of the Drapes. And Allison, having to choose between the Squares and the Drapes, has one foot in each musical world during much of the show. It’s not hard to guess that by the end of the show, everybody will be singing rock and roll. Just as it did in the real world, rock and roll must supplant the old-school show tune.

What’s wonderful about this score is that songwriters David Javerbaum and Adam Schlesinger absolutely nail both styles. The show’s opening number, “The Anti-Polio Picnic,” sounds like it came right out of the score for Kiss Me, Kate or Finian’s Rainbow. But when Javerbaum and Schlesinger interrupt that song to turn to the raw rockabilly of “Watch Your Ass,” it’s just as authentic.

I invented a new label recently that fits Cry-Baby perfectly: “neo-musical comedy.” It’s traditional, 1950s musical comedy, but with a self-aware irony on top that the older shows didn’t have. Other examples include some of my all-time favorite shows: Bat Boy (the masterpiece of this new form), Urinetown, Lysistrata Jones, Spelling Bee, Bloody Bloody Andrew Jackson; and there are even a few prototypical examples further back in history that pretty much fit the mold, like The Cradle Will Rock, Of Thee I Sing, How to Succeed, and Return to the Forbidden Planet. In shows like this, there are always two layers operating at once. These neo musical comedies use the style and devices of musical comedy and the socio-political content and Brechtian devices of the concept musical developed by Stephen Sondheim, Hal Prince, Bob Fosse, and Kander and Ebb. It makes for a heady mix, more complex than its precursors, more ambiguous, and therefore, more interesting and more adventurous.

Like most well-made theatre, Cry-Baby may be set firmly in 1954 but it’s really about our screwed up world today. The show implies far more than it ever says outright, and it asks from the audience active participation in teasing out the contradictions and implications of what we see. What’s actually on stage is only half the picture. And that’s a big part of the fun here.

Cry-Baby delivers a message parallel to the message of Hair, that we Americans have yet to solve so many big problems that have been with us for so long. Even though that message might seem a bit depressing, with Cry-Baby we’re laughing too hard to notice...