tag:blogger.com,1999:blog-30442047966905333952024-03-04T22:07:50.274-06:00A History of New Line TheatrePlease share your memories and stories about your favorite New Line shows, by adding your comments to the shows below. Thank you for celebrating with us the joy of making adventurous, adult musical theatre.Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.comBlogger102125tag:blogger.com,1999:blog-3044204796690533395.post-12094081450381605082023-12-13T04:27:00.004-06:002024-01-02T16:07:07.343-06:00Jesus & Johnny Appleweed's Holy Rollin' Family Christmas (2023) <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIf6PEax8sivoZSPQzlqPRgQoafhYrFJPert2Y-TUkzoQfxWRyAHwAFecH3M3dHPN0b5ky0A8_cJa1z9OWwNlcdVOPgGjMdz6tBbs38C1d_lbC7LXv4BlepYxJ8UBuUyjyAz79vhwbCiqOr5AhyuUgOWPN8zQMrblwCJSlP8Qo0HqNJ0MMMB9o0mJAnIs/s1600/Jesus%20and%20Johnny%20Appleweed_Postcard1.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3088" data-original-width="1984" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIf6PEax8sivoZSPQzlqPRgQoafhYrFJPert2Y-TUkzoQfxWRyAHwAFecH3M3dHPN0b5ky0A8_cJa1z9OWwNlcdVOPgGjMdz6tBbs38C1d_lbC7LXv4BlepYxJ8UBuUyjyAz79vhwbCiqOr5AhyuUgOWPN8zQMrblwCJSlP8Qo0HqNJ0MMMB9o0mJAnIs/s1600/Jesus%20and%20Johnny%20Appleweed_Postcard1.jpg" title="Graphic Design by Matt Reedy, 2023." width="206" /></a></div>Book, Music, and Lyrics by Scott Miller<br />
Original Orchestrations by John Gerdes<br />
<br />
Nov. 30-Dec. 16, 2023<br />Grandel Theatre<br />
<a href="https://newlinetheatre.com/hrfxpage.html" target="_blank">Show Webpage<br /></a>
<a href="https://newline.smugmug.com/Theater/JESUS-JOHNNY-APPLEWEEDS-HOLY-ROLLIN-FAMILY-CHRISTMAS-2023" target="_blank">Production Photos</a><br />
Purchase the vocal selections <a href="https://www.amazon.com/dp/B0CRBH8GG8/">here</a>.
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Purchase the script <a href="https://www.amazon.com/Johnny-Appleweeds-Rollin-Family-Christmas/dp/B0CR86T3RM">here</a>.
<br />
Purchase merch <a href="https://www.zazzle.com/collections/new_line_theatre-119679073133037362">here</a>.
<br />
Ask about <a href="mailto:newchaz64@aol.com">production rights</a>!<br />
<br />
<b>THE CAST</b><br />
Harry Goodson – Terrell Thompson<br />
Bess Goodson/Johnny Appleweed – Kay Love<br />
Tammy Goodson/Sandra Dee – Marlee Wenski<br />
Chip Goodson/Jesus – Tony L. Marr Jr./Shane Rudolph<br />
Uncle Hugh/Gerry – Tawaine Noah<br />
Carolers – Robert Doyle, Matt Hill, Stephanie Merritt, Lauren Tenenbaum<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Mallory Golden<br />
Bass – John Gerdes<br />
Reeds – Joseph Hendricks<br />
Reeds – Alex Macke<br />
Percussion – Brad Martin<br />
Guitar – Adam Rugo<br /><br />
<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Tony L. Marr Jr.<br />
Choreographer – Tony L. Marr Jr.<br />
Music Director – Mallory Golden<br />
Stage Manager – Emily Floyd<br />
Technical Director – Matt Stuckel<br />
Costume Designer – Lauren Smith Bearden<br />
Sound Designer – Ryan Day<br />
Scenic Designer – Dr. Rob Lippert<br />
Lighting Designer – Matt Stuckel<br />
Props Master –Erin Goodenough<br />
Master Electrician – Stephanie Robinson<br />
Scenic Crew – Corey Anderson, Richard Brown, Stephanie Robinson, Bill Stuckel<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS<br /></b><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8cbbo5Gkoh-E-giHevxBGz7aiu-RsXdlAbhQZMIeMCDTjcmHKGsncoZXhrmAx6KpQ3APY2BzKqu0wMdNSrIYeuFQYOOFO6PxCq4N7MKXZ_FqIgLAWGS4Z47DUPb3Ey5BctU7PfKmj_OqTfvmTC8rFG04kyqzRYHbOUs15PFm_VFydfkAK878gP3Ku8N41/s5760/0P6A0045.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8cbbo5Gkoh-E-giHevxBGz7aiu-RsXdlAbhQZMIeMCDTjcmHKGsncoZXhrmAx6KpQ3APY2BzKqu0wMdNSrIYeuFQYOOFO6PxCq4N7MKXZ_FqIgLAWGS4Z47DUPb3Ey5BctU7PfKmj_OqTfvmTC8rFG04kyqzRYHbOUs15PFm_VFydfkAK878gP3Ku8N41/w320-h213/0P6A0045.jpg" title="Photo Credit: Jill Ritter Lindberg." width="320" /></a></div>“Christmas gets a wacky, if pungent, new look in <i>Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas</i>, a musical comedy having its world premiere at The Grandel Theatre in St. Louis. New Line Theatre producer and co-director Scott Miller wrote the very pro-marijuana show, with musical orchestrations by John Gerdes. And it features an impressive range of Mr. Miller’s original songs, many of which fall into a ravishing ‘cool jazz’ style. <i>Jesus & Johnny Appleweed’s</i> ... is a story that manages to feel revolutionary, with some arch, comical family conflict. But it also gets us surprisingly high on the Christmas spirit, without a trace of second-hand smoke. . . and when the power of the singing matches the subtle ‘50s jazziness of the music, the show floats giddily along. . . It’s funny that you can take this much-less traveled road to guaranteed Christmas cheer, and get there all the same. The original music is very impressive, blending with sometimes pointed satire for a snarky (and oddly charming) holiday event.” – Richard Green, <i>Talkin’ Broadway</i><br />
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“What if Seth Rogen, Charles Dickens, Andrew Lloyd Webber, Cheech and Chong, Christopher Hitchens, Hunter S. Thompson, and John Waters decided to have a baby? If you placed their DNA in some sort of invitro Vitamix and hit the frappe button, one of the resulting octuplets might become Scott Miller, artistic director of New Line Theatre, who goes on to write the book, music and lyrics for the mildly subversive <i>Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas</i>. . . a welcome – if salty – palate cleanser from some of the holiday season’s other truly family-friendly options.” – CB Adams, KDHX <br />
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“A hilarious trip. Holiday revelers and partiers looking to take their celebrations to new highs should plan to pop into The Grandel Theatre for New Line Theatre’s original holiday musical spoof J<i>esus & Johnny Appleweed’s Holy Rollin’ Family Christmas</i>. . . . The show is not for everyone, and is definitely not for children. However, it’s an upbeat musical spoof with a plethora of pointed satire underneath the holiday haze. For those looking for abundant laughs that gently but consistently poke fun at the season and social norms, <i>Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas</i> is a great choice.” – Tina Farmer, <i>The Riverfront Times</i><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvDSNfQ7bGp8YSyyFBHI_V94T_p3WHuhQ2H9FhGwhiGww7pa3zCBkyh5Yf6SAW0j5pstrxDl8KZrd8gN27j86LjwBEl0TkMqmt6qkg5GrV12q_5f5V3doiYcWdcGTvVvyQGHGNcIM0Gf69SYidUD6q9r_VtoEpSCyNiREeMLL9RpmwlUOdtoHH7pWsSTyx/s4863/IMG_6273.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3242" data-original-width="4863" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvDSNfQ7bGp8YSyyFBHI_V94T_p3WHuhQ2H9FhGwhiGww7pa3zCBkyh5Yf6SAW0j5pstrxDl8KZrd8gN27j86LjwBEl0TkMqmt6qkg5GrV12q_5f5V3doiYcWdcGTvVvyQGHGNcIM0Gf69SYidUD6q9r_VtoEpSCyNiREeMLL9RpmwlUOdtoHH7pWsSTyx/w320-h213/IMG_6273.jpg" title="Photo Credit: Jill Ritter Lindberg." width="320" /></a></div>“New Line Theatre’s new musical, <i>Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas</i>, is a pot-laced Dickensian-Cheech & Chong-esque Holiday spoof that is reminiscent of when <i>Saturday Night Live</i> was in its heyday and was actually funny. . . It’s an irreverent musical comedy chock-full of laughs. While most of the jokes are related to changing times 7-decades ago, you don’t have to be a baby boomer to understand and appreciate Miller’s hysterical script. If you’re looking for funny, adult-themed holiday entertainment that is a complete diversion from more traditional holiday fare, <i>Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas</i> will certainly add some laughs to your holiday entertainment.” – James Lindhorst <i>BroadwayWorld</i><br />
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“Founder and artistic director Scott Miller reprises his Johnny Appleweed character in the world premiere of his new musical romp, <i>Jesus & Johnny Appleweed's Holy Rollin' Family Christmas,</i> a fun-filled lampoon of Christianity, middle America and the straight-laced culture of the 1950s. . . This isn’t your family’s traditional Christmas story, if your family is that 'heteronormative' type described in the show’s second number. It’s likely however to become a New Line favorite.” – Mark Bretz, Ladue News<br />
<br />
“At first glance, the daffy <i>Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas</i> takes us back to the fuddy-duddy ‘50s, with the on-stage stylings of TV sitcom land when dads ruled the roost and moms vacuumed wearing pearls. But it’s far more subversive than that. . . As a tongue-in-cheek response to the War on Drugs and the Culture Wars, writer Scott Miller uses clever cultural references to make it clear how the bygone era, complete with hearty laugh-track type guffaws, was a white-bread wonderland where a middle-class suburban family has blinders on regarding diversity, inclusion, and sexual orientation. . . this resembles the audacious dark comedy material that John Waters and Charles Busch specialize in.” – Lynn Venhaus, PopLifeSTL<br />
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“New Line is a theatre company that’s not afraid of taking risks. They’ve staged some excellent, smaller-scaled productions of musicals from the well-known to the obscure, and occasionally, like with their latest production, original works. Their latest production, written and co-directed by New Line’s artistic director Scott Miller, is a holiday show with a twist. . . <i>Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas</i> isn’t a perfect show, but it’s new and it has a good deal of potential. The cast members seem to be enjoying themselves a great deal, and there are some memorable moments and an excellent sense of theme. If you like crass humor, and especially stoner jokes, this show should be a fun ‘alternative’ holiday production.” – Michelle Kenyon, Snoop’s Theatre Thoughts<br />
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<b>AUTHOR'S NOTES</b><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfWem4B5BlxkPJNp1u7cVernaPuLKbLWdX9yaMahdBS1LOX48qjdL3rTVDDiCWRKSnQVgglF5ugV_vGieqgbkx3hX8Idhbou-yzZtVhqEJ39N1ILIYqTaKUjUUKEVLjJv2Q5vsjQeqzd8ZxvGwpfIRngoS_UAkUvjUFYF84kw7rRCNypxYniXGuJoi-i6/s5472/IMG_6328.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3648" data-original-width="5472" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfWem4B5BlxkPJNp1u7cVernaPuLKbLWdX9yaMahdBS1LOX48qjdL3rTVDDiCWRKSnQVgglF5ugV_vGieqgbkx3hX8Idhbou-yzZtVhqEJ39N1ILIYqTaKUjUUKEVLjJv2Q5vsjQeqzd8ZxvGwpfIRngoS_UAkUvjUFYF84kw7rRCNypxYniXGuJoi-i6/w320-h213/IMG_6328.jpg" title="Photo Credit: Jill Ritter Lindberg." width="320" /></a></div><br />I was sitting on my couch, stoned out of my mind and watching <i>Law and Order.</i> I can watch the entire franchise over and over because I always watch it stoned and so I never remember any of the episodes when I see them again. I was in deeply contented couch-lock, as Jesus passed me the pipe and lighter and said, “Hey, why don’t you write another musical about us? It’s been seventeen years since <i>Johnny Appleweed</i>!”<br />
<br />
I took a drag and passed it to Johnny who was now neck deep in the Wild West of profound stoner thought. “Have you guys ever seen <i>Fantastic Voyage</i>, where they put the heroes in a submarine and shrink them down <i>really</i> small and inject them into this guy’s body to fix some shit in his brain? We should totally do a stoner musical version of that!” <br />
<br />
Johnny’s sentences are often really long.<br />
<br />
We were all pretty sure we’d seen <i>Fantastic Voyage</i> but none of us could remember. The pipe returned to Jesus for a re-load and he said, “Well, don’t forget at the end of <i>Johnny Appleweed</i>, I ran for President. There’s your sequel!”<br />
<br />
As I accepted the holy bud, it hit me. “Wait. Even better! I should write a stoner Christmas musical!” <br />
<br />
“Holy shit!” Jesus smiled. “How did I not think of that?” And we all laughed. For a long time. A really, really long time, until none of us could remember what we were laughing at, so we loaded another bowl and sat in silence for a while.<br />
<br />
Johnny said, “How ‘bout <i>A Reefer Madness Christmas Carol</i>?”<br />
<br />
Jesus nodded, then, “<i>A Reefer Madness Christmas</i> is better.”<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQcYAkAiIAXlRBpfzNJ2pIKnK6Mz9UqR3SMUT8BmT_rX5rPlKEbfld4TaMP-1YlBH9V7-EyhNhbBrxdNz2FmHeGsdOXLz-4ayJx3IAtz4XWXl00aOUPyU0_GSu21YxrIDzgYX9SdBsB5MmeZ4XVCgfs8qJEstxRxrdHi2AUuM1bsqmkK-THgS6Txj3SHn/s4137/IMG_6171.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="2758" data-original-width="4137" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQcYAkAiIAXlRBpfzNJ2pIKnK6Mz9UqR3SMUT8BmT_rX5rPlKEbfld4TaMP-1YlBH9V7-EyhNhbBrxdNz2FmHeGsdOXLz-4ayJx3IAtz4XWXl00aOUPyU0_GSu21YxrIDzgYX9SdBsB5MmeZ4XVCgfs8qJEstxRxrdHi2AUuM1bsqmkK-THgS6Txj3SHn/w320-h213/IMG_6171.jpg" title="Photo Credit: Jill Ritter Lindberg." width="320" /></a></div>As I sparked up the bud, I said, “No, you guys, we can’t use that title. Those dicks who wrote <i>Reefer Madness the Musical</i> have trademarked the phrase ‘Reefer Madness’.”<br />
<br />
Jesus exhaled a great big cloud of smoke and stoner-smiled. “Ah, fuck ‘em!” And we all laughed again.<br />
<br />
My stoner gears were turning now. “<i>A Holy Rollin’ Christmas</i>.”<br />
<br />
Johnny took the pipe and nodded. “But maybe it should be <i>Johnny Appleweed and Jesus’ Holy Rollin’ Christmas</i>. Since it’s a sequel.”<br />
<br />
Jesus agreed. “Yeah, but do we really want to deal with that apostrophe after <i>Jesus</i>, and whether or not there’s another S after that, am I right? So maybe it should be <i>Jesus and Johnny Appleweed’s Holy Rollin’ Christmas</i>. You know, to keep it simple.”<br />
<br />
Robert opened his eyes. “Put <i>family</i> in the title. Everything’s funnier with <i>family</i>.” <br />
<br />
I tried it out loud, “<i>Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas</i>. Yeah, that is funnier.” We all agreed and loaded another bowl. After a few minutes, Robert started laughing and then we all did and we didn’t stop for about an hour. <br /><i><br />Law and Order</i> is awesome.Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-39926457897373237612023-06-14T02:51:00.002-05:002023-06-25T03:23:57.620-05:00A Funny Thing Happened on the Way to the Forum (2023)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDT0CanZ2KOeH2KvDScCsfYLN0ocMtfsvtUBmBOW5w-PxU05h8q1XAj7UikE_F3x6KXJsvE7FZ95ivROfsRfXhYfwAZjBMOeDY085Latj6JzZCTMp7-MZLsSq7iabHzik_RFFDZnosniVom-Y03-6ZFwHEGb-kHtqJ67izTSyBb4ta8D2fXEIMHOQoLw/s3088/Forum_Postcard1.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3088" data-original-width="1984" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDT0CanZ2KOeH2KvDScCsfYLN0ocMtfsvtUBmBOW5w-PxU05h8q1XAj7UikE_F3x6KXJsvE7FZ95ivROfsRfXhYfwAZjBMOeDY085Latj6JzZCTMp7-MZLsSq7iabHzik_RFFDZnosniVom-Y03-6ZFwHEGb-kHtqJ67izTSyBb4ta8D2fXEIMHOQoLw/w206-h320/Forum_Postcard1.jpg" title="Graphic Design by Matt Reedy, 2023." width="206" /></a></div>
Music and Lyrics by Stephen Sondheim<br />
Book by Burt Shevelove and Larry Gelbart<br />
Based on the Roman comedies of Plautus<br /><br />
June 1-24, 2023<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/forumpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/A-FUNNY-THING-HAPPENED-ON-THE-WAY-TO-THE-FORUM-2023/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Pseudolus – Kent Coffel<br />
Hysterium – Chris Moore<br />
Hero – Ian McCreary<br />
Philia – Sarah Wilkinson<br />
Senex – Robert Doyle<br />
Domina – Ann Hier Brown<br />
Marcus Lycus – Jason Blackburn <br />
Miles Gloriosus – Danny Brown<br />
Erronius – Gary Cox<br />
Proteans – Nathan Hakenewerth, Brittany Kohl Hester, Aarin Kamphoefner<br />
<br />
<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Matthew Kauzlarich<br />
Reeds – Kelly Austermann<br />
Trumpet – Ron Foster<br />
Brass – John Gerdes<br />
Trombone – Adam Levin<br />
Percussion – Clancy Newell<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Chris Kernan<br />
Choreographer – Chris Kernan<br />
Music Director – Joe Simpson<br />
Stage Manager – Chelsie Johnston<br />
Technical Director – Matt Stuckel<br />
Sound Designer – Ryan Day<br />
Costume Designer – Eileen Engel<br />
Scenic Designer – Dr. Rob Lippert<br />
Lighting Designer – Matt Stuckel<br />
Props Master – Erin Goodenough<br />
Scenic Artists – Mallory Golden, Matt Stuckel<br />
Scenic Crew – Richard Brown, Patrick Donnigan, Bill Stuckel<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxwfqWJ6HJrVWETt_qN3qZkD8wbisMs-7qaOwO96zLDLWZR1d3bHlwH7MTjS2Fz-ZVuEKXOUowTG1KnA2b1GpoXltWC5nmVA-Rd7rcOaiRY4XjpIrvBs3DGWEl8P7yhXLmzKERBM_-2d1dZm8qBbhRnokWIRJYtbjQHcTeTXFIijtu633ZmmVyYEPXwQ/s5760/0P6A8763.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxwfqWJ6HJrVWETt_qN3qZkD8wbisMs-7qaOwO96zLDLWZR1d3bHlwH7MTjS2Fz-ZVuEKXOUowTG1KnA2b1GpoXltWC5nmVA-Rd7rcOaiRY4XjpIrvBs3DGWEl8P7yhXLmzKERBM_-2d1dZm8qBbhRnokWIRJYtbjQHcTeTXFIijtu633ZmmVyYEPXwQ/w320-h213/0P6A8763.JPG" title="The Proteans and Miles Gloriosus (Danny Brown) in New Line Theatre's A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, 2023. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>“Producer and co-director Scott Miller embraces the later, greater Sondheim, in spite of the chronology, to reimagine a new <i>Forum</i>. And as if by magic, or science, a musical lineage from shows like <i>Sweeney Todd</i> and <i>Into the Woods</i> seems to lead us backward into <i>Forum</i> – almost as if Mr. Miller and co-director/choreographer Chris Kernan were predicting all the great plays to come, from an earlier, less highly regarded musical. Mr. Miller once again finds the full clarity and complexity of Sondheim’s music and musings, and that, as they say, turns out to be the ‘star’ of our show in this particular case. . . Their efforts pay off in the immaculate clarity of music and lyrics, in songs we can suddenly recognize as true to the overall legacy.” – Richard Green, <i>Talkin’ Broadway</i><br />
<br />
“Since 1991 Scott Miller’s New Line Theatre has been pumping out brilliant productions of edgy, mostly very modern musicals. Occasionally they’ll revive a grand old classic (e.g., <i>Anything Goes</i>, from the ‘30s). But now they’re going way, way back. <i>A Funny Thing Happened on the Way to the Forum</i> premiered in 1962. And it reaches back twenty-two centuries! Stephen Sondheim, Burt Shevelove and Larry Gelbart picked juicy plot devices and characters from the Roman playwright Plautus. Plautus himself stole from what the earlier Greeks called ‘New Comedy’. To us it looks a lot like the old Borscht Belt and Vaudeville comic sketches. This is truly time-tested comedy. And at New Line it’s still dazzlingly funny! . . . The entire cast is strong. . . It’s another bright success for directors Scott Miller and Chris Kernan.” – Steve Callahan, KDHX<br />
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“New Line Theatre’s production <i>A Funny Thing Happened on the Way to the Forum</i> succeeds due to Scott Miller’s directorial vision and the comedic timing of Miller’s strong cast. There are plenty of laughs in the First Act, but the second act builds to a crescendo of complete hilarity. . . downright madcap. . . keeps the audience laughing nonstop . . . big laughs throughout the show.” – James Lindhorst, <i>BroadwayWorld</i><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgWP6YsTn_eEn5JDbE_d-_ljYGoZthcmQcPqQ5CQ3dLk8ihggc_MHVLVjyhHRKlxxxWQV33xjban1O6pSCs716Ui_PmunvpREVWv-BCVOqlvXhLqkw97Cmf92LQ9QTEmmbCOgXLJACp74eAtPzYOKiBsRsn0nMIrPBxSMjLyGHlm2BxI-fThIzQRZYEw/s5472/IMG_4883.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="5472" data-original-width="3648" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgWP6YsTn_eEn5JDbE_d-_ljYGoZthcmQcPqQ5CQ3dLk8ihggc_MHVLVjyhHRKlxxxWQV33xjban1O6pSCs716Ui_PmunvpREVWv-BCVOqlvXhLqkw97Cmf92LQ9QTEmmbCOgXLJACp74eAtPzYOKiBsRsn0nMIrPBxSMjLyGHlm2BxI-fThIzQRZYEw/w213-h320/IMG_4883.JPG" title="Ann Hier Brown (Domina) and Chris Moore (Hysterium) in New Line Theatre's A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, 2023. Photo credit: Jill Ritter Lindberg." width="213" /></a></div>Co-director Scott Miller, founder and artistic director of New Line Theatre, does justice to his musical muse, Stephen Sondheim, with this well-paced, often hilarious and downright entertaining presentation of one of Sondheim’s earliest successes. . . New Line’s two-act, two-hour version delivers steady doses of comedy, with liberal sprinklings of delightful tunes. . . ‘Tragedy tomorrow, comedy tonight’ sing Pseudolus and company at the show’s opening, and comedy they deliver with hearty flair.” – Mark Bretz, <i>Ladue News</i><br />
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“It does have its dated elements, but at New Line, as usual, there are some new perspectives that emerge. For the most part, this is a show that revels in its humor, and at New Line, the focus is on the strong singing of Stephen Sondheim’s memorable score. . . New Line has become adept at scaling shows down for its venue, as well as bringing out nuances in stories that bigger productions can gloss over. . . New Line’s production is a lot of fun, with its small scale again working in its favor. It’s an enjoyable production especially for fans of Stephen Sondheim, goofy comedy, and great singing.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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“Even with his reduced forces, Miller has made the climactic chase scene as funny and convincing as I have ever seen it. I don’t know a musical comedy that has more wild and crazy joy in it than this one. . . Thanks to the work of all New Line’s artists of the theatre, I once again had a lovely time at <i>A Funny Thing Happened on the Way to the Forum</i>.” – Bob Wilcox, <i>Two on the Aisle</i><br />
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“In New Line’s new iteration, solid performances, a cartoonishly fitting stage design and exaggerated direction by Scott Miller embrace the sometimes cheesy, sometimes cheeky script and score, ensuring the show is entertaining in a nostalgic way. . . Thankfully, the jovial tone, over-the-top characterizations, dad jokes and much of the vaudevillian humor still work, ensuring New Line Theatre’s <i>A Funny Thing Happened on the Way to the Forum</i> is a recognizable nod to the original show.” – Tina Famer, <i>The Riverfront Times</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJavs4Y5VA-CICsFcdUAp-l3OgOsFfOpUFBlnBDMnE4rx24_33G-HLmL8lDs5ZGCXfVut9NnmzuhjMeYgdj7UF6bPCnOksIekDUX2zi6WklOpD929CeLzR1o6VIa_JzaORpy4wPL6LqvcTyINE_jkFY_65Qe1avAnkZIQKYEdlBVpIe0vBdAImG8VwJw/s5760/0P6A8816.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJavs4Y5VA-CICsFcdUAp-l3OgOsFfOpUFBlnBDMnE4rx24_33G-HLmL8lDs5ZGCXfVut9NnmzuhjMeYgdj7UF6bPCnOksIekDUX2zi6WklOpD929CeLzR1o6VIa_JzaORpy4wPL6LqvcTyINE_jkFY_65Qe1avAnkZIQKYEdlBVpIe0vBdAImG8VwJw/w320-h213/0P6A8816.JPG" title="The Funeral in New Line Theatre's A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, 2023. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>The Second Century BC Roman playwright Plautus wrote dozens of farces, skewering politics and politicians, the cultural elite, and other public figures. His satire was razor sharp, so when Burt Shevelove thought of combining some of Plautus’ plays and adapting them for the musical stage, that new adaptation would inevitably be just as ruthlessly funny, particularly coming as it did, right at the pivot point between the cultural conformity of the 1950s and the explosions and explorations of the 1960s.<br />
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In his book <i>Roman Laughter: The Comedy of Plautus</i>, Erich Segal writes, “Of all the Greek and Roman playwrights, Titus Maccius Plautus is the least admired and the most imitated.” Plautus wrote more plays than Euripides, almost twice as many as Aristophanes, and three times as many as Terrence. Greek literature professor Moses Hadas wrote about Plautus’ characters, “They are like characters in Rabelais, not Cervantes; like the Marx Brothers, not Charlie Chaplin.”<br />
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As Plautus mocked the people and culture of his time, Shevelove and his eventual collaborators would likewise mock the culture of the early 1960s. Once adapted and musicalized, <i>A Funny Thing Happened on the Way to the Forum</i> would be a stinging satire of the way American culture views women. Right there at the beginning of the Sexual Revolution, the show revealed American’s complex relationship with sexuality, both seeking sex and fearing it at the same time. Notably, one of Plautus’ favorite plot elements was the <i>damnosa libido</i>, the dangerous sex drive.<br />
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Co-bookwriter Larry Gelbart later said, “What treasure we found in his plays! There they were, running wild, appearing for the first time anywhere: the wily slave, the senile skirt-chaser, the henpecked husband, the domineering matron, the courtesan with the hair and heart of gold; page after page of mistaken identity and double meanings.” <br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWG_uy3douA23_g9rosILI5hgNOhYmbo6iLnrBS08UhJipcoKDD17-jPUQoBpfu_RPtQqHFCSbxnAcaAqPqSD5aNgayEl76dDcvhKlRg1dbQ4xNwCuKCZXLcEmzQ7T4aXb164t6m9vO-OZWW9HdKvx6l803Pcl_0lgH6CeIhowvE1vqPs_J-7obtTUTg/s5760/0P6A8588.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWG_uy3douA23_g9rosILI5hgNOhYmbo6iLnrBS08UhJipcoKDD17-jPUQoBpfu_RPtQqHFCSbxnAcaAqPqSD5aNgayEl76dDcvhKlRg1dbQ4xNwCuKCZXLcEmzQ7T4aXb164t6m9vO-OZWW9HdKvx6l803Pcl_0lgH6CeIhowvE1vqPs_J-7obtTUTg/w320-h213/0P6A8588.JPG" title="Jason Blackburn (Lycus) and Kent Coffel (Pseudolus) in New Line Theatre's A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, 2023. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>Some of the critics really understood the <i>Forum</i> experiment underway. The music critic for <i>The New York Times,</i> Anthony Tommasini, wrote about Stephen Sondheim’s score, “For all the talk of <i>Forum</i> harking back to the days of good, clean farce; theatrically, it is an experimental work. It completely subverts the heritage of what is called the book show, handed down by Rodgers and Hammerstein, where the songs emerge from the plot. In <i>Forum</i>, the songs purposely interrupt the farcical plot, giving the audience a needed break from the madcap hysterics.”<br />
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Gelbart said, “Our goal was to construct a show based on Plautus, who, borrowing from the Greeks, taught amphitheater audiences up and down the original Caesar’s circuit to laugh for the first time at character and situation instead of those old staples they found so amusing – bloodshed and tragedy.”
Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-29889719270907447942023-03-27T01:23:00.001-05:002023-06-14T02:22:01.917-05:00Nine (2023)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkt1_dSwSwK102yRtTYMEh_tSMiPHDnao4dJFj2cZCj5kOw55PsLwqf1v7q3Mgjgt5SLi24oqaycScxE4XKPoXhZlaz40iEuMIy70gkfEHs-Gcr-K7F-0Bd-P-CJ0NKYDUcnXnT_5oySVf4hDQOFV0GJYsQB8aYSNVYXEA2f67gCcOkT2YCM9Ut85tTw/s3300/Nine_Postcard1.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3300" data-original-width="2200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkt1_dSwSwK102yRtTYMEh_tSMiPHDnao4dJFj2cZCj5kOw55PsLwqf1v7q3Mgjgt5SLi24oqaycScxE4XKPoXhZlaz40iEuMIy70gkfEHs-Gcr-K7F-0Bd-P-CJ0NKYDUcnXnT_5oySVf4hDQOFV0GJYsQB8aYSNVYXEA2f67gCcOkT2YCM9Ut85tTw/w213-h320/Nine_Postcard1.jpg" title="Graphic Design by Matt Reedy, 2003." width="213" /></a></div>Music and Lyrics by Maury Yeston<br />
Book by Arhtur Kopit<br />
Based on the film <i>8½</i> written & directed by Federico Fellini<br />
Adapted from the Italian by Mario Fratti<br /><br />
March 2-25, 2023<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/ninepage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/NINE-2023/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Guido Contini – Cole Gutmann<br />
Luisa Contini – Lisa Karpowicz<br />
Carla Albanese – Sarah Wilkinson<br />
Claudia Nardi – Ann Hier Brown<br />
Liliane LaFleur – Kimmie Kidd-Booker<br />
Diana – Kat Bailey<br />
Mama Maddelena / Annabella – Kathleen Dwyer<br />
Juliette / Voice of Little Guido – Brittany Kohl Hester<br />
Renata – Chelsie Johnston <br />
Our Lady of the Spa – Kay Love<br />
Saraghina – Sarah Lueken<br />
Guido’s Mother – Stephanie Merritt<br />
Lina Darling / Olga – Julia Monsey<br />
Stephanie Necrophorus – Gillian Pieper<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Jenna Lee Moore<br />
Cello – Tyler Davis<br />
Brass – John Gerdes<br />
Reeds – Lea Gerdes<br />
Violin – Mallory Golden<br />
Reeds – Joseph Hendricks<br />
Percussion – Clancy Newell<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Chris Kernan<br />
Music Director – Dr. Jenna Lee Moore<br />
Choreographer – Chris Kernan<br />
Stage Manager – Cat Draney<br />
Dance Captain – Stephanie Merritt<br />
Technical Director – Matt Stuckel<br />
Sound Designer – Ryan Day<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Lighting Designer – Matt Stuckel<br />
Props Master – Erin Goodenough<br />
Scenic Crew – Richard Brown, Nick Brunstein, Patrick Donnigan, Bill Stuckel<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5RyV6ida3x8ohwucqo4WhN-DsiTYizcgfuriH467V6y2r41u-HfZmlruxnZJW6ZXkc43utVpmqngYBCRhGJnJawfJXCdxve8ETOAKvI9pcUTVLaTvPVVm6z6jIhEFBUT0Nd-0pBAZR6H7cwhJaxiO3WS3H2ZOOSDhybrjsdmoFqmoqgqiznb4a2BBwA/s1200/Nine-3832.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5RyV6ida3x8ohwucqo4WhN-DsiTYizcgfuriH467V6y2r41u-HfZmlruxnZJW6ZXkc43utVpmqngYBCRhGJnJawfJXCdxve8ETOAKvI9pcUTVLaTvPVVm6z6jIhEFBUT0Nd-0pBAZR6H7cwhJaxiO3WS3H2ZOOSDhybrjsdmoFqmoqgqiznb4a2BBwA/w320-h213/Nine-3832.JPG" title="New Line Theatre's NINE, 2023. Photo Credit: Jill Ritter Lindberg." width="320" /></a></div>“A powerful journey of self-exploration and introspection through the mind of an artist. . . The entire cast is truly fantastic. . . <i>Nine</i> is a fascinating look inside the mind of an artist, and both the inspiration and demons they face throughout their career. Filled with wonderful melodies and terrific performances, it’s an entertaining introspective that will keep audiences engaged from start to finish. You don’t have to see the original film to enjoy it, but chances are that you will want to by the end of the show.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“A spare but beautifully done stage musical revival in St. Louis, directed by New Line Theatre’s brainiac founder Scott Miller and energetic co-director and choreographer Chris Kernan. As you’d expect from New Line, it’s all lavishly sung, with a Cinemascopic eye for the period style, at the Marcelle Theatre. Sly and seductive, with all the psychological complexity you could ask for, this <i>Nine</i> is a lot more fun than I’d ever figured on. . . it’s flirty and confident and fun. In the beginning of <i>Nine</i>, Guido is the maestro, conducting the women. But by the end of this smart, spirited musical, it’s pretty clear these women have turned the tables on him.” – Richard Green, <i>Talkin’ Broadway</i><br />
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“Thankfully, New Line Theatre has now given me and others the chance to see this unusual, fascinating show, which is ideal for this theatre company, known for its bold choices and excellent production quality, and especially great singing. . . There is also some of the best, most intricate ensemble singing I have heard at New Line, and with this company, that’s saying something. . . it’s staged and sung so well as to make audiences want to pay attention, and to ponder the issues being dealt with here. There’s drama, occasionally raunchy humor, intensity, and reflection. As is frequent for New Line, it’s a production that is simultaneously simple and complex, bringing out the truth of the material through authentic, credible performances and thoughtful staging. It’s a fantastic production.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXXQPYnjGrwWRxOjtKMJr_qOgs9j9PswA_DHMR_iGuvfTIlp8_payv5ZT0uXzNDSJT_8i8eKtqizIOeHGs8mexzAYw5A_KYYEiA-8YsBZSmjjl8samUti7BTLueL-QR2hdQTEu3zQkZjE9-2647QBNcfQNHUIrIcANLU99Feu0jwKvC2ARQQqjsbrlg/s1200/Nine-1456.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="1200" data-original-width="991" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXXQPYnjGrwWRxOjtKMJr_qOgs9j9PswA_DHMR_iGuvfTIlp8_payv5ZT0uXzNDSJT_8i8eKtqizIOeHGs8mexzAYw5A_KYYEiA-8YsBZSmjjl8samUti7BTLueL-QR2hdQTEu3zQkZjE9-2647QBNcfQNHUIrIcANLU99Feu0jwKvC2ARQQqjsbrlg/w264-h320/Nine-1456.JPG" title="Cole Gutmann as Guido in New Line Theatre's NINE, 2023. Photo Credit: Jill Ritter Lindberg." width="264" /></a></div>“<i>Nine</i> is a neglected show even though it received the Tony Award for best musical in 1982 and another Tony in 2003 for best revival of a musical. It should be no surprise that the local company addressing the neglect is New Line Theatre. The show’s rarity is reason enough to see New Line’s production. An even better reason is the excellence of the score and the staging.” – Gerry Kowarsky, <i>Two on the Aisle</i><br />
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“New Line Theatre has made the story its own. . . a vocally gorgeous evening of songs that explore the vagaries of love, attraction and imagination.” – Tina Farmer, <i>The Riverfront Times</i><br />
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“The singing is stellar, the story is satisfying and the New Line Theatre production of Maury Yeston’s and Arthur Kopit’s musical <i>Nine</i> is charming and intriguing throughout. . . Yeston generously spreads the musical numbers to many members of the show’s cast. In the case of New Line’s production, that’s a positive, since directors Scott Miller and Chris Kernan have assembled a cast of performers who really know how to turn a tune.” – Mark Bretz, L<i>adue News</i><br />
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“New Line’s production is passionate, compelling and enjoyable. Directors Scott Miller and Chris Kernan have assembled a female company of thirteen powerful female voices that meld magnificently and make this score come alive. . . New Line Theatre has again put together an overall performance that is entertaining and enjoyable. This production of <i>Nine</i> succeeds because of the quality performances of every member of the cast and their ability to deliver strong vocals.” – James Lindhorst, <i>BroadwayWorld</i><br />
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“The crème de la crème of local female vocal talent displays why they have earned those reputations in a lusty version of <i>Nine</i>, an exotic Felliniesque musical being presented by New Line Theatre. . . New Line’s glamorous production has a cast of 13 females who are connected to celebrated director Guido Contini, a womanizer going through a midlife personal and professional crisis.” – Lynn Venhaus, <i>PopLifeSTL</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjHaOdu07lAfJXwGWy4f-OkhJVau0h7MTmn85g2GSGbOri7WGbbesIf97153bBRXEn8XfoAJORLtLLL4611LzOq1aXiGhDgh25OEZXdNGsi8xN0zatkH7sK2wBuUWJ_xL7YhMhEXUa7gJF7eeZgxy1SH3lgWvBTijIt6VDBOPxOm1pbgRpvXMWCNylg/s1200/Nine-3897.JPG" style="clear: right; display: block; float: right; padding: 1em 0px; text-align: center;"><img border="0" data-original-height="1200" data-original-width="895" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjHaOdu07lAfJXwGWy4f-OkhJVau0h7MTmn85g2GSGbOri7WGbbesIf97153bBRXEn8XfoAJORLtLLL4611LzOq1aXiGhDgh25OEZXdNGsi8xN0zatkH7sK2wBuUWJ_xL7YhMhEXUa7gJF7eeZgxy1SH3lgWvBTijIt6VDBOPxOm1pbgRpvXMWCNylg/w239-h320/Nine-3897.JPG" title="Lisa Karpowicz as Luisa in New Line Theatre's NINE, 2023. Photo Credit: Jill Ritter Lindberg." width="239" /></a></div>Federico Fellini's 1963 film <i>8½</i> is one of a handful of quirky, semi-fictional artistic autobiographies, by and about a genius. The others in that category are Stephen Sondheim’s musical <i>Sunday in the Park with George</i>; Stew’s musical <i>Passing Strange</i>; Bob Fosse’s <i>All That Jazz</i>; Woody Allen’s <i>Stardust Memories</i>; and in an ironic, smartass kinda way, also John Water’s <i>Cecil B. Demented</i>. <br />
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And in a manner that can only be called Felliniesque, the original film <i>8½</i> and its adaptations now form a wonderful kind of strange loop. The film was adapted for the musical stage in the early 1980s, retitled Nine, won tons of awards, and became an instant classic of musical theatre, originally directed, choreographed, and shaped by the great Tommy Tune. Then Rob Marshall adapted the musical for the screen. But Marshall made a film adaptation of <i>both</i> the original Fellini film and its stage adaptation. Marshall transformed the stage musical into a new Fellini film, as if Fellini himself were making a film version of the stage musical <i>Nine</i>.<br />
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I've been wanting to work on <i>Nine</i> since I first heard the thrilling cast recording in 1982. And I've always thought that it would be both a perfect New Line show <i>and</i> an incredible showcase for our incredibly talented and versatile local women actors. It turns out I’m right.<br />
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I remember the first time I saw <i>8½</i>, it was like I had never really seen all that movies were capable of before that moment, and for the first time I saw how much more film could do than what we routinely get from Hollywood. I felt like Dorothy Gale emerging from the sepia and into Technicolor. I've watched the Fellini film several times over the years, and each time I find <i>more</i> richness in it – and more sly comedy. I love it so much that it moved me to start exploring other Fellini films, each one of them wondrous and mind-blowing, in all the best ways.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHXyrE8Q6X9cicaYa_3S35FRoNKscJGIae1Kq-L2bdHpy4J-juTTCFlNuodgTHguG8aokn-BCcU0vPwH6DFWLFEn80EuTRLn-lJYH9qDAFA24opZmQHL86ihhj1aZ9nmQKJ-2Vm_2C2jhxyylzcZtYJJuKGv_rRfMZpcOIPs_asWO81F1cvNqZQriIQ/s1200/Nine-4109.JPG" style="clear: right; display: block; float: right; padding: 1em 0px; text-align: center;"><img border="0" data-original-height="1200" data-original-width="991" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHXyrE8Q6X9cicaYa_3S35FRoNKscJGIae1Kq-L2bdHpy4J-juTTCFlNuodgTHguG8aokn-BCcU0vPwH6DFWLFEn80EuTRLn-lJYH9qDAFA24opZmQHL86ihhj1aZ9nmQKJ-2Vm_2C2jhxyylzcZtYJJuKGv_rRfMZpcOIPs_asWO81F1cvNqZQriIQ/w264-h320/Nine-4109.JPG" title="Kimmie Kidd-Booker as LaFleur in New Line Theatre's NINE, 2023. Photo Credit: Jill Ritter Lindberg." width="264" /></a></div>Fellini gave his film its title as a meta joke: his lead character (and avatar) is so blocked artistically that his story doesn’t even get a real title (its first working title was <i>La Bella Confusione</i>); it just gets a number. Fellini had already directed six full-length films and one short, and he had co-directed two films, so <i>8½</i> was number eight-and-a-half.<br />
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Both the film and stage musical tell the story of genius filmmaker Guido Contini (i.e., Fellini) going through a very painful midlife crisis, an artistic crisis, and a complete emotional collapse – and all presented as a wildly entertaining, surrealistic comic romp, all happening inside the mind of this troubled, brilliant, creative man. The challenge for Guido is to recognize his toxic behavior and his terrible treatment of the women in his life, all of which has been tolerated by those around him, and finally, at age forty, to Grow Up. It’s a journey we all have to take. <br />
<br />
Guido’s is just more fun.
Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-86481881486444975602022-12-14T20:43:00.005-06:002022-12-14T20:43:54.506-06:00Something Rotten! (2022)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDDvyrbPO63_axHv-gCGhGGNSV3Dlr3agatEOvS2SAVjV0TUQ-nksDQMuSYv6uQeO_PZCoZsm6yvdZWTP67z9IzHB0SLFH8oxrNw32JRH1l7BsXOMZLbWS33zUkkHvSi2_m7YeaJBognMYSJbtKvRX5_XvUBgVISTYmtp2kvJE12OJkWVPXZZ-DBw/s600/SomethingRotten_Postcard1.png" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="600" data-original-width="386" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDDvyrbPO63_axHv-gCGhGGNSV3Dlr3agatEOvS2SAVjV0TUQ-nksDQMuSYv6uQeO_PZCoZsm6yvdZWTP67z9IzHB0SLFH8oxrNw32JRH1l7BsXOMZLbWS33zUkkHvSi2_m7YeaJBognMYSJbtKvRX5_XvUBgVISTYmtp2kvJE12OJkWVPXZZ-DBw/w206-h320/SomethingRotten_Postcard1.png" title="Graphic design by Matt Reedy, 2022" width="206" /></a></div>
Music and Lyrics by Karey Kirkpatrick & Wayne Kirkpatrick<br />
Book by Karey Kirkpatrick & John O'Farrell<br />
Conceived by Karey Kirkpatrick & Wayne Kirkpatrick<br /><br />
Sept. 22 -Oct. 13, 2022<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/rottenpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/SOMETHING-ROTTEN-2022/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Nick Bottom – Chris Kernan<br />
Nigel Bottom – Marshall Jennings<br />
Bea Bottom – Carrie Wenos<br />
Portia – Melissa Felps<br />
Nostradamus – Jeffrey Izquierdo-Malon <br />
Will Shakespeare – Clayton Humburg<br />
Brother Jeremiah – Jason Blackburn<br />
Shylock/Lord Clapham – Robert Doyle<br />
Minstrel/Peter Quince – Chris Moore<br />
Francis Flute – Mara Bollini<br />
Robin Starveling – Kent Coffel<br />
John Snug – Brittany Kohl Hester<br />
Tom Snout – Ian McCreary<br />
Helena/Psychic – Maggie Nold <br />
Miranda/Astrologer – Alyssa Wolf<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Mallory Golden<br />
Trumpet – Joe Akers<br />
Guitar – Jack Catalanotto, Adam Rugo<br />
Bass – John Gerdes<br />
Reeds – Joe Hendricks<br />
Percussion – Des Jones<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Director – Scott Miller<br />
Music Director – Mallory Golden<br />
Choreographer – Alyssa Wolf<br />
Technical Director – Matt Stuckel<br />
Sound Designer – Ryan Day<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Lighting Designer – Matt Stuckel<br />
Props Master – Todd Schaefer<br />
Scenic Crew – Richard Brown, Nick Brunstein, Patrick Donnigan, Luca Pritchett<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7v0tH-5vcHQphPBn0IYc6uzbfOgeBoYFcjfBca2u-W_ugWNOntLhrt0wotLWJctOXVkAe1aRDALlGj-TXBkzWO_Yq2z1kzOP2afvwG2roGQSGiKh9_LTWRWDEmElfavW8UKY96u1ybIpthj8bYufeOq2LWpa5mUTcNh7loTbKr1M6f96qUcIEqzOV_w/s5760/0P6A7042.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7v0tH-5vcHQphPBn0IYc6uzbfOgeBoYFcjfBca2u-W_ugWNOntLhrt0wotLWJctOXVkAe1aRDALlGj-TXBkzWO_Yq2z1kzOP2afvwG2roGQSGiKh9_LTWRWDEmElfavW8UKY96u1ybIpthj8bYufeOq2LWpa5mUTcNh7loTbKr1M6f96qUcIEqzOV_w/w320-h213/0P6A7042.JPG" title="The cast of New Line Theatre's SOMETHING ROTTEN!, 2022. Photo Credit: Jill Ritter Lindberg." width="320" /></a></div>
“<i>Something Rotten!</i> gets a delightful regional premier at the Marcelle Theatre in St. Louis this month, under the ebullient direction of New Line Theatre founder Scott Miller. . . I felt like a changed man after two hours and fifteen minutes packed with silly laughter and beautifully sung tunes. Unexpectedly, a lot of Mr. Miller’s usual background players seize the spotlight this time, and the sense of discovery is doubled – it’s not just a new musical to me, but a chance to see entirely different leading men and women telling the tale with fresh wit and emotion. . . If there were a prescription for joy, it would come with this show in the bottle. . . I often fail to capture in words how beautiful the singing is at New Line Theatre, and once again it’s one glorious solo after another.” – Richard Green, <i>TalkinBroadway</i><br />
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“The playwright’s the thing in New Lines Theatre’s high-energy and highly entertaining production of <i>Something Rotten!</i> . . . The show is always a good time and New Line’s captivating, fast-paced production doubles the pleasure. . . Director Scott Miller hits the bull’s eye with less over-the-top slapstick and more interconnected and relatable humor in this production. . . New Line Theatre’s smartly interpreted <i>Something’s Rotten!</i> puts the emphasis on the natural humor and empathy that lies in the relationships, old and new, at the center of the play. The approach works marvelously well in the intimate Marcelle theater. . . Well-directed, well-rehearsed performers ensure the many humorously familiar lines and references flow naturally, with just an eyebrow or two raised in confirmation. The show is great fun for all ages with catchy songs, likeable characters and plenty of laughs from clever, relatable humor.” – Tina Farmer, KDHX
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<br />“This production of <i>Something Rotten!</i> is terrific. New Line Theatre's production delivers a robust number of laughs from a script filled with nonsense musical theatre references. Director Scott Miller has taken a big, overblown musical and effectively shrunk the performance to a smaller stage with a simple set. . . The entire ensemble delivers exceptional vocals and animated performances. Everyone in this company is first rate. . . New Line’s production of <i>Something Rotten!</i> is an exceptional reimagination of this asset. It illustrates how a smartly written comedy, in the hands of the right director and technical theater professionals, can effectively make the transition to any size stage.” – James Lindhorst, <i>BroadwayWorld</i><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb3skD2R-T_rl-KQZF3rLC8icT8xKvlgc6njFunk-CE-mQnGPSGd7LDNF7NTuH6iTV_RGRm35r4uHzKfYveWWBbbGGHe1DWRpKPHHsz29kuU0UdL4v4TVaderACR80izACGwiajgVnvnrDily8MgyvSePgKk1XiSAN7ZoLQ77_JxcfO4wI2F3frxLa2g/s2048/308060841_10228805503740342_2673989176715707038_n.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="1562" data-original-width="2048" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb3skD2R-T_rl-KQZF3rLC8icT8xKvlgc6njFunk-CE-mQnGPSGd7LDNF7NTuH6iTV_RGRm35r4uHzKfYveWWBbbGGHe1DWRpKPHHsz29kuU0UdL4v4TVaderACR80izACGwiajgVnvnrDily8MgyvSePgKk1XiSAN7ZoLQ77_JxcfO4wI2F3frxLa2g/w320-h244/308060841_10228805503740342_2673989176715707038_n.jpg" title="The cast of New Line Theatre's SOMETHING ROTTEN!, singing "Will Power," 2022. Photo Credit: Jill Ritter Lindberg." width="320" /></a></div>
“No matter if it’s a big Broadway show or a promising tryout that flew under the radar, St. Louis audiences know they can expect great productions from New Line Theatre. In the case of <i>Something Rotten!</i>, they’ve taken the hit musical comedy and turned it into an intimate evening of song, dance, and lots of laughs. . . <i>Something Rotten!</i> is one of the funniest shows of all time. The premise alone is hilarious, with a book full of witty dialogue and clever anachronisms. And the songs are fantastic, with memorable numbers coming one after another. . . Director Scott Miller has another winner on his hands, as audiences get to see one of the funniest, cleverest, and more original musicals of the past decade.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“New Line’s terrific production increased my admiration for the 2015 hit Broadway musical. . . Miller’s encyclopedic knowledge and boundless love of musicals make him an ideal interpreter of <i>Something Rotten!</i> His insightful program notes draw attention to the show’s warning that the pursuit of commercial success can be at the expense of personal and artistic success. Also, Miller points out that <i>Something Rotten!</i> uses the traditional form of the musical comedy in a modern, self-referential way. Miller gets the metatheatrical humor and knows how to put it across to the audience. New Line’s cast is splendid.” – Gerry Kowarsky, <i>Two on the Aisle</i><br />
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“<i>Something Rotten!</i> is a humdinger of a regional professional theater premiere from New Line Theatre. . . Fresh, funny, and frisky, the cast accepts their mission to have fun with the fluff, and the tight-knit ensemble is downright giddy frolicking in some of the most original show tunes in the past decade. . . <i>Something Rotten!</i> is a must-see comedic gem, a well-cast, well-staged show that’s a bright spot in local theater this fall.” – Lynn Venhaus, PopLifeSTL<br />
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“New Line has proved over and over that they know how to take Broadway shows and find more substance while focusing on the characters, often by scaling down to fit their smaller company and performance space. Their latest production,<i> Something Rotten!</i> is another example of this concentrated approach, and for the most part, it’s a resounding success. With thoughtful direction and a great cast, and toned-down production values, this show succeeds in managing to find the heart of its story while maintaining the crackling humor and fun meta tone of the piece. . . It was big and flashy in its Broadway version, but director Scott Miller has impressively toned it down here, making it seem less derivative of the slapsticky tone of the works of Mel Brooks and Monty Python and more like a just as hilarious but also more character-focused story in its own right. With this toned-down approach, all the jokes still land, but the message and the heart ring even more true. . . Overall, <i>Something Rotten!</i> is a real treat. At New Line, it’s not big or flashy, but it looks great, and it distills the story down to its essential elements – music, comedy, truth, and heart. It’s a remarkable example of the idea that sometimes, less really is more.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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<b>DIRECTOR'S NOTES</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKQEfXrcmJgb8U7Y5A8ommXynOu4ML-DbxVBso-pKdrQnccOgXIrg251cPix3pnQ31N3PHZx0H0W0MPfXUfMV0MxOBocuMhBZnzT373LHQvaWpe4cksJLA9wWOfIyJyDraQq9UA6fUKmoX4EhilkMPsDfhpe5Y48lhAooztunAJF5P3A-ygpndrAv4fw/s5472/IMG_3411.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="5472" data-original-width="3648" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKQEfXrcmJgb8U7Y5A8ommXynOu4ML-DbxVBso-pKdrQnccOgXIrg251cPix3pnQ31N3PHZx0H0W0MPfXUfMV0MxOBocuMhBZnzT373LHQvaWpe4cksJLA9wWOfIyJyDraQq9UA6fUKmoX4EhilkMPsDfhpe5Y48lhAooztunAJF5P3A-ygpndrAv4fw/w213-h320/IMG_3411.JPG" title="Marshall Jennings as Nigel, and Melissa Felps as Portia, in New Line Theatre's SOMETHING ROTTEN!, 2022. Photo Credit: Jill Ritter Lindberg." width="213" /></a></div>
Sometimes, people think that because New Line produces only smart, socially and politically relevant, adult musical theatre, that we don’t do comedy. But we do a <i>lot</i> of comedy. As Aristophanes knew well, it’s much easier to deal with serious issues through comedy. It’s the “Spoonful of Sugar” theory. So though <i>Something Rotten!</i> is outrageously wacky and transgressive, it also deals with one of the most important questions in our society in the twenty-first century – <i>what is success? </i><br />
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This story is all about defining commercial success, personal success, and artistic success – and realizing that they are not all the same thing, that they are in fact often in opposition. It’s the central conflict between our fictional brothers Nick and Nigel Bottom. <br /><br />A few years back, I got to interview the real world Kirkpatrick brothers for my <i>Stage Grok</i> podcast when the show first came to the Fox on tour. They are two-thirds of the <i>Something Rotten!</i> writing team, along with John O’Farrell. They told me the idea of the show started with a wonderful <i>What If</i> that’s not only very funny, but unexpectedly resonant in a dozen different ways:<br />
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What if Shakespeare’s London operated like today’s Hollywood?<br /></i>
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The extra insightful part of this juxtaposition is that Shakespeare’s theatre scene was a commercially competitive world, and Will made his living as a writer; so mashing up these two worlds reveals so much that the two share, the good, the bad, and the ugly. And we see that Bottom’s mistakes all come from chasing that false god of commercial success.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI8rzNBfuICDSqVrPV7dp4hIkPEsm58w0JWRyKHHIGw8lEbQLE6nC2NNZQHWCbGIRcnflZcIeM_Rj-IfHvAQUNqmo1Wj3EXOG4NQN0AVFQ6B5bBfk5CuzNlUsyc7ktPBmV241QIB4GfJ1ahAWreZ32kruoG79YIwL13M6m746PLlOqI_0w58LZgklQNQ/s5472/IMG_3363.JPG" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="5472" data-original-width="3648" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI8rzNBfuICDSqVrPV7dp4hIkPEsm58w0JWRyKHHIGw8lEbQLE6nC2NNZQHWCbGIRcnflZcIeM_Rj-IfHvAQUNqmo1Wj3EXOG4NQN0AVFQ6B5bBfk5CuzNlUsyc7ktPBmV241QIB4GfJ1ahAWreZ32kruoG79YIwL13M6m746PLlOqI_0w58LZgklQNQ/w213-h320/IMG_3363.JPG" title="Jeffrey Izquierdo-Malon as Nostradamus, in New Line Theatre's SOMETHING ROTTEN!, 2022. Photo Credit: Jill Ritter Lindberg." width="213" /></a></div>One thing I’ve realized about the show as we’ve worked – in so many ways, it’s a perfectly constructed 1950s musical comedy, but <i>so</i> meta. It uses the tools and devices and construction of old school musical comedy, but it also acknowledges and undermines all those things at the same time. It’s exactly the kind of show I invented the “neo musical comedy” label for, using all those tools inherited from George M. Cohan and George Abbott, but for very different agendas, social, political, artistic, satirical, etc. <i>Something Rotten!</i> is a meta-musical, a show that acknowledges in various ways that it’s a show, referencing not just the show’s story but the act of performing of it as well. <br />
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There is a whole smorgasbord of crazy, wild, smart, transgressive, meta-theatrical stuff in <i>Something Rotten!</i> Cynical but idealistic, smartass but big-hearted, steeped in musical comedy tradition and also happily dismantling it. 1595, but also 2022.
This is my kind of ride.
Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-1797771542821303552022-06-29T19:04:00.001-05:002022-06-30T02:17:38.734-05:00Urinetown (2022)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAn1VUUiy2IJJDH4LdC_GU-bY4ISG6CPeyPp0dM_MGYY6cW3dXLaxEMJb7WTAriXw2AEZKGBAQ1pMo0PQ97oBn3NmqbJxx-SfAqSB25gbMNeafQFATdimW49RDruO-ox8MXyc_XvzRdxoU/s1600/HeadOverHeels-2.png" style="clear: right; float: right; margin-bottom: 0em; margin-left: 0em;"><img alt="" border="0" data-original-height="219" data-original-width="141" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwfn-PM0ZoSEeb3Du7625Wa7AXDlIoSbH-GQoilbIWq54cZbqG0ir5frEyBbqELEo7Svqtfu0NRFjFGrwL2GrzzmUcorVmYHGIWdkLuAxkMcC1k5jJvqDnvV00DmGFNjL6EScDXMpCVGM/s320/Utown-2.png" title="Graphic Design by Matt Reedy, 2020" /></a></div>
Music and Lyrics by Mark Hollman<br />
Book and Lyrics by Greg Kotis<br /><br />
June 2-25, 2022<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/u-townpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/URINETOWN-2022/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Bobby Strong – Kevin Corpuz <br />
Hope Cladwell – Melissa Felps, Grace Langford<br />
Officer Lockstock – Kent Coffel<br />
Little Sally – Jennelle Gilreath<br />
Caldwell B. Cladwell – Todd Schaefer<br />
Penelope Pennywise – Sarah Gene Dowling<br />
Officer Barrel – Marshall Jennings<br />
Mr. McQueen – Clayton Humburg, Chris Moore<br />
Senator Fipp – Colin Dowd<br />
Josephine Strong – Mara Bollini<br />
Joseph Strong / Hot Blades Harry – Zachary Allen Farmer<br />
Little Becky Two Shoes – Grace Langford, Jessica Winingham<br />
Tiny Tom – Ian McCreary<br />
Billy Boy Bill – Chris Moore<br />
Robbie the Stockfish – Christopher Strawhun<br />
Soupy Sue – Jessica Winingham<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Tim Clark<br />
Reeds – Kelly Austermann<br />
Trombone – Tom Hanson<br />
Percussion – Clancy Newell<br />
Bass – John Gerdes<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Chris Kernan<br />
Music Director – Tim Clark<br />
Choreographer – Chris Kernan<br />
Scenic Designer – Todd Schaefer<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Ryan Day<br />
Lighting Design – Kenneth Zinkl<br />
Props Master – Kimi Short<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVhP219RT2XgGb8qjO6UFQg0SIEQe3ArezaR5mQsBszu6CZS8IDZw3lzO5oENWUGZJIKLGJFs0G4ieIuayspTDd0AWQ1VXJSnu_tSF-bZrV7nohbcCQ-zA8Eu_8cr3R7XpQA5drZo3vbwKIc4__vkvnc0ZgQAL7Na58iEdJfjKnWYrfDD_ocJZATzVA/s5760/0P6A5873.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVhP219RT2XgGb8qjO6UFQg0SIEQe3ArezaR5mQsBszu6CZS8IDZw3lzO5oENWUGZJIKLGJFs0G4ieIuayspTDd0AWQ1VXJSnu_tSF-bZrV7nohbcCQ-zA8Eu_8cr3R7XpQA5drZo3vbwKIc4__vkvnc0ZgQAL7Na58iEdJfjKnWYrfDD_ocJZATzVA/w320-h213/0P6A5873.jpg" title="The company of New Line Theatre's URINETOWN, 2022. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>“Was there ever a show like <i>Urinetown</i>, showing off this month with a jazzy new gloss at New Line Theatre? It’s a fantasy of a nightmare of a concept of a dream. And it barrels right at you, at a hundred miles an hour. New Line founder Scott Miller co-directs, along with choreographer Chris Kernan, and the crazy audacity of it just flies out of them both, with an outstanding cast and a very fine band. . . This is one of New Line’s strongest shows, where the company’s whole three decades of gritty, can’t-turn-away entertainments come to hard-driving, satirical fruition.” – Richard Green, <i>Talkin Broadway</i><br />
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“New Line Theatre concludes its 30th-anniversary season with a boisterous, energetic presentation of <i>Urinetown</i>, still a witty and scathing satire on much that’s wrong with society more than twenty years after its Off-Broadway debut. . . With the declining state of politics today, <i>Urinetown</i> is as prescient as ever. This is not heavy-handed satire, though. Greg Kotis and Mark Hollmann and their characters, Officer Lockstock and Little Sally, wink and nod at the audience directly throughout its two witty acts and two hours of smoothly paced running time in this version directed by Scott Miller and Chris Kernan.” – Mark Bretz, <i>Ladue News</i><br />
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“<i>Urinetown</i> is smart, sassy, and relentlessly metatheatrical – that is, it calls attention to the fact that it is theater piece. These qualities put the musical in the wheelhouse of New Line Theatre, whose current staging of <i>Urinetown</i> is a thorough delight. . . Under codirectors Scott Miller and Chris Kernan, the splendid New Line cast displays a sure grip on the style required to bring out the cheeky spirit of the book by Greg Kotis and the lyrics by Kotis and Mark Hollmann, who wrote the music.” – Gerry Kowarsky, <i>Two on the Aisle</i><br />
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“<i>Urinetown</i> is the meta, satirical musical we need right now. . . Right from the start, it’s clear that we are in for something special. Conventional musical rules are thrown out the window, and the show’s self-awareness leads to a fun and unique experience throughout the show. . . <i>Urinetown</i> is packed full of funny moments and memorable musical numbers, while at the same time begging the audience to think about how close some of the absurdity resembles the current state of the world. A biting satire and social commentary that never ceases to entertain, the show is non-stop fun that also seems more important than ever.” – Kevin Brackett, Review STL<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM8Vc75QI2BY1YwJPEoS3XV2vt7p389k0PUyT_4CGPceFg4sXBPwpoW93SeWZiZL9sSf3IM39VMeFQR92T9OPxJbAc-mnENO20kg-gXZM0HpOhmYfa6yYg5Bw_vl1tseQdFOS_whu-tNjDsGE4UbmqZunlcCdz8Hmjq5y-JxZPzWBSjwMebT8EYadzTA/s5472/IMG_3071.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3648" data-original-width="5472" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM8Vc75QI2BY1YwJPEoS3XV2vt7p389k0PUyT_4CGPceFg4sXBPwpoW93SeWZiZL9sSf3IM39VMeFQR92T9OPxJbAc-mnENO20kg-gXZM0HpOhmYfa6yYg5Bw_vl1tseQdFOS_whu-tNjDsGE4UbmqZunlcCdz8Hmjq5y-JxZPzWBSjwMebT8EYadzTA/w320-h213/IMG_3071.jpg" title="Kent Coffel, Kevin Corpuz, Marshall Jennings, in New Line Theatre's URINETOWN, 2022. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>“In the capable hands of directors Scott Miller and Chris Kernan, the talented cast of <i>Urinetown</i> gives audiences an exceptional and witty production that resonates with uncomfortable truth. . . <i>Urinetown</i> is a delightful and bouncy bummer of a comic musical. Poppy songs, potty humor, and funny double takes help deliver serious concerns about global warming as well as corporate greed and political corruption. Strong performances, pointed direction and an abundance of comedy ensure New Line Theatre succeeds in giving audiences an entertaining show with a thought-provoking edge.” – Tina Farmer, KDHX<br />
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“If <i>Urinetown</i> isn’t the best show that Scott Miller’s New Line Theatre has ever produced, the distinction is too fine to matter. This show – brainy, incisive, and so funny that it makes you choose between laughing and breathing – stands at the very pinnacle of New Line’s achievements. . . About the laughing and breathing thing – that’s no exaggeration. Should you hold your breath to make sure you hear the next hilarious line? Or should you just give in and laugh your head off? Both approaches have their advantages. Personally, I think it’s simplest to go to see it twice. . . This is wonderful grist for our Miller. With its neon political message and its unabashed love for the art of musical theater, Urinetown has in Miller a director whose own sensibility is perfectly in tune with the show’s material. It’s a love match.” – Judy Newmark, <i>All the World’s a Stage</i><br />
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“Zeitgeist, meet <i>Urinetown</i>. In this <i>Twilight Zone</i> reality we seem to live in now in the 21st century, the subversive <i>Urinetown</i> the musical has never seemed timelier. Or funnier. Or scarier. What once was merely laugh-out-loud outrageous 20 years ago has morphed into a gasp-filled hit-nail-on-head satire where sleazebag politicians are even slimier, greedy corporate bastards are more cruel, ecological disaster seems more imminent and cries of revolution are not far-fetched but absolutely necessary. . . This cast has the vocal chops to entertain in lively fashion, and with nimble comic timing, hits the sweet spot between exaggerated naivete and cheeky irreverence. . . Co-directors Scott Miller and Chris Kernan’s fresh take goes darker, which suits the capricious winds of an ever-evolving global pandemic that we have lived through for 27 months. Not to mention clinging to a democracy with fascist and authoritarian threats very much present. And hello, global warming.” – Lynn Venhaus, <i>Pop Life STL</i><br />
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“It’s a dark comedy and a sharp satire, and at New Line, it’s a memorable experience with an especially strong cast, insightful direction, and a striking aesthetic. . . It’s a strong ensemble all around, with loads of cynical energy and strong vocals. There’s also excellent stylized choreography by Chris Kernan. This is a demanding show in terms of style, pacing, and overall theming, and all that is done remarkably well at New Line, under the direction of Scott Miller and Kernan. . . At New Line, <i>Urinetown</i> challenges, provokes, and ultimately entertains with a superb cast of local actors and singers. It may not be a happy musical, but it’s certainly a memorable one.” – Michelle Kenyon, Snoop’s Theatre Thoughts<br />
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<b>DIRECTOR'S NOTES</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOG7KQ0ClaU_3D4siRMbTFOOEhZH0yDUd8mnMwByrguCJHo-Ye7f9TrwZRArVYkadY2VwCYljfAHtYbdMdz3h8JJr-VLzRrW5Lny9UoSdcm2gFp2-XJqRGN-zwlHUO1Wahy5xCzzXwnduruCJ-f-RNSVMayJque5IBZ2ChXQMvprfh0r35wxjUC8RfXg/s5760/0P6A5920.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOG7KQ0ClaU_3D4siRMbTFOOEhZH0yDUd8mnMwByrguCJHo-Ye7f9TrwZRArVYkadY2VwCYljfAHtYbdMdz3h8JJr-VLzRrW5Lny9UoSdcm2gFp2-XJqRGN-zwlHUO1Wahy5xCzzXwnduruCJ-f-RNSVMayJque5IBZ2ChXQMvprfh0r35wxjUC8RfXg/w320-h213/0P6A5920.jpg" title="The company of New Line Theatre's URINETOWN, 2022. Photo credit: Jill Ritter Lindberg." width="320" /></a></div> When <i>Urinetown</i> opened on Broadway in 2001, it broke the musical comedy. In a good way. In a perverse way, it was the most honest musical to be written in decades.<br />
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The evil musical theatre geniuses Greg Kotis and Mark Hollmann (also creators of the amazing Yeast Nation) took the long-perfected machinery of the American musical comedy, passed down to us from George M. Cohan through George Abbott, and they threw several big wrenches into that machine, pulled out some of its gears, smeared peanut butter on a few of the belts.<br />
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Even the weirder experiments of the past never broke it. They may have used that machinery for subversive and/or outrageous purposes (<i>Little Shop</i>, anyone?), and in the case of Sondheim's <i>Merrily We Roll Along</i>, he ran the machine backwards. But everybody always kept the machine running.<br />
<br />
Kotis and Hollmann broke it. In a good way. And in the process, they helped birth the neo musical comedy, shows that uses the tools and conventions of old-school musical comedy for darker, more political, more cynical purposes.<br />
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The opening number of <i>Urinetown</i> violates every rule of musical theatre openings – except for one, maybe the most important, Sondheim's Ten Minute Rule, which requires laying out all the ground rules for the evening in the first ten minutes of the show, ideally in the first song. (Think of <i>Into the Woods, Company, Hamilton, High Fidelity, Next to Normal, Bat Boy, Be More Chill, Heathers</i>, and so many other great shows.) <i>Urinetown</i> does in fact set up all the rules for the evening in the first song, but these are really different rules.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaHNaZJALCphqgJYZPb98Qa2PgpRuBs68rHWq3tG6tvd3t8Aume5-QW2VASnda0gXZHDfAHowaMsOdIlXNxZlokaX_HpHst1zBBqnmMn39PT-uhl-lbdTdBeStRXEK2qtu5Zy0VoTVH5RNN_mpM-ltpYCGujDvG6MSh98kurvmxB37gvEVJDtutCuUEw/s5472/IMG_2932.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3648" data-original-width="5472" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaHNaZJALCphqgJYZPb98Qa2PgpRuBs68rHWq3tG6tvd3t8Aume5-QW2VASnda0gXZHDfAHowaMsOdIlXNxZlokaX_HpHst1zBBqnmMn39PT-uhl-lbdTdBeStRXEK2qtu5Zy0VoTVH5RNN_mpM-ltpYCGujDvG6MSh98kurvmxB37gvEVJDtutCuUEw/w320-h213/IMG_2932.jpg" title="Sarah Gene Dowling, Kevin Corpuz, and the company of New Line Theatre's URINETOWN, 2022. Photo credit: Jill Ritter Lindberg." width="320" /></a></div> While most stories weave the central theme subtly throughout the story, <i>Urinetown</i> bludgeons us repeatedly all night with water and pee imagery. This world is familiar to us, but also different from ours, like a funhouse mirror of our real world, distorted, but still a mirror. We can count on certain things making sense, but not all things, and we can sort of see our own reflection. The storytelling seems unnervingly serious and perversely literal. The heightened style of acting mashes together the high formality of Classical Theatre with a gleefully silly plot and ridiculous characters and dialogue.<br />
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In some ways, <i>Urinetown</i> asks actors to actively go against their best instincts. But I've seen this weird alchemy work. I saw it on Broadway, and I directed the show for New Line fifteen years ago, with a fearless cast. It's been a blast to return to this upside-down world again.Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-34436331844523510602022-03-31T17:24:00.003-05:002022-06-30T02:17:28.778-05:00Head Over Heels (2022)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAn1VUUiy2IJJDH4LdC_GU-bY4ISG6CPeyPp0dM_MGYY6cW3dXLaxEMJb7WTAriXw2AEZKGBAQ1pMo0PQ97oBn3NmqbJxx-SfAqSB25gbMNeafQFATdimW49RDruO-ox8MXyc_XvzRdxoU/s1600/HeadOverHeels-2.png" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="141" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAn1VUUiy2IJJDH4LdC_GU-bY4ISG6CPeyPp0dM_MGYY6cW3dXLaxEMJb7WTAriXw2AEZKGBAQ1pMo0PQ97oBn3NmqbJxx-SfAqSB25gbMNeafQFATdimW49RDruO-ox8MXyc_XvzRdxoU/s320/HeadOverHeels-2.png" title="Graphic Design by Matt Reedy, 2020" width="206" /></a></div>
Conceived by and Original Book by Jeff Whitty<br />
Adapted by James Magruder<br />
Music and Lyrics by The Go-Go's<br />
Based on the 16th-century novel The Countess of Pembroke's Arcadia by Sir Philip Sidney<br /><br />
March 2-25, 2022<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/hohpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/HEAD-OVER-HEELS-2022/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Princess Pamela – Grace Langford<br />
Musidorus – Clayton Humburg<br />
Princess Philoclea – Melissa Felps<br />
Mopsa – Dawn Schmid<br />
King Basilius – Zachary Allen Farmer<br />
Queen Gynecia – Carrie Wenos Priesmeyer<br />
Pythio – Tiélere Cheatem<br />
Dametas – Colin Dowd<br />
Arcadians – Kevin Corpuz, Evan Fornachon,<br />
Chris Kernan, Chris Moore, Maggie Nold,<br />
Michelle Sauer, Alyssa Wolf, Sara Rae Womack<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Nicolas Valdez<br />
Lead Guitar – Aaron Rugo<br />
Guitar – Jaylen Edwards<br />
Percussion – Clancy Newell<br />
Bass – John Gerdes<br />
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<b>THE ARTISTIC STAFF</b><br />
Director – Scott Miller<br />
Music Director – Nicolas Valdez<br />Choreographers – Michelle Sauer, Sara Rae Womack<br />
Stage Manager – Erin Goodenough<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Courtney Gibson, Sarah Porter<br />
Sound Designer – Ryan Day<br />
Lighting Design – Kenneth Zinkl<br />
Props Master – Kimi Short<br />
Scenic Crew – Richard Brown, Nick Brunstein, Patrick Donnigan,<br />
Patrick Donnigan, Kathleen Dwyer, Gary Karasek,<br />
Luca Pritchett, Paul Troyke, Victoria Xu<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEoscmC4CiEQYh5U1gBei_6n5AZYvOdFLF2HkKH3jF0qokh6Mu97YLi7r_xpuHT9ReJaDAqkdQfmdh7a6NslwG5uspkv6dyNALCjrRJ0yGs_iDo6Aq5EmGgDBXgWtLfvPmw2sep6Tv1fxYQNjWuTo6NJbhT5zpEmyxEdep1CGimMChXlih1y5VRCTWZA/s5760/0P6A5290.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEoscmC4CiEQYh5U1gBei_6n5AZYvOdFLF2HkKH3jF0qokh6Mu97YLi7r_xpuHT9ReJaDAqkdQfmdh7a6NslwG5uspkv6dyNALCjrRJ0yGs_iDo6Aq5EmGgDBXgWtLfvPmw2sep6Tv1fxYQNjWuTo6NJbhT5zpEmyxEdep1CGimMChXlih1y5VRCTWZA/w320-h213/0P6A5290.jpg" title="The cast of New Line Theatre's HEAD OVER HEELS, 2022. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>"<i>Head Over Heels</i> thoroughly entertains. The themes and story are charmingly comic and completely relevant. The book’s light touch ensures its messages about love and acceptance are easy to embrace, even in flyover country. Miller’s engaging direction keeps the musical comedy upbeat and the audience involved through both uncertain and declarative moments. Most importantly, exceptional performances have the audience cheering for the characters and for love to conquer all while the infectious songs of The Go-Go’s perfectly hit the mark." – Tina Farmer, KDHX<br />
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"New Line Theatre, which was forced to close its hit production of the musical <i>Head Over Heels</i> with the onslaught of the COVID-19 pandemic in March 2020, revives the show with an even better version this March. If the infectious music of the Go-Go’s and a witty, clever script are your choices of entertainment, you’ll be delighted with New Line’s effervescent presentation of this agreeable romp. . . The zesty, exuberant choreography created by Michelle Sauer and Sara Rae Womack is better and tighter in this new presentation than in the 2020 version." – Mark Bretz, <i>Ladue News</i><br />
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"Two years later, <i>Head Over Heels</i> is back at New Line. The original production was splendid. So is the revival. . . The perceptive stage direction by Scott Miller in complete sympathy with the show. The score sounds wonderful thanks to New Line band under Miller’s musical direction. The dance numbers sparkle in the exuberant choreography by Michelle Sauer and Sara Rae Womack." – Gerry Kowarsky, <i>Two on the Aisle</i><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRZTa7oAsdEmAPglwXpHqBMmRAggvpVWW3WYJgKCmIb6B0IPZy1xx9mehPDYqmRNHVMzFYh6aLGDfgvQm_7FrDknHf6NQzVFcACLnjhO4dTmWJCZzELQZYjpSqcS1j9INnZeVVzjWrI31mo8iOrcbu4RiJIhbzDjuhrC7smPuD6mJQIAurhqEKKSfc9w/s5760/0P6A5385.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRZTa7oAsdEmAPglwXpHqBMmRAggvpVWW3WYJgKCmIb6B0IPZy1xx9mehPDYqmRNHVMzFYh6aLGDfgvQm_7FrDknHf6NQzVFcACLnjhO4dTmWJCZzELQZYjpSqcS1j9INnZeVVzjWrI31mo8iOrcbu4RiJIhbzDjuhrC7smPuD6mJQIAurhqEKKSfc9w/w320-h213/0P6A5385.jpg" title="The cast of New Line Theatre's HEAD OVER HEELS, 2022. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>“Exactly two years ago, when COVID-19 was about to cast the live theater world into a kind of suspended animation, New Line Theatre put on a dazzling regional premier of the Go-Go's inspired stage musical <i>Head Over Heels</i>. . . it's still a thrill to watch and to get caught up in the swirl of it. <i>Head Over Heels</i>' vocal and dance magic remains in excellent working order. . . It's a jukebox musical that transcends the category, reshuffling the popular 1980s girl group's songbook into a 16th century smash hit poem, complete with Day-Glo doublet and hose, and some very up to date gender pronouns.” – Richard Green, Talkin Broadway<br />
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"There’s a (near-riotous) party going on at New Line Theatre. Scott Miller and his merry band have unleashed <i>Head Over Heels</i>. Unleashed again, that is. Their first production was stopped in its tracks two years ago this month by the pandemic. Celebrate by heading to The Marcelle Theater and settling in for an evening of fun. . . And then there’s the choreography from Michelle Sauer and Sara Rae Womack, dazzling and athletic and in-your-face. . . Miller directed this, and he’s hit it out of the park. It’s a good example of the whole new world of musical theatre." – Ann Pollack, <i>St. Louis Eats and Drinks</i><br />
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"Two years ago, New Line opened exactly the kind of show that makes this oddball company a treasure of St. Louis theater: hip, zesty and largely unknown. New Line founder Scott Miller has an uncanny gift for discovering these gems; I call it Playdar. . . Here’s the great news: New Line has mounted it again, in a hilarious production that involves nearly all the same actors and artists. . . A masterful, genre-crossing, achronological mashup." – Judy Newmark, <i>All the World’s a Stage</i><br />
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<b>DIRECTOR'S NOTES</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpb9OrwE3YO6kiAAxk0HIcn0HTaz0Ppre0xuFROvwDQ1Vc7cdNjewU_nxaKmceUZmN_TGdluXW1wh0IalMfV03eNRhQUuVPUSuD2PxxgNsYq79ZvzZw8OMoQ2xFqKWpriscehf56lBMCUVA64KGwFLohRnTU04DUADI04AhEYAJHoYDG4glx8MAOQzZg/s5472/IMG_2590.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img border="0" data-original-height="5472" data-original-width="3648" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpb9OrwE3YO6kiAAxk0HIcn0HTaz0Ppre0xuFROvwDQ1Vc7cdNjewU_nxaKmceUZmN_TGdluXW1wh0IalMfV03eNRhQUuVPUSuD2PxxgNsYq79ZvzZw8OMoQ2xFqKWpriscehf56lBMCUVA64KGwFLohRnTU04DUADI04AhEYAJHoYDG4glx8MAOQzZg/w213-h320/IMG_2590.jpg" title="Melissa Felps and Clayton Humburg in New Line Theatre's HEAD OVER HEELS, 2022. Photo credit: Jill Ritter Lindberg." width="213" /></a></div>WELCOME BACK! <i>Can you believe it’s been two years? </i><br />
<br />
We live in an age of mashup, the art of combining forms and content that shouldn't go together, to form something new and wonderful. <i>Head Over Heels</i> is one of the most interesting mashups I've yet encountered, slamming 16th-century Elizabethan language and morality up against 1980s punk-pop, and slamming them both up against the sexual and gender politics of America right now. It's a heady brew.<br />
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The result is breathtaking – funny, shocking, ironic, surprising, ridiculous, revealing, smart, insightful, and deliciously goofy. This show follows Stephen Sondheim's Cardinal Rule, that Content Dictates Form. In this world, love doesn't follow any normal rules, so neither does the show. Gender is nearly irrelevant here, and along with the royal family, we in the audience find many of our preconceptions and assumptions turned gleefully upside-down. But though sexuality permeates the plot, this isn't a story about sex; it's a story about connection and self-awareness, and how one requires the other.<br />
<br />
Only after these characters are able to achieve some self-awareness are they able to connect meaningfully. And the road to that self-awareness is very painful for them and very funny for us. We can laugh at them partly because this show swims in 21st century irony, and that gives us some emotional distance, but also because we can all see ourselves and our own ridiculous romantic blunders in these characters and events on stage. And in that recognition, we in the audience also come to some amount of self-awareness and connection, along with the characters.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIJYDMF6sSD5G8FEQOfEsRKqdYktgyJ3zbRICJFE8AkwF0YAKGFAuL7hkemE6vfAB37LQPyIB-husZZwQi0aXNlMOgwvwOpQbDLEeruBu7mcuA5gwqX2_4yqF3Adw5eGsaRuww2P8BtJ8V9ns5kVtwFuoyVs4coGeOgIbWCUFnWazxiW4eZCb0o1bqw/s5760/0P6A5307.jpg" style="clear: right; display: block; float: right; padding: 0em 6px; text-align: center;"><img alt="" border="0" data-original-height="3840" data-original-width="5760" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIJYDMF6sSD5G8FEQOfEsRKqdYktgyJ3zbRICJFE8AkwF0YAKGFAuL7hkemE6vfAB37LQPyIB-husZZwQi0aXNlMOgwvwOpQbDLEeruBu7mcuA5gwqX2_4yqF3Adw5eGsaRuww2P8BtJ8V9ns5kVtwFuoyVs4coGeOgIbWCUFnWazxiW4eZCb0o1bqw/s320/0P6A5307.jpg" width="320" /></a></div> Every assumption we have is up for grabs in this world. Our usual ideas about gay and straight, male and female, love and lust, beauty and attraction, are all enthusiastically upended. And that often revealing dissonance between the real world and the world of <i>Head Over Heels</i> is the source of lots of rich, insightful, human comedy. We never know what's coming next in this modern fairy tale because this world operates so differently from ours. And that's the crazy fun of this adventure. It's never safe to assume anything in this world. <i>Anything</i>.<br />
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It wasn't all that long ago that catalog musicals (or jukebox musicals, as some folks call them) were just a punch line. At their best, those shows were guilty pleasures. But <i>Jersey Boys</i> showed us a catalog musical can be well-structured, well-written, and ultimately, really powerful musical theatre. Then Michael Mayer became the Hal Prince of the catalog musical, as he expanded and enlivened the form with the brilliant <i>American Idiot, Head Over Heels, </i>and<i> Jagged Little Pill</i>. Since we already produced <i>American Idiot</i> in 2016, it's been huge fun working on this show again, seeing how this rich sub-sub-genre is evolving...
Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-49462166891294988862022-02-11T21:07:00.002-06:002022-06-30T02:17:10.407-05:00The Story of My Life (2021)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhc4kpnVyyMLPZZV3FWjqwlaXZmsii-MfYtgmmdVgDJkhzfrK4pEAdgEjrSsPEKqsGUzyrOriikEJYcpivyrq2wpo_bhZ3yps3-Eorfe0ubBh9ZBCrl_vp8nhQpSjgMPbInyEGcrVIbrq7R8v_PJbNZILrq2FekvwvkqWKfD6dXeHYj0We_v1tgmaNe" style="clear: right; display: block; float: right; padding: 1em 0px; text-align: center;"><img border="0" data-original-height="219" data-original-width="142" src="https://blogger.googleusercontent.com/img/a/AVvXsEhc4kpnVyyMLPZZV3FWjqwlaXZmsii-MfYtgmmdVgDJkhzfrK4pEAdgEjrSsPEKqsGUzyrOriikEJYcpivyrq2wpo_bhZ3yps3-Eorfe0ubBh9ZBCrl_vp8nhQpSjgMPbInyEGcrVIbrq7R8v_PJbNZILrq2FekvwvkqWKfD6dXeHYj0We_v1tgmaNe=s16000" title="Graphic Design by Scott Miller, 2021." /></a></div>Book by Brian Hill<br />
Music and Lyrics by Neil Bartram<br /><br />
Sept. 30-Oct. 16, 2021<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/SOMLpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/THE-STORY-OF-MY-LIFE-2021/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Alvin – Chris Kernan<br />
Thomas – Jeffrey M. Wright<br />
<br />
<b>THE NEW LINE PANDEMIC BAND</b><br />
Conductor/Keyboard – Scott Miller<br />
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<b>THE ARTISTIC STAFF</b><br />
Director & Music Director – Scott Miller<br />Stage Manager – Erin Goodenough<br />
Scenic Designer – Rob Lippert<br />
Costume Designers – Chris Kernan, Jeffrey M. Wright<br />
Lighting Design – Kenneth Zinkl<br />
Props Master – Erin Goodenough<br />
Scenic Crew – Richard Brown, Nick Brunstein,<br />
Kathleen Dwyer, Paul Troyke<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjHPIzhkJ1MWBG9fjCY-wDsVoidZquqj_UO64_5KVjC2E1fm-xZKE3jpXKUh5fliQSHC_X8DS7l7cqmkL2UTSYkFFkyfiYfTOie4HjplWFK05gTche6fTG8v3bcMRrmnGjGrFPo3UYOyxSRVFF5IuLcDkoN6qnU4n-ItDGvLTv6q7t2AhhqzvRBtWNXuA=s5760" style="clear: right; display: block; float: right; padding: 0em 6pt; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEjHPIzhkJ1MWBG9fjCY-wDsVoidZquqj_UO64_5KVjC2E1fm-xZKE3jpXKUh5fliQSHC_X8DS7l7cqmkL2UTSYkFFkyfiYfTOie4HjplWFK05gTche6fTG8v3bcMRrmnGjGrFPo3UYOyxSRVFF5IuLcDkoN6qnU4n-ItDGvLTv6q7t2AhhqzvRBtWNXuA=w320-h213" title="Jeffrey M. Wright as Thomas; Chris Kernan as Alvin. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“Emerging from the pandemic for their 30th season, New Line Theatre is welcoming audiences back to live theater with <i>The Story of My Life</i>, an emotionally powerful two-hander about memory, friendship, individualism and, the power of words. . . Filled with moments of whimsy, innocence, laughter, melancholy, and loss, this sterling production stars Chris Kernan as Alvin alongside Jeffrey M. Wright as the uptight Thomas with artistic director Scott Miller framing the drama on keyboards. Watching Kernan and Wright feed off of each other is mesmerizing. Onstage their symbiotically linked performances overwhelm anything in their path. Working in tandem, each delivers a powerhouse performance. . . <i>The Story of My Life</i> is a profoundly moving and simply stunning work of theater.” – Rob Levy, <i>BroadwayWorld</i><br />
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“If Scott Miller has a superpower, it surely would be finding the potential in shows that had too short a life on or around Broadway. <i>The Story of My Life</i> is another winner, so beautiful and moving – that you will find yourself thinking back to past relationships of your own and making sure you remember their stories. Jeffrey M. Wright and Chris Kernan turn in a pair of mesmerizing performances that will have you hooked until the very end.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“The 90-minute show by Brian Hill, with clever words and music by Neil Bartram, is short on overhead but long on life, with engrossing, storytelling songs. . . It's Chris Kernan's show as Alvin, the gleeful inspiration for all of Tom's stories. And composer Neil Bartram keeps the mood playful between the usual dark and painful memories of growing up. But Jeffrey Wright's performance, as Tom, suggests a psychological counter-melody: does one simply neglect a relationship to death; or (on some level) has he methodically set about to kill it? The question of abandonment looms larger, though the question of who's to blame remains tantalizingly in doubt.” – Richard Green, <i>TalkinBroadway</i><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjitrTIJpDggG6EQv5jKTqIi6jFvIeYHhFVIRGqhlydtRd3GkHCNS3RD_iMNr1CiEr_z0FJ5a_HH6IkuOp8ggNZN2m2Wt90lOBTuSEN2GMRlRlaQonbDaCmaUdEnwKZEzCwd6Rhv4rqZfn2GiecmhK59vQk1F04KUNV7wykeyEE-oQDHAEqc835oqTbmQ=s5070" style="clear: right; display: block; float: right; padding: 0em 6pt; text-align: center;"><img border="0" data-original-height="3532" data-original-width="5070" height="223" src="https://blogger.googleusercontent.com/img/a/AVvXsEjitrTIJpDggG6EQv5jKTqIi6jFvIeYHhFVIRGqhlydtRd3GkHCNS3RD_iMNr1CiEr_z0FJ5a_HH6IkuOp8ggNZN2m2Wt90lOBTuSEN2GMRlRlaQonbDaCmaUdEnwKZEzCwd6Rhv4rqZfn2GiecmhK59vQk1F04KUNV7wykeyEE-oQDHAEqc835oqTbmQ=w320-h223" title="Jeffrey M. Wright as Thomas; Chris Kernan as Alvin. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>“New Line Theatre opens its 30th anniversary season with a sparkling production of a two-hand musical ideally suited for a presentation in pandemic times – intimate and poignantly effective under artistic director Scott Miller. . . Miller has a knack for finding little gems and fully realizing their individual charms, as he’s done here with <i>The Story of My Life</i>. Kernan and Wright join him in ensuring that New Line’s return for its 30th season is a successful and rewarding one.” – Mark Bretz, <i>Ladue News</i><br />
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“For a story about death, centered on a eulogy, the show delivers a lot of joy and gratitude. The small, stage, designed by Rob Lippert, with lighting design by Kenneth Zinkl, layers on the comforting vibes. And the nuanced, personal performances by Jeffrey M. Wright and Chris Kernan pay tribute to friendships and the shared experiences that form the stories of our lives. Affectionate and reflective <i>The Story of My Life</i> invites you in to Tom’s heart then wraps you in warmth like that first hug from a good friend you miss.” – Tina Farmer, KDHX<br />
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“The show’s rich emotional depth effectively builds to a heart-tugging conclusion. . . An outstanding collaboration by all involved, <i>The Story of My Life</i> has a lot to say. . . Holiday time or not, this show is a gift to theatergoers eager to feel 'the feels' that only live theater can provide. And a reminder about humanity in a time of great uncertainty and division. It could not be more timely – and timeless.” – Lynn Venhaus, <i>PopLifeSTL</i><br />
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“<i>The Story of My Life</i> is a bit like jazz — a certain open-mindedness is probably necessary to appreciate it. But the show has a lot to say about embracing the moment and cherishing life. And it benefits from heartfelt performances that are splendidly complemented by Rob Lippert's scenic design and Kenneth Zinkl's lighting. . . Anyone who's coped with a difficult friendship — or reluctantly come to the conclusion that such a friendship simply wasn't worth the effort — should have no trouble relating to <i>The Story of My Life</i>. It might even be a good idea to bring a friend along.” – Calvin Wilson, St. Louis Post-Dispatch<br />
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“At New Line, this simply staged show displays a great deal of complexity in its characters and their relationship, and even though it might not be ‘big’ in the sense of size, it’s message is of profound importance. This is a very human show, with joy, with a very human heart.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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“It was a daring move for New Line Theatre to open this season, of all years, with a play about someone writing a eulogy. Too many of us have had to do that, too many of us have thought we might have to do that, too many of us have thought, <i>Oh, God, please don’t ask me to do that</i>. It’s been a stinking couple of years, but the fact that someone was brave enough to think it was material for a play, two someones in this case, book by Brian Hill, music and lyrics by Neil Bartram, is impressive. Scott Miller, New Line’s founder and artistic director, is well known for his fearless approach to what he stages, and once again we have him grabbing life, giving it a good shake and holding it up for inspection.” – Ann Pollack,<i> St. Louis Eats and Drinks</i><br />
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“Scott Miller and New Line Theatre are easing themselves into the Reduced Pandemic Era with a small, pleasant production of a small, pleasant musical, <i>The Story of My Life</i>, with two actors and an accompanist. And while the production is not elaborate, the usual suspects are putting it all together with their usual skill and taste. . . Neil Bartram’s music and lyrics enrich the emotions in Brian Hill’s book . . . it is skillfully shaped to tell the stories of two lives.” – Bob Wilcox, Two on the Aisle<br />
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<br />
<b>DIRECTOR'S NOTES</b><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi0ZPAxsfkFiz9Ts2Npu2BSTQL8YF7O5nj8q0ZQA-0mhgDLB8g9E8UN8voL3Yg36OxtuVGNI7mskzGQtG-1iXM6llG8YWI8kUFp_07wSPFBGTezD-L5RWWsZmzteo685ZlpzRSRZ9328qYeVu6WvLaNykE9qQyc2AWd6jIxVF8m2FFax2rP1PIRWkVG_Q=s5760" style="clear: right; display: block; float: right; padding: 0em 6pt; text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEi0ZPAxsfkFiz9Ts2Npu2BSTQL8YF7O5nj8q0ZQA-0mhgDLB8g9E8UN8voL3Yg36OxtuVGNI7mskzGQtG-1iXM6llG8YWI8kUFp_07wSPFBGTezD-L5RWWsZmzteo685ZlpzRSRZ9328qYeVu6WvLaNykE9qQyc2AWd6jIxVF8m2FFax2rP1PIRWkVG_Q=w320-h213" title="Jeffrey M. Wright as Thomas. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
Welcome to Tom Weaver’s head. Tom is a writer, and the action of <i>The Story of My Life</i> takes place entirely inside his head. We meet his best friend Alvin, but since we’re in Tom’s head, this is Tom’s <i>conception</i> of Alvin, his <i>impression</i> of his best friend, more than the real thing.<br />
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You’d be surprised how many musicals take place inside the hero’s head – <i>Company, Pippin, A Strange Loop</i>, most of <i>A New Brain</i>, much of <i>Kiss of the Spider Woman</i>, much of <i>Lady in the Dark</i>, the title song of <i>Jesus Christ Superstar</i>, almost all the songs in <i>High Fidelity</i>. You’d probably be less surprised at how much that changes the story, when the hero’s subconscious is making the storytelling rules, instead of Rodgers and Hammerstein.<br />
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With <i>The Story of My Life</i>, Tom starts out trying to tell Alvin’s story, but by the end of the show, we see that it’s so much more complicated than that. Instead of laying out the story of their lifelong friendship in chronological order, this story is more like stream-of-consciousness. Rather than taking us down a direct narrative path, the structure of the show – like the structure of Tom’s <i>brain</i> – is more like a jigsaw puzzle. Tom and Alvin (who’s really Tom, right?) offer up one puzzle piece at a time, and when the last pieces are put in place, we see the full picture. And the show’s title becomes more meaningful.<br />
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This is an adult musical. It’s not R-rated, like New Line’s <i>Bukowsical, Jerry Springer the Opera, I Love My Wife, American Idiot</i>, or <i>bare</i>. This is a story about being an adult, about the adult world, about the endless complexities and maddening nuances of adult human relationships, and the messy, nagging question marks that sometimes remain.<br />
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This is a story about stories, the foundation of all human communication, what they are, where they come from, what we do with them, why we need them, and how they can define a life. This is also a story about the Butterfly Effect, the idea that a tiny, seemingly trivial change can create a chain of events that results in massive consequences. <br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEia_tJYm3Cc43RK_TcqTcquwosKMNGKVnsVSkWhV-2MCGajxNCubF7sH3JUPdR98IGQkZs1c5NffY82j0gBYteYcQQK6TeGPCkSQG5Ptn9q36-kX7Pz7QQEkT7F_hhk-VkrgfbmVB5jSnZmnDGE9lfXDgGpmCNfZ_Nxz9IilmpgQJJW9z2NMEhuIxz-vA=s5599" style="clear: right; display: block; float: right; padding: 0em 6pt; text-align: center;"><img border="0" data-original-height="3552" data-original-width="5599" height="203" src="https://blogger.googleusercontent.com/img/a/AVvXsEia_tJYm3Cc43RK_TcqTcquwosKMNGKVnsVSkWhV-2MCGajxNCubF7sH3JUPdR98IGQkZs1c5NffY82j0gBYteYcQQK6TeGPCkSQG5Ptn9q36-kX7Pz7QQEkT7F_hhk-VkrgfbmVB5jSnZmnDGE9lfXDgGpmCNfZ_Nxz9IilmpgQJJW9z2NMEhuIxz-vA=w320-h203" title="Jeffrey M. Wright as Thomas; Chris Kernan as Alvin. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>In terms of narrative structure, that Butterfly Effect is essentially what some writers call the Obligatory Moment, that moment toward which everything before it leads; and from which everything after it results. Think of it as a “hinge” moment that divides the story into Before and After. (Like in <i>West Side Story</i> when Tony and Maria see each other at the dance; or in <i>Rocky Horror </i>when Brad and Janet decide to walk back to that castle.) Take out that Obligatory Moment and there’s no story. <br />
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You’ll see that moment just a couple scenes into <i>The Story of My Life</i>, and with it, I think you’ll recognize the Butterfly Effect in your own life, that one special teacher who said that one inspiring thing, or that consequential choice you once made. It’s a universal human truth. We all have Obligatory Moments in our lives. Which is why this makes such a great story and why we connect to it so powerfully.
Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-86399740708090723652020-03-22T17:40:00.002-05:002022-06-30T02:16:59.320-05:00Head Over Heels (2020)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAn1VUUiy2IJJDH4LdC_GU-bY4ISG6CPeyPp0dM_MGYY6cW3dXLaxEMJb7WTAriXw2AEZKGBAQ1pMo0PQ97oBn3NmqbJxx-SfAqSB25gbMNeafQFATdimW49RDruO-ox8MXyc_XvzRdxoU/s1600/HeadOverHeels-2.png" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="141" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAn1VUUiy2IJJDH4LdC_GU-bY4ISG6CPeyPp0dM_MGYY6cW3dXLaxEMJb7WTAriXw2AEZKGBAQ1pMo0PQ97oBn3NmqbJxx-SfAqSB25gbMNeafQFATdimW49RDruO-ox8MXyc_XvzRdxoU/s320/HeadOverHeels-2.png" title="Graphic Design by Matt Reedy, 2020" width="206" /></a></div>
Conceived by and Original Book by Jeff Whitty<br />
Adapted by James Magruder<br />
Music and Lyrics by The Go-Go's<br />
Based on the 16th-century novel The Countess of Pembroke's Arcadia by Sir Philip Sidney<br /><br />
March 5-14, 2020 (closed early)<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/hohpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/HEAD-OVER-HEELS-Production-Photos/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Princess Pamela – Grace Langford<br />
Musidorus – Clayton Humburg<br />
Princess Philoclea – Melissa Felps<br />
Mopsa – Jaclyn Amber<br />
King Basilius – Zachary Allen Farmer<br />
Queen Gynecia – Carrie Wenos Priesmeyer<br />
Pythio – Tiélere Cheatem<br />
Dametas – Aaron Allen<br />
Arcadians – Kevin Corpuz, Evan Fornachon,<br />
Chris Kernan, Chris Moore, Maggie Nold,<br />
Michelle Sauer, Alyssa Wolf, Sara Rae Womack<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Nicolas Valdez<br />
Lead Guitar – Jake Heberlie<br />
Guitar – Aaron Brown<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergos<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Directors – Nicolas Valdez<br />
Asst. Music Director – Cullen Curth<br />
Choreographers – Michelle Sauer, Sara Rae Womack<br />
Stage Manager – Erin Goodenough<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Courtney Gibson, Sarah Porter<br />
Sound Designer – Ryan Day<br />
Lighting Design – Kenneth Zinkl<br />
Props Master – Kimi Short<br />
Scenic Crew – Richard Brown, Nick Brunstein, Patrick Donnigan,<br />
Patrick Donnigan, Kathleen Dwyer, Gary Karasek,<br />
Luca Pritchett, Paul Troyke, Victoria Xu<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXLc1cF_ex16_4dCrmUwQTssGKoFEzJ7y1595K2zRx3JF47prGpVX42qsR0JZSPLhd7fNJ-CRPNAWZ5hM-UQuPf9mlo6HZ6xa2ttjWa33QvVebstibYzoNU58Y04UPuqtBdNjng56hURu2/s1600/0P6A3683.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXLc1cF_ex16_4dCrmUwQTssGKoFEzJ7y1595K2zRx3JF47prGpVX42qsR0JZSPLhd7fNJ-CRPNAWZ5hM-UQuPf9mlo6HZ6xa2ttjWa33QvVebstibYzoNU58Y04UPuqtBdNjng56hURu2/s320/0P6A3683.jpg" title="Clayton Humburg as Musidorus, singing "Mad About You" with his sheep, in New Line Theatre's Head Over Heels, 2020. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“Could this be the greatest show New Line Theatre has ever put on stage? It is, in its brash, tight dance numbers, along with a dozen shimmering vocal solos. Highly professional dance and beautifully sung '80s pop music drive <i>Head Over Heels</i> like a fury. It's a stagey whirlwind, with an ultra-thin layer of Elizabethan style, in which a riot of candy-colored doublet and hose is wedded to the equally colorful modern music of The Go-Go's. . . Maybe it's just the smoothest, most relentlessly ‘Broadway’ musical they've ever done. Scott Miller and Mike Dowdy-Windsor co-direct with genuine humor and sensitivity. But they're steamrollered by their own hard-charging chorus: a virtually flawless army of energetic singers and dancers, perfectly choreographed by Michelle Sauer and Sara Rae Womack.” – Richard Green, <i>TalkinBroadway</i><br />
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“A triumphant romp of musical theater. . . Guiding things from the serious to the surreal, directors Scott Miller and Mike Dowdy-Windsor have created a totally rad mashup that explores the themes of gender, compassion, political diplomacy that delights in not taking itself too seriously. Groovy to the max.” – Rob Levy, <i>BroadwayWorld</i><br />
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“It’s hard to imagine a more joyful swirl of activity than theatergoers are treated to in <i>Head Over Heels</i> – a show improbably set to the music of the Go-Go’s. . . . Co-directors Scott Miller and Mike Dowdy-Windsor bring a freewheeling spirit to the proceedings, spinning a fantastical tale of romance that plays like <i>A Midsummer Night’s Dream</i> fueled by controlled substances. . . Choreographers Michelle Sauer and Sara Rae Womack apply inspired movement to Tom Kitt’s arrangements of Go-Go’s songs, and the New Line Band – led by music director and keyboardist Nicolas Valdez — lends the show an in-the-moment electricity. . . <i>Head Over Heels</i> occasionally succumbs to silliness, but the show is engagingly and relentlessly upbeat. It’s a party you won’t want to leave.” – Calvin Wilson, <i>St. Louis Post-Dispatch</i><br />
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“A wild and mind bending mix of cultures delights at New Line Theatre as the recent Broadway smash musical <i>Head Over Heels</i> keeps the audience rocking and laughing. . . Special props to the mind boggling choreography by Michelle Sauer and Sara Rae Womack who also are part of the eight person chorus. Not only is the dancing complicated and dazzling, but is executed so well by this talented cast that it really makes you take special notice. . . Co-directors Scott Miller and Mike Dowdy-Windsor have brought this trippy mix of the 16th and 20th century together in fine fashion with action, comedy and a group of actors who can pull off both with one of the strongest sung shows you’ll ever see or hear. And, of course, a nod to the powerful New Line Band under the direction of Nicolas Valdez who manage to keep up with the incredible nonsense swirling around on stage. Not to be missed, <i>Head Over Heels</i> is one of the best shows you’re likely to see all year (and it’s only March!). Get thee to New Line Theatre.” – Steve Allen, <i>StageDoorSTL</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSfk2lGlT1d5nm9gsWqH-FYQ9NfbuUpamkNuZJVCasES3CCfp2Sg5B2GucXpXbYAAi-B9lC-6y60MsEAEAo6IPFfynNxuRT5J-NcKInwdJecS0qyqnc9fGKeLtJpbZ4Gj9gM7QGMQzh16u/s1600/IMG_1255.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSfk2lGlT1d5nm9gsWqH-FYQ9NfbuUpamkNuZJVCasES3CCfp2Sg5B2GucXpXbYAAi-B9lC-6y60MsEAEAo6IPFfynNxuRT5J-NcKInwdJecS0qyqnc9fGKeLtJpbZ4Gj9gM7QGMQzh16u/s320/IMG_1255.jpg" title="Tielere Cheatem as Pythio, singing "Vision of Nowness" with his snakes, in New Line Theatre's Head Over Heels, 2020. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“Who better to pick up a wildly fun show like this than New Line? . . . <i>Head Over Heels</i> is a plethora of riches for the senses. There is so much to take in at all times, and it’s an absolute blast. The bright and colorful costumes are beautifully designed by the talented Courtney Gibson and Sarah Porter – some of their best work yet. The music, as mentioned previously, is sensational – thanks to the New Line Band, lead by Nicolas Valdez and Cullen Curth. And Rob Lippert’s scenic design is terrific as always – complete with great pillars and a cave of skeletons who were once unlucky explorers. And the choreography by Michelle Sauer and Sara Rae Womack is probably the best I have ever seen from the company” – Kevin Brackett, <i>ReviewSTL</i><br />
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“As is to be expected at New Line, the casting is strong, and the singing is especially impressive. Everyone from the leads to the ensemble puts in a winning, energetic performance, . . Overall, the look and feel of this production is in keeping with the catchy, bright pop score and the general comic tone that blends the classical and the modern in a cleverly inventive way. <i>Head Over Heels</i> is another example of one of those shows that seems to fit better in a smaller setting like New Line than on Broadway. Staged at New Line’s home base, the Marcelle Theater, this show makes the most of the space and the closeness to the audience, who are seated on either side of the performance area here. It’s a fun, colorful, energetic and thoroughly winning production that marks another success for New Line Theatre.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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“New Line Theatre's current production <i>Head Over Heels</i>, directed by Scott Miller and Mike Dowdy-Windsor, is a winning show about love, forgiveness and finding one's true self in a non-binary world. It also shows just how good the Go-Go's were as songwriters, as the New Line Band delivers absolutely crackling versions of the score's seventeen songs.” – Paul Friswold, <i>The Riverfront Times</i><br />
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“New Line Theatre's hilarious <i>Head Over Heels</i> should not be missed! . . It’s flat out great – Reese’s Peanut Butter Cup great – the highest form of flattery one can give a mash-up product like this . . . <i>Head Over Heels</i> features a tremendous cast from top to bottom. . . this might be the best choreographed production New Line has done yet.” – Jeff Ritter, <i>Critical Blast</i><br />
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“The music of the ‘80s all-girl rock group The Go-Go’s is joyfully incorporated into this offbeat jukebox musical given an endearing interpretation in its current incarnation at New Line Theatre. . . it’s definitely a good time, indeed.” – Mark Bretz, <i>Ladue News</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG06GHCkrx9cvPKqPupYdn0pqrETB2OO5fCqfsF4_mH-i5Jr70jnd1zu9kSStHepSle-7eKDl6qCEuD-e_sQCpiy6z7HJREdRU_4KJS_ki008Bd8okMCcnAggn_n-JLg4BkwxCJcQ9pq1V/s1600/0P6A3622.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG06GHCkrx9cvPKqPupYdn0pqrETB2OO5fCqfsF4_mH-i5Jr70jnd1zu9kSStHepSle-7eKDl6qCEuD-e_sQCpiy6z7HJREdRU_4KJS_ki008Bd8okMCcnAggn_n-JLg4BkwxCJcQ9pq1V/s320/0P6A3622.jpg" title="Grace Langford as Pamela (far right), singing "Beautiful," in New Line Theatre's Head Over Heels, 2020. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
We live in an age of mashup, the art of combining forms and content that shouldn't go together, to form something new that reveals interesting truths. <i>Head Over Heels</i> is one of the most interesting mashups I've yet encountered, slamming 16th-century Elizabethan language up against 1980s punk-pop, and slamming them both up against the sexual and gender politics of today. It's a heady brew.<br />
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The result is breathtaking – funny, shocking, ironic, surprising, ridiculous, revealing, smart, insightful, and deliciously goofy. This show follows Sondheim's Cardinal Rule, that Content Dictates Form. In this world, love doesn't follow any normal rules, so neither does the show. Gender is nearly irrelevant here, and along with the royal family, we in the audience find many of our preconceptions and assumptions turned gleefully upside-down. <br />
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But though sexuality permeates the plot, this isn't a story about sex; it's a story about connection and self-awareness – and how one requires the other.<br />
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Only after these characters are able to achieve some self-awareness are they able to connect meaningfully. And the road to that self-awareness is very painful for them and very funny for us. We can laugh at them partly because this show swims in irony, and that gives us some emotional distance, but also because we can all see ourselves and our own ridiculous blunders in the characters and events on stage. And in that recognition, we in the audience also achieve some amount of self-awareness and connection, along with the characters.<br />
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Every assumption we have is up for grabs in this world. Our usual ideas about gay and straight, male and female, love and lust, beauty and attraction, are all enthusiastically upended. And that often delicious dissonance between the real world and the world of <i>Head Over Heels</i> is the source of lots of rich, insightful, human comedy. We never know what's coming next in this show because this world operates so differently from ours. And that's the crazy fun of this adventure. It's never safe to assume anything in this world. <i>Anything.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRLx5x3EKSLzMoZczIzDhQbH27NSvfUE-U7I3XjQ0-FxHANLXZhwR0kS-qZg4RcQNGvC625sGzGhOv9phZOVb5ICbs098WWelCVoZDH8L3GCWXyU4K-kb2mDMg4cVsPtfZmj-bJ7ff_sJu/s1600/IMG_1467.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRLx5x3EKSLzMoZczIzDhQbH27NSvfUE-U7I3XjQ0-FxHANLXZhwR0kS-qZg4RcQNGvC625sGzGhOv9phZOVb5ICbs098WWelCVoZDH8L3GCWXyU4K-kb2mDMg4cVsPtfZmj-bJ7ff_sJu/s320/IMG_1467.jpg" title="Melissa Fleps as Philoclea and Clayton Humburg as Cleophila, with the Arcadians, singing "Our Lips Are Sealed," in New Line Theatre's Head Over Heels, 2020. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
It wasn't all that long ago that catalog musicals (or jukebox musicals, as some folks call them) were just a punch line. At their best, those shows were guilty pleasures. But <i>Jersey Boys</i> showed us a catalog musical can be well-structured, well-written, and ultimately, really great musical theatre. Then Michael Mayer sort of became the Hal Prince of the catalog musical, as he expanded and enlivened the form with the brilliant <i>American Idiot</i>, <i>Head Over Heels</i>, and <i>Jagged Little Pill</i>. Since we already produced <i>American Idiot</i> in 2016, it's been huge fun working on this show now, seeing how this rich sub-sub-genre is evolving...
Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-23401274941214381602019-10-24T19:01:00.002-05:002022-06-30T02:16:37.884-05:00Cry-Baby (2019)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcQZKNvM7gxDpAAGPjcZqDG-vUeeWNyyGMt-M_jDijiYcseHkwC6n36c2AdjZhhX9-OF6oMibLOZRSNJ4B92BQZKnl14BAJZvWRfYv_SUDaTx8JaIfCe-naV1_hAS2OPzL0NDe21z6sOm/s1600/CryBaby-2.png" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="147" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcQZKNvM7gxDpAAGPjcZqDG-vUeeWNyyGMt-M_jDijiYcseHkwC6n36c2AdjZhhX9-OF6oMibLOZRSNJ4B92BQZKnl14BAJZvWRfYv_SUDaTx8JaIfCe-naV1_hAS2OPzL0NDe21z6sOm/s320/CryBaby-2.png" title="graphic design by Matt Reedy, 2019" width="215" /></a></div>
Book by Mark O'Donnell & Thomas Meehan<br />
Songs by David Javerbaum & Adam Schlesinger<br />
Based on the film written and directed by John Waters<br /><br />
Sept. 26-Oct. 19, 2019<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/crybabypage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/CRY-BABY-2019/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Wade "Cry-Baby" Walker – Caleb Miofsky<br />
Allison Vernon-Williams – Grace Langford<br />
Mrs. Cordelia Vernon-Williams – Margeau Steinau<br />
Baldwin Blandish – Jake Blonstein<br />
Pepper Walker – Reagan Deschaine<br />
Wanda Woodward – Jaclyn Amber<br />
Mona “Hatchet-Face” Malnorowski – Sarah Gene Dowling<br />
Dupree W. Dupree – Marshall Jennings<br />
Lenora Frigid – Aj Surrell<br />
The Whiffles – Stephen Henley, Ian McCreary, Christopher Strawhun <br />
Square Girls/Drape Girls – Grace Minnis, Maggie Nold<br />
Judge Stone, DJ, Father Officer O’Brien, et al. – Todd Micali<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Nicolas Valdez<br />
Lead Guitar – Jake Heberlie<br />
Guitar Aaron Doerr<br />
Reeds – Joseph Hendricks<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergoss<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Directors – Nicolas Valdez, Marc Vincent<br />
Choreographer – Michelle Sauer<br />
Stage Manager – Erin Goodenough<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Colene Fornachon, Evan Fornachon<br />
Sound Designer – Ryan Day<br />
Lighting Design – Kenneth Zinkl<br />
Props Master – Kimi Short<br />
Scenic Crew – Richard Brown, Nick Brunstein, Patrick Donnigan, Paul Troyke<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHBb9OTHj6XzWSz5c7i4CuVM-bj4WZur-XIWzjpx8fXGfklIKRb4RNPXiiPeKkBF5P8MlnN-GAScYW9rbUp3GLeOY4U-Hy-S2NkqTwOXiC3cDDeiEsK2dpHx9f8B06XsBCK06pS5s-PUHf/s1600/IMG_0677.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHBb9OTHj6XzWSz5c7i4CuVM-bj4WZur-XIWzjpx8fXGfklIKRb4RNPXiiPeKkBF5P8MlnN-GAScYW9rbUp3GLeOY4U-Hy-S2NkqTwOXiC3cDDeiEsK2dpHx9f8B06XsBCK06pS5s-PUHf/s320/IMG_0677.jpg" title="The cast of New Line Theatre's Cry-Baby, 2019. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“I think it's important to mention upfront that New Line Theatre's current production of <i>Cry-Baby</i> is one of the most flat-out entertaining musicals you're ever likely to see. In fact, it's such a rambunctious good time that it's easy to overlook its sharper points about the dangers of blindly following the rules, the perils of failing to question why things are the way they are and the absolute mortal peril of settling for a stable sort of unhappiness when you could have true joy. That's a great deal of very serious subtext for a show that is essentially about a greaser and a good boy fighting over the same girl. New Line Theatre has been doing this exact sort of musical for 29 years, and if you think co-directors Scott Miller and Mike Dowdy-Windsor can't hide any number of satirical razor blades inside a delicious caramel apple, you haven't been paying attention. New Line's <i>Cry-Baby</i> is as intelligent as it is beautiful.” – Paul Friswold, <i>The Riverfront Times</i><br />
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“It is a smart and ridiculous comedy, well-executed by its talented cast and crew, under the expert direction of Scott Miller and Mike Dowdy-Windsor. . . It is ludicrous, supremely entertaining, and leaves the entire audience laughing. But in case you didn't get your fill of humor, the New Line Band throws in a little extra cleverness as the audience exits. . . What Miller and Dowdy-Windsor are doing at New Line Theatre is something special to be sure. They are known for breaking the rules of musical theatre, for being the bad boys, and the result is a fresh, progressive theatre experience. If you like art that is in-your-face, not shy, and politically provocative, you'll want to invest your time and resources supporting their work.” – Tanya Seale, <i>BroadwayWorld</i><br />
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“Now and then, the sequel (or the remake) is better than the original: in the case of <i>Cry-Baby</i> the Musical, much better. Drop everything and go see New Line Theatre's return to <i>Cry-Baby</i>, the unmistakably John Waters musical, for a prime example of something that's vastly improved with age. . . This new production is a pitch-perfect comedy from start to finish. It ripples with laughter and pulses with exciting songs. . . Somehow, all the subtle cues of a John Waters film are lovingly reincarnated into this grand stage production.” – Richard Green, <i>TalkinBroadway</i><br />
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“Despite its slyly simplistic conflict and <i>Happy Days</i> vibe you may find yourself pondering the surprising depth of this show long after you’ve left the Marcelle Theatre in Grand Center. That squeaky clean veneer hides a relevant allegory of modern America, where the truth is obscured at all cost, where people who are a little different from the accepted norm are marginalized or shunned, and where the worst offenders are the ones who have claimed responsibility for upholding and protecting the moral fabric or our neighborhoods, our cities, our states and our nation, for protecting the truths we hold self-evident while doing everything they can to deny some slice of the great American pie chart their rights to life, liberty and the pursuit of happiness. Look at those people through the <i>Cry-Baby</i> lens and you’ll realize just how many Baldwin Blandishes there are in positions of power, and how exceedingly rare a Wade Walker-style rebel truly is. I bet most folks think John Waters is just a dapper fellow with a pencil-thin mustache who writes funny little films, but don’t let him fool you. He knows. He deftly painted the fundamental truth of his tale over with broad strokes of comedy, knowing that most people will be satisfied with a few good laughs and a happy ending. I think he also invites you to look deeper, if you dare. Look no further to see for yourself why New Line Theatre’s presentation of <i>Cry-Baby</i> should not be missed, whether you’re a contented theatre fan or a dedicate truth-seeker.” – Jeff Ritter, <i>Critical Blast</i><br />
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“High-spirited and hilariously engaging . . . <i>Cry-Baby</i> rocks. Directors Scott Miller and Mike Dowdy-Windsor apply the trademark, lightheartedly irreverent New Line touch to the show, which the company first produced in 2012. And they elicit spot-on performances — particularly from Caleb Miofsky and Grace Langford, who play off each other wonderfully. Also contributing significantly to the show’s success are the choreography by Michelle Sauer and the music direction by Nicolas Valdez and Marc Vincent. Some musicals enter the theatrical canon — a shortlist might include <i>Cabaret, Oklahoma!</i> and <i>West Side Story</i>. Others merely aspire to leave audiences smiling, and on that level <i>Cry-Baby</i> the Musical delivers.” – Calvin Wilson, <i>St. Louis Post-Dispatch</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo8fl2-hC00B3eFTxDPa9DOQwMMmBpC71BBU1UzdheYprD7AK7PB3DhqwnyihOHCwg8msdL_pIJ4WKoprzEeXKrNi2szj7Vx_YSR0pw3qTEIt4DLkQj4O4Pw1pLt9fUqNVV8OiiUqZKVgG/s1600/IMG_0409.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo8fl2-hC00B3eFTxDPa9DOQwMMmBpC71BBU1UzdheYprD7AK7PB3DhqwnyihOHCwg8msdL_pIJ4WKoprzEeXKrNi2szj7Vx_YSR0pw3qTEIt4DLkQj4O4Pw1pLt9fUqNVV8OiiUqZKVgG/s320/IMG_0409.jpg" title="Caleb Miofsky as Cry-Baby and Grace Langford as Allison, in New Line Theatre's Cry-Baby, 2019. Photo credit: Jill Ritter Lindberg." width="213" /></a></div>
“New Line Theatre brings John Waters’ quirkily appealing movie from screen to stage in an energetic production that features a clash between cultures – social and musical – that points out, in not so subtle ways, that the more things change, the more things stay the same. The production bristles with energy and hormonal frenzy that’s played for laughs, but delivers plenty of commentary on everything from classism to our definition of beauty.” – Tina Farmer, KDHX<br />
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“New Line Theatre gets its 29th season of adult, alternative musical theatre off to a smart, high-stepping start with the return of its delightful 2012 regional premiere of the rockabilly musical, <i>Cry-Baby.</i> . . Fast times in Baltimore and the clashing of cultures rule the day in this high-spirited, joyful romp of a musical. You’ll shed nary a tear for <i>Cry-Baby</i> but likely instead laugh and tap along in unison with its appealing music.” – Mark Bretz, <i>Ladue News</i><br />
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“Once again, directors Scott Miller and Mike Dowdy-Windsor have put together a youthful cast that sparkles with energy as they sing and dance their way through one hilarious song after another. The last time that New Line staged <i>Cry-Baby</i> in 2012, I wrote that you’ll laugh too hard to catch all the clever lyrics. That’s still true. . . . If you go for smart fun with a contemporary edge, this is the musical for you.” – Judy Newmark, <i>All the World’s a Stage</i><br />
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“A rousing, fun new production. It’s one of those shows that seems made for this company, and the excellent cast of veteran New Liners and talented newcomers makes the most of every moment. . . .Overall, this is a great looking and sounding show with a satirically upbeat 50s flavor and broadly comic tone. With some truly great performances and a memorable score, <i>Cry-Baby</i> is a hit. It’s another example of a show that works better at New Line than it probably would (and did) on Broadway. It’s also (if I haven’t mentioned this before) a whole lot of fun!” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts </i><br />
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“<i>Cry-Baby</i> offers a fresh take on the cult classic film that translates wonderfully to the musical stage. Directors Scott Miller and Mike Dowdy-Windsor do what they do best, and breathe fresh life into a show that was taken from Broadway far too soon. The show will have you laughing non-stop, with terrific performances and great songs that are sure to stick in your head.” – Kevin Brackett, <i>ReviewSTL</i><br />
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"Boy, is it fun. . . This all sounds relatively wholesome except for the sideburns and leather jacket. But it’s John Waters, so be assured that it’s not. The songs range from the opening number “The Anti-Polio Picnic” to “Girl, Can I Kiss You with Tongue?”. (And this is before the MeToo era, very responsible of him to ask.) Scott Miller and Mike Dowdy-Windsor’s direction gives quite a bit more than a generous amount of very wet osculation, making this pretty much a not-for-little kids show, no surprise at New Line. . . A delightful piece of work, escapism in a very fine form.” – Ann Pollock, <i>St. Louis Eats and Drinks</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCdicistezY1HjMsw4v_r6eW-BsHF1QgzfoFelqukLpDKY7brLXDhYctXC-QCLCOH4hxtEJwaVN2oUe6uSZkgNmeBq05bSqMZT8IaxP2oJENAQKMTyYkm163yzvolTAIKFKNArp1cEMu4r/s1600/IMG_0291.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCdicistezY1HjMsw4v_r6eW-BsHF1QgzfoFelqukLpDKY7brLXDhYctXC-QCLCOH4hxtEJwaVN2oUe6uSZkgNmeBq05bSqMZT8IaxP2oJENAQKMTyYkm163yzvolTAIKFKNArp1cEMu4r/s320/IMG_0291.jpg" title="Jaclyn Amber as Wanda, Reagan Deschaine as Pepper, and Sarah Gene Dowling as Hatchet-Face, in New Line Theatre's Cry-Baby, 2019. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
<i>Cry-Baby</i> opened on Broadway in 2007 and closed less than two months later. New Line snagged the rights in 2012, and we mounted the first regional production after New York, to rave reviews and sold-out houses. So why bring back a show we've already produced? <br />
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With its themes of class and injustice, <i>Cry-Baby</i> is even more relevant now than it was when John Waters' original film was released in 1990 or when the musical debuted. Today in 2019, issues of class and injustice are more in the news and on our minds than they have been in a long time. Sometimes it even feels like we're moving backwards...<br />
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<i>Cry-Baby</i> is worth bringing back because this show seems more relevant than ever, socially, politically, and <i>artistically</i>, as we sit here, now well into this new Golden Age of musical theatre, and as our society stumbles awkwardly into the Information Age.<br />
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Under the surface of the narrative, this show charts a battle between Show Tunes vs. Rock and Roll. The Drapes sing rock and roll, and the Squares sing show tunes. And by the end, after an evening-long and surprisingly subtle sing-off, rock and roll wins.<br />
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This is interesting artistically because the musical theatre as an art form is having that same battle, which has been going on since the mid-1990s; and in the real world too, rock and roll is winning. Rock is becoming the default language of the American musical theatre. And now (at least, most of the time), the use of old-school show tunes is ironic, a device that tells us something about the character or story.<br />
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I’ve realized that every second of <i>Cry-Baby</i> is ironic. Even the music is ironic. The choreography is ironic. Literally everything about the show is ironic. The show opens with what seems on the surface to be a traditional, musical comedy “Happy Villagers” song, where the community introduces itself and sets up the environment for the story. (That kind of song is going extinct, though, since so few musicals today have a big chorus representing the community.) But in <i>Cry-Baby</i>’s world, the Happy Villagers are suburban snobs celebrating conformity.<br />
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In older musicals, the story often balanced on a question of whether the hero will be assimilated into the mainstream community or be banished from it. But in the case of <i>Cry-Baby</i>, this community isn't one you’d want to join. We're rooting for Allison to abandon the mainstream community to assimilate into the non-mainstream community.<br />
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The whole show is full of that kind of rich, deceptively meaningful comedy. On one level, this story is about seeing beyond the surface of people and things, but unfortunately, Broadway wasn't able to see past the surface of this script and score. We are. It's been such fun returning to this incredibly funny, incredibly rich material. Enjoy the crazy ride!<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-79757821794753286782019-06-30T00:53:00.000-05:002019-06-30T00:53:08.834-05:00Be More Chill (2019)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMiIIrhGRhuebFajGj0jfuRL8KpD7dr3ay5HUyam_kn-3nQkYOpGG81ndwjqIkARK2bu7tfjoAo_DK1uMG3_Otq5o-D4MHr-azSHqKme5MBhW6JyU3NB_99xeR1dM0KJDesEd-XVEIBuIo/s1600/BeMoreChill-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="142" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMiIIrhGRhuebFajGj0jfuRL8KpD7dr3ay5HUyam_kn-3nQkYOpGG81ndwjqIkARK2bu7tfjoAo_DK1uMG3_Otq5o-D4MHr-azSHqKme5MBhW6JyU3NB_99xeR1dM0KJDesEd-XVEIBuIo/s320/BeMoreChill-2.jpg" title="graphic design by Matt Reedy, 2019" width="207" /></a></div>
Book by Joe Tracz<br />
Music and Lyrics by Joe Iconis<br />
Orchestrations by Charlie Rosen<br />
Based on the novel by Ned Vizzini<br />
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May 30-June 22, 2019<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/bemorechillpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/BE-MORE-CHILL-2019/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Jeremy – Jayde Mitchell<br />
Michael – Kevin Corpuz<br />
The Squip – Dominic Dowdy-Windsor<br />
Christine – Grace Langford<br />
Jeremy’s Dad, et al. – Zachary Allen Farmer<br />
Rich – Evan Fornachon<br />
Jenna – Isabel Cecilia Garcia<br />
Brooke – Melissa Felps<br />
Jake – Ian McCreary<br />
Chloe – Laura Renfro<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Keyboard – Marc Vincent<br />
Guitar – Jake Heberlie<br />
Reeds/Keyboard – Joseph Hendricks<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergoss<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Directors – Mike Dowdy-Windsor, Scott Miller<br />
Music Director – Nicolas Valdez<br />
Asst. Music Director – Marc Vincent<br />
Choreographers – Michelle Sauer, Sara Rae Womack<br />
Stage Manager – Erin Goodenough <br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Ryan Day<br />
Props Master – Kimi Short<br />
Scenic Crew – Joseph Brown, Grace Brunstein, Judy Brunstein, Nick Brunstein, Patrick Donnigan, Kathleen Dwyer, Paul Troyke <br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRlUJ6Y2lUFPj9P55Z2Tgfshqpdol_1Tp8xCiLPOO9CZxvY5i2I8Doz4ch1Ar7s_WDbph1kmD3Tm_0hBxN4e9bNYU25drMAF4mBTn81lj8a0qpPG67lrLE17WWLAY_HZYSdINhX0BXt0ZM/s1600/IMG_9384.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRlUJ6Y2lUFPj9P55Z2Tgfshqpdol_1Tp8xCiLPOO9CZxvY5i2I8Doz4ch1Ar7s_WDbph1kmD3Tm_0hBxN4e9bNYU25drMAF4mBTn81lj8a0qpPG67lrLE17WWLAY_HZYSdINhX0BXt0ZM/s320/IMG_9384.jpg" title="Jeremy (Jayde Mitchell) and Michael (Kevin Corpuz) in "Two Player Game" in New Line Theatre's Be More Chill, 2019. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“One of the coolest, freshest comedic musicals in years!. . . what makes <i>Be More Chill</i> work stunningly (stunningly, I tell you) is that it is wholly relatable to a new generation of theatre patrons. It includes edgy, modern pop references and sharp humor that extends all the way to Sarah Porter’s fantastic costuming and Kimi Short’s spot-on props. It features modern-day teen characters who speak modern-day lingo, who dress in modern-day fashion, and who cleverly and intriguingly use modern-day technology onstage. . . And really there are so many juicy, poignant, and truly funny moments in this fast-moving musical, you’ll want to lean in and listen hard so you won’t miss a single line. . . I can’t even begin to convey just how refreshing it was to see an audience respond so enthusiastically to musical theatre. It was almost as if the teenagers in the house were calling out, ‘Thank you! You see us!’ Productions like this are exactly what contemporary theatre needs to cultivate new audiences and <i>Be More Chill</i> certainly delivers on that tall order.” – Tanya Seale, <i>BroadwayWorld</i><br />
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“<i>Be More Chill</i> is the perfect show for New Line. It has the rock spirit of American Idiot, and the high school drama of Heathers – two shows they have staged incredible productions of in the past. Throw in some sci-fi and technological elements, and you have a kick-ass rock musical about growing up in modern times. If I’ve said it once, I’ve said it a hundred times – Artistic Director Scott Miller has a seemingly supernatural ability to find the best shows and bring them into the spotlight. In the case of <i>Be More Chill</i>, it was already rediscovered – but not before Scott got his hands on it. With Mike Dowdy-Windsor, who he co-directed the musical with, they staged one of their best productions in recent history.” – Kevin Brackett, <i>ReviewSTL</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifSLz83kIN10-S1pri4wkkKQ8qdMvxsRGSfVgwJ17IzZd1iR8sxTVPeOYYEmcEIzQkC-4qemVYP2aN3qdwnwBFVC4vCd_LAabXmvDpe0mwBPh7xjiVq0MAeNM-bwTVJvF_BfaeeS2pk2T_/s1600/0P6A1618.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifSLz83kIN10-S1pri4wkkKQ8qdMvxsRGSfVgwJ17IzZd1iR8sxTVPeOYYEmcEIzQkC-4qemVYP2aN3qdwnwBFVC4vCd_LAabXmvDpe0mwBPh7xjiVq0MAeNM-bwTVJvF_BfaeeS2pk2T_/s320/0P6A1618.jpg" title="The cast singing "Pitiful Children" in New Line Theatre's Be More Chill, 2019. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“Under Mike Dowdy-Windsor and Scott Miller’s bright direction, New Line’s <i>Be More Chill</i> is a startlingly fresh musical that avoids cliche to tell an exciting and at times very funny story about modern teenagers with a sci-fi twist. . . . As good as Joe Iconis’ songs are (and the New Line band, led by Marc Vincent, plays them very well indeed), Joe Tracz’ book is equally compelling. An off-hand factoid about stagnating human evolution dovetails quite tidily with the Squip’s motivations for disseminating more of itself through the school. This is the real menace of life lived by remote control, and everything in <i>Be More Chill</i> hinges on someone ‘just saying no’ to technology-laced drugs. For all its charms and honesty about the bad decision-making of high schoolers, <i>Be More Chill</i>’s gripping conclusion proves that not everyone takes the easy way out. It takes only one brave teen armed with a fondness for retro ‘90s culture to stop the madness. Uncoolness never looked so good.” – Paul Friswold, <i>The Riverfront Times</i><br />
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“<i>Be More Chill</i>, the nonstop hilarious musical. . . is a perfect match for the playfully exuberant New Line style. Co-directors Mike Dowdy-Windsor and Scott Miller establish and explore a groove in which the energetic songs and irreverent humor create an atmosphere of sheer exhilaration. And the cast is outstanding. . . Teen angst has rarely been so entertainingly outrageous.” – Calvin Wilson, <i>St. Louis Post-Dispatch</i><br />
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“Every generation has a musical that captures the zeitgeist of the moment, that speaks to them in a special way. My generation of Baby Boomers had <i>Hair</i>, Gen X had <i>Rent</i>, Millennials had <i>Spring Awakening</i> and now Generation Z has the current cultural sensation <i>Be More Chill</i>. It’s fierce, fun and frisky. . . The well-cast ensemble, playing 11 characters, sparkles. Each one has taken this show to heart with so much enthusiasm that it carries over to the audience, which included many young fans expressing their delight at every opportunity on opening night. Their joyous embrace of a show that defines how they feel, look and act is refreshing. The powerful connection between actors and theatergoers is electric and palpable. The performers feel every word and the audience responds in kind. . . <i>Be More Chill</i> is fresh and funny, and not in a jaded ‘we’re so clever and smart’ way, but with real heart, and that may be the most important aspect – the emphasis on real. The musical, in lyrics and book, speaks to us in a captivating way that transcends labels and genres. It targets our humanity. To make people feel less alone in this world is a remarkable thing.” – Lynn Venhaus, <i>St. Louis Limelight</i><br />
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“New Line Theatre takes on teen angst and social anxiety with a spectacular production of Joe Iconis and Joe Tracz musical interpretation of the novel <i>Be More Chill</i> by Ned Vizzini. Directors Scott Miller and Mike Dowdy-Windsor have assembled a phenomenal cast, headed by Jayde Mitchell, Kevin Corpuz and Grace Langford, and ensure that every detail supports the compelling story. Musical director Nicolas Valdez and conductor Marc Vincent provide driving arrangements that keep the pace quick while complementing the individual voices and shared harmonies. Though the plot trajectory is familiar, the results are relatable, funny and thoroughly captivating. . . . The energetic musical rides through the highs and lows of teenage emotion like a multistory roller coaster through a dense forest – you’re never 100% certain which way the story’s going to twist and it might fall off the rails at any moment, but the ride is a total blast.” – Tina Farmer, KDHX<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18xrjBZKhCNxPpxN6I1HaAog1V1i0SwljXMzIuMbyWAIzrdIip-s0d2JjCeIW93PolxaCUfUocMySKd2iyUCQAM8j2n5phxkxe69Y7qgdlArDvKTBBRPRJLuLodrxmbA7J-AxE4XMAdR_/s1600/IMG_9871.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18xrjBZKhCNxPpxN6I1HaAog1V1i0SwljXMzIuMbyWAIzrdIip-s0d2JjCeIW93PolxaCUfUocMySKd2iyUCQAM8j2n5phxkxe69Y7qgdlArDvKTBBRPRJLuLodrxmbA7J-AxE4XMAdR_/s320/IMG_9871.jpg" title="The Squip (Dominic Dowdy-Windsor) at full power, in New Line Theatre's Be More Chill, 2019. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“<i>Be More Chill</i> is a compelling excoriation if you’re young, and a sort of vintage/antique shop of the mind if you’re old, as we all struggle to understand this brave new world. . . . <i>Be More Chill</i> is built around the classic conflict of individualism and the pressure to conform to a group identity, which seemed to delight the younger members of the audience opening night. And the struggle between those two forces becomes unexpectedly wrenching and dark near the end....”
– Richard Green, <i>TalkinBroadway</i><br />
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“This is a perfect New Line show, and how Scott Miller managed to present it so soon after its Broadway opening (in March) is a wonder. Once again, Miller and co-director Mike Dowdy-Windsor have pulled together a young, talented cast, still scratchy around their rough edges, to tell a story almost anybody who went to high school can appreciate. . . the intimate, bare-bones style of New Line’s production truly suits a show about a situation that everybody goes through but that each of us has to experience alone.” – Judith Newmark, <i>All the World’s a Stage </i><br />
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“<i>Be More Chill</i> should be on everybody’s radar. I am sure a lot of other local theatre groups will be performing it over the next few years, but the regional premiere run at New Line is truly special.” – Jeff Ritter, <i>Critical Blast</i><br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-47178529577851382942019-04-02T18:47:00.002-05:002019-04-02T18:50:20.930-05:00La Cage aux Folles (2019)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAY0RiejvWqQQSbCvCaU46i-rZJS29vL3XdPtu2Z6TU6Ccenf0w6Eqm731NsoLuD0KN3QzRtsgc6Mtm3j8xfRGMCyoV6kuDxLBs5FbzuaYEy6weqXtobBx_-PsWlLNnCnyy1O1o9T6FEN2/s1600/lacage-2.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" data-original-height="219" data-original-width="146" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAY0RiejvWqQQSbCvCaU46i-rZJS29vL3XdPtu2Z6TU6Ccenf0w6Eqm731NsoLuD0KN3QzRtsgc6Mtm3j8xfRGMCyoV6kuDxLBs5FbzuaYEy6weqXtobBx_-PsWlLNnCnyy1O1o9T6FEN2/s320/lacage-2.png" width="213" /></a></div>
Book by Harvey Fierstein<br />
Music and Lyrics by Jerry Herman<br />
Based on the play by Jean Poiret<br />
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Feb. 28-March 23, 2019<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/lacagepage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/LA-CAGE-AUX-FOLLES-2019/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Albin / Zaza – Zachary Allen Farmer<br />
Georges – Robert Doyle<br />
Jean-Michel – Kevin Corpuz<br />
Jacob – Tiélere Cheatem<br />
M. Dindon / M. Renaud – Kent Coffel<br />
Mme. Dindon / Mme. Renaud – Mara Bollini<br />
Anne – Zora Vredeveld<br />
Jacqueline – Lindsey Jones<br />
Francis – Joel Hackbarth<br />
<i>Les Cagelles </i><br />
Angelique – Jake Blonstein<br />
Chantal – Dominic Dowdy-Windsor<br />
Hanna – Evan Fornachon<br />
Bitelle – Tim Kaniecki<br />
Phaedra – Clayton Humburg<br />
Mercedes – Ian McCreary<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Nicolas Valdez<br />
Reeds – Kelly Austermann / JD Talman<br />
Trumpet – Ron Foster<br />
Trombone – Tom Hanson<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergos<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Director – Nicolas Valdez<br />
Choreographers – Michelle Sauer, Sara Rae Womack<br />
Stage Manager – Erin Goodenough <br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Ryan Day<br />
Props Master – Erin Goodenough<br />
Carpentry and Scenic Artists – Richard Brown, Paul Troyke, Melanie Kozak, Nick Brunstein<br />
Scenic Crew – Joseph Brown, Atticus Bruner, Grace Brunstein, Judy Brunstein, Kathleen Dwyer, Timmy Folsom, Gary Karasek, Sam Pickering, Kayla Walker<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg11NR2gUj-0WPChoRVAYh3PMGCexIXSnpWMLmRRqHN24a6SpH_uoKTSgVf9bOUiaFMVXhjJw30RnLckhpPqsiMSKn0AIzTks5VirglbVyMdrazgoWgxrBV052JCLkX0urZmdbj2XCu9Ntu/s1600/AIMG_7641.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg11NR2gUj-0WPChoRVAYh3PMGCexIXSnpWMLmRRqHN24a6SpH_uoKTSgVf9bOUiaFMVXhjJw30RnLckhpPqsiMSKn0AIzTks5VirglbVyMdrazgoWgxrBV052JCLkX0urZmdbj2XCu9Ntu/s320/AIMG_7641.jpg" title="Zachary Allen Farmer as Zaza in New Line Theatre's La Cage aux Folles, 2019. Photo credit: Jill Ritter Lindberg." width="213" /></a></div>
“La Cage aux Folles can be presented as simply a frothy, weightless farce, but here, directors Scott Miller and Mike Dowdy-Windsor opt to show how love deepens over time, which gives their La Cage both weight and depth. That depth burnishes the laughs and sweetens the froth immeasurably. . . It’s no mistake that the strongest family in the show remains the aging gay couple who get their groove back, even as the man who stands for ‘family, morality and tradition’ gets his comeuppance.” – Paul Friswold, The Riverfront Times<br />
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“Stylish, spirited and spectacular, La Cage aux Folles is the kind of show at which New Line Theatre excels. Co-directors Scott Miller and Mike Dowdy-Windsor elicit laughs and whip up an atmosphere of barely controlled hysteria without shortchanging the more poignant moments in the book by Harvey Fierstein (Kinky Boots) and music and lyrics by Jerry Herman (Hello, Dolly!). And music director Nicolas Valdez and choreographers Michelle Sauer and Sara Rae Womack are thoroughly in sync with the show’s madcap demands. . . La Cage aux Folles premiered on Broadway in 1983. Decades later, the show continues to thrill and delight – and hasn’t aged a bit.” – Calvin Wilson, St. Louis Post-Dispatch<br />
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“This was my first time seeing La Cage aux Folles, and I was blown away. There is so much packed into this show – singing, dancing, romance, humor, emphasis on family and being yourself. And La Cage never ceases to entertain while developing these complex characters and their compelling story. . . Directors Scott Miller and Mike Dowdy-Windsor do what they do best here, which is take an already brilliant show and somehow make it even better. The staging is perfect, with great casting and direction which makes these characters come to life in a lovable and believable fashion. I’ve seen several versions of this story now, but I have certainly found my favorite one at New Line.” – Kevin Brackett, Review STL<br />
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“When New Line Theatre sets aside its Sondheim and puts on a bright and florid Jerry Herman show like 1983’s La Cage aux Folles, director Scott Miller’s expertise tempers the entire project – underpinning a delirious drag fantasia with moments that can be heartbreakingly grim, and which are deeply authentic. And by making the lows so resonant, the high moments gain an almost crystalline clarity. Thanks to music director Nicolas Valdez, choreographers Michelle Sauer and Sara Rae Womack, and the back-up singers (Les Cagelles) on stage, La Cage still sings and dances and shrieks like mad.” – Richard Green, TalkinBroadway<br />
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“One the one hand, La Cage aux Folles is a celebration of being who you are and finding someone you love enough to want to grow old together, no matter gender or age difference or political background. On the other, it’s a night at a swanky music club, complete with a big band, led by Nicolas Valdez, and belted out show tunes all dressed up in sparkle and big hair. . . .Scott Miller and Mike Dowdy-Windsor keep the focus on delivering entertaining big numbers and touching scenes driven by deep love and affection – both for the show and its quirky, heartwarming characters.” – Tina Farmer, KDHX<br />
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“I’ve seen Zachary Farmer in many New Line productions and have always been impressed. His voice is simply sublime: rich and smooth as warm cream, with a power that never seems even to approach its limits. A rather portly, slightly balding gent of middle years, he was perfect six years ago in the role of Charles Bukowski, the drunken derelict ‘poet laureate of low-life’. How could such a man become an icon of real feminine glamour? How could Farmer be ‘Zaza’? Amazingly he triumphs in it! Sensationally gowned and wigged, with quite superb make-up and just a pinch of corsetry, he attains that strong-jawed Joan Crawford beauty – but instead of the hard cruelty of Crawford, Mr. Farmer fills Zaza with deep love and genuine emotion. He’s stunning. He makes La Cage aux Folles belong to Zaza as much as Gypsy belongs to Mama Rose – but unlike Mama Rose, Zaza is a character we can readily love.” – Steve Callahan, BroadwayWorld<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQLyWR6-0v1rtoSV4RuxpdvIrxS0MU2H7S1D4NelNXxprtum8vvy2xy3BmJSZ6swknPUUJrxNU8k6XZUkD-RQ0wT19fSi8QXz7gVOLNZHle4P2l2IGaWPl8pL9mjp3birbH9vEbEM0n2M/s1600/0P6A0528.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQLyWR6-0v1rtoSV4RuxpdvIrxS0MU2H7S1D4NelNXxprtum8vvy2xy3BmJSZ6swknPUUJrxNU8k6XZUkD-RQ0wT19fSi8QXz7gVOLNZHle4P2l2IGaWPl8pL9mjp3birbH9vEbEM0n2M/s320/0P6A0528.jpg" title="The company of New Line Theatre's La Cage aux Folles, 2019. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“Years ago, New Line founder and artistic director Scott Miller branded his troupe ‘the bad boy of musical theatre.’ Miller co-directed La Cage aux Folles with Mike Dowdy-Windsor, and in its way it’s just as surprising as some of the more subversive works the troupe has presented: It’s probably the least-queer show in the New Line canon. . . Why see it again? Because New Line’s production at the Marcelle gives La Cage an intimacy that seems just right for a little family story. And because it gives a performer with a lot of New Line fans a role they had never imagined for him. It’s a treat all around.” – Judith Newmark, All the World’s a Stage<br />
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“New Line Theatre has staged another remarkable production with their rendition of the modern classic musical La Cage aux Folles. As often happens at New Line, this production distills the essence of the show and brings out its human drama, emphasizing character and relationships, along with the excellent singing that I’ve come to expect from this company. In addition, it’s also sparkly and dazzling, with a strong ensemble and a truly stunning performance from one of New Line’s most recognizable players. . . I hadn’t seen it on stage until New Line brought it to the stage with its usual insightful, inventive style. This is a fun show with a lot of flash, but it’s also a very human show, with poignancy and wit and charm. It’s another winning production from New Line.” – Michelle Kenyon, Snoop’s Theatre Thoughts<br />
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“New Line Theatre offers its take on the venerable, Tony Award-winning musical by Harvey Fierstein and Jerry Herman, delivering a crowd-pleasing rendition led by Zachary Allen Farmer in a triumphant performance as the charming and resilient Albin/Zaza. . . La Cage aux Folles can be both naughty and nice. New Line’s presentation, under Miller’s and Mike Dowdy-Windsor’s studied direction, succeeds at both.” – Mark Bretz, Ladue News<br />
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“La Cage Aux Folles remains timely, and important, and most importantly, fun. As always, La Cage boldly stands up to hypocrisy, ignorance and self-righteous prigs with sharp social commentary wrapped in light-hearted comedy and hummable music. This delectable confection as a crowd-pleaser is a brilliant offense, and Fierstein’s smart script is redolent with both zingers and heartfelt moments. But this cast emphasizes it with their own perceptible feeling of family, that intangible quality that sells the show, and underlined by the confident directors. . . There is an obvious joy and compassion in this work, and because everyone involved is having such a good time, it carries over to the audience. After all, love is love is love is love. None of us need permission to be who we are, but La Cage Aux Folles reminds us that we are all free to be you and me. And that’s mighty fine any time.” – Lynn Venhaus, St. Louis Limelight<br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQFiM0Ey3A06ytQolCGkdc6L37rM2oHte6rGbbEjt0KLG9P0iWYOmiLqUJYrJGqaPNfPnmlYp3s-jqUEKZyimlxZpGRDWh5BrfuaOb_CVeqRVSr7DM1N1hWOOYZ1E4f_x6IhfZVI7bZ9Ti/s1600/0P6A0384.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQFiM0Ey3A06ytQolCGkdc6L37rM2oHte6rGbbEjt0KLG9P0iWYOmiLqUJYrJGqaPNfPnmlYp3s-jqUEKZyimlxZpGRDWh5BrfuaOb_CVeqRVSr7DM1N1hWOOYZ1E4f_x6IhfZVI7bZ9Ti/s320/0P6A0384.jpg" title="Les Cagelles in New Line Theatre's La Cage aux Folles, 2019. Photo credit: Jill Ritter Lindberg." width="213" /></a></div>
<i>“We are what we are, </i><br />
<i>And what we are </i><br />
<i>Is an illusion.”</i>
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That’s the first lyric in <i>La Cage aux Folles</i>, and though on the surface, it’s talking about drag, it’s saying way more than that. Just like the show it introduces. Those few lines encapsulate the entire story and all its themes. <br />
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It’s a statement of purpose.<br />
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It introduces us to two ideas that will permeate every moment of the show. First, there’s “we are what we are” – in other words, we accept and embrace ourselves for who we are, without judgment or regret, without wanting to be someone or something else, and we’re not changing. It’s such a declarative statement. Particularly as sung by performers in drag, it’s a statement of defiance and dignity. And that dignity will be greatly challenged throughout this story.<br />
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But the second phrase tells something just as important – “and what we are is an illusion.” That’s literally true of the men singing these words (St. Louis male actors playing French male performers playing female characters), but it’s also universally true for all of us. We all wear masks of various kinds in our everyday lives; we all “perform” various roles in our lives. In other words, life’s a drag.
This whole show is a deceptively serious story about identity and masks, reality and illusion. Albin is living as a man, performing onstage as a woman, husband to Georges, “mother” to Jean-Michel, tragic diva to Jacob. When Albin shows up at the dinner party, it’s funny to us because we know he’s about to cause all kinds of chaos, but we also register (maybe subconsciously) that this mask is “true.” So is it a deception?<br />
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Yes and no, both. Like the whole show. <i>Like all of our lives</i>.<br />
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As crazy as it is, Geroges and Albin’s world has an equilibrium as our story begins. It’s a world of crisis and chaos, but it’s also a world of family and ritual and commitment and a weird kind of stability.<br />
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People translate the title of <i>La Cage aux Folles</i> in various ways, but the one that seems most right to me is “The Cage of Madwomen.” The word <i>folles</i> is French for crazy or wild, but if you speak French, you’ll notice that it’s the <i>feminine</i> form of the word. And on top of that, <i>folles</i> is also French slang for effeminate gay men. When you know all that, the name of the show – and the name of the club above which the whole story takes place – becomes a slyly subversive, multi-layered joke.<br />
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Maybe they’re crazy, but you’ll pay to see them... <i>so who’s really crazy?</i> We all are.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-35359221542598521882018-12-15T11:10:00.003-06:002024-01-02T16:06:24.552-06:00The Zombies of Penzance (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwnHw_14mEXXG48Ld6ptwEK75INwQ5bFQuWZP776YwheL6m2FvGGZpeTofSDWQkGp0pTaZC7FdWlnjf6Jzuekk9H2VyqmttHqLVvShQ3q16FJRoQvihxokv16G8lIQCICo-HP4SISCKdMp/s1600/zop-2.png" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="141" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwnHw_14mEXXG48Ld6ptwEK75INwQ5bFQuWZP776YwheL6m2FvGGZpeTofSDWQkGp0pTaZC7FdWlnjf6Jzuekk9H2VyqmttHqLVvShQ3q16FJRoQvihxokv16G8lIQCICo-HP4SISCKdMp/s320/zop-2.png" title="Graphic design by Matt Reedy, 2018" width="206" /></a></div>
Book and Lyrics by W.S. Gilbert and Scott Miller<br />
Music by Arthur Sullivan and John Gerdes<br />
Orchestrations by John Gerdes<br />
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Sept. 27-Oct. 20, 2018<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/zoppage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/ZOMBIES-OF-PENZANCE/" target="_blank">Production Photos</a><br />
Buy the <a href="https://smile.amazon.com/Zombies-Penzance-original-Louis-cast/dp/B07LD23LZ9/">Original St. Louis Live Cast Recording</a>!<br />
Buy the <a href="https://smile.amazon.com/Zombies-Penzance-Scott-Miller/dp/1729172040/">script</a>!<br />
Buy the <a href="https://smile.amazon.com/Zombies-Penzance-Piano-Vocal-Score/dp/1790825083/">full piano-vocal score</a>!<br />
Ask about <a href="mailto:newchaz64@aol.com">production rights</a>!<br />
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<b>THE CAST</b><br />
Frederic – Sean Michael<br />
Mabel – Melissa Felps<br />
Major-General Stanley – Zachary Allen Farmer<br />
Zombie King – Dominic Dowdy-Windsor<br />
Zombie Sam – Kent Coffel<br />
Edith – Christina Rios<br />
Isabel – Kimi Short<br />
Kate – Lindsey Jones<br />
More Daughters – Mara Bollini, Melanie Kozak, Sarah Porter<br />
More Zombies – Robert Doyle, Matt Hill, Tim Kaniecki, Kyle Kelesoma<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Nicolas Valdez<br />
French Horn – John Gerdes<br />
Reeds – Lea Gerdes<br />
Bassoon – Joseph Hendricks<br />
Cello – Emily Trista Lane<br />
Violin – Twinda Murry<br />
Reeds – Kelly Austermann / Hope Walker<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Director – Nicolas Valdez<br />
Stage Manager – Erin Goodenough<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Lighting Designer – Kenneth Zinkl<br />
Sound Designer – Ryan Day<br />
Props Master – Kimi Short<br />
Carpentry and Scenic Artists – Richard Brown, Paul Troyke, Patrick Donnigan, Melanie Kozak, Kate Wilkerson, Nick Brunstein, Judy Brunstein, Grace Brunstein, Scenic Painters, Kathleen Dwyer, Tamar Crump, Karla Suazo, Gary Karasek<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6llHZRIri5QRNlhHZmvzEIBHrjNSqM6QjlcNJAoesq16agEE-oIDiYXR1RGgHGL_qmzwM3X8gt64TxLr8AkTa5rh7qi6qUFbCSLVAG_blXn3qsTN8dxHjxdhy32y7iPP_Bx9L9c-c7lxC/s1600/0P6A6949.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6llHZRIri5QRNlhHZmvzEIBHrjNSqM6QjlcNJAoesq16agEE-oIDiYXR1RGgHGL_qmzwM3X8gt64TxLr8AkTa5rh7qi6qUFbCSLVAG_blXn3qsTN8dxHjxdhy32y7iPP_Bx9L9c-c7lxC/s320/0P6A6949.jpg" title="The Zombies, in New Line Theatre's The Zombies of Penzance, 2018. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“<i>The Zombies of Penzance</i> may be the funniest show that New Line Theatre has ever mounted – and, among its original offerings, the one with the brightest future. . . Truly, you have never seen anything like this. That’s not hyperbole. It’s a fact.” – Judy Newmark, <i>All The World’s a Stage</i><br />
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“New Line Theatre’s <i>The Zombies of Penzance</i> adds a dark tinge of horror to Gilbert and Sullivan’s classic operetta of jolly pirates raiding the upper class, and the result is both a nightmare and a delight – let’s call it a ‘delightmare.’ The songs are ripping, the performances are outstanding and the philosophical questions raised by the undead’s increasing dominance are chilling.” – Paul Friswold, <i>The Riverfront Times</i><br />
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“It’s amazing just how effective the changes are, while still paying tribute to the classic text. And Arthur Sullivan’s fantastic music is left unharmed, while meshing perfectly with the updated lyrics. . . <i>The Zombies of Penzance</i> is absolutely hilarious right from the start. It’s the juxtaposition of zombies singing opera (and quite beautifully, I might add), and the subtle changes in dialogue which make it impossible not to crack a smile. The reworked plot is so absurd, but in the best way possible. Because of how the adaptation is handled with such care, the show is able to tell a just as entertaining and compelling story as the original. And I can honestly say I enjoyed it even more. . . New Line Theatre has chosen the perfect musical for the Halloween season, after carefully incubating it with love for several years until it was ready to make its debut. <i>The Zombies of Penzance</i> will change the way you think about the music and characters forever, as its updated message of female empowerment and inclusivity is undeniably relevant today. The show is so much fun, and there is much to be appreciated by both fans of Gilbert and Sullivan’s original work and newcomers to this fresh new story.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“We are swept away in a wonderful whirlwind of apocalyptic delight that is both fresh and familiar. . . With smart dialogue, clever lyrics, and rapid-fire jabs at conservative Christianity, I dare you to keep up with the pace here. This show is wholly entertaining starting with the first overture notes from the New Line Band and continuing until the very last hysterical twist as the lights go dim at the end. This wild, wonderful adaptation closely mimics the original, only this version is darker, edgier, weirder, and paradoxically funnier. Plus, there are dancing zombies! . . . It’s charming. It’s cheeky. It’s a super fun pre-Halloween show for those looking to laugh, or for anyone who enjoys <i>The Pirates of Penzance</i>. Trust me on this one. Gilbert and Sullivan would be amused.” – Tanya Seale, <i>BroadwayWorld</i><br />
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“This new version of <i>The Pirates of Penzance</i>, titled <i>The Zombies of Penzance</i>, comes beautifully alive. . . All of a sudden it’s a modern show, but with an incredibly lush musical sound we scarcely deserve, here in this modern, profane age. . . So thank God (and George Romero) for <i>The Zombies of Penzance</i>. . . I really feared it was going to be a one-joke show. But it’s deliciously rich, and a great tribute to the original—skewering the zombie genre and subtly reviving the bygone art of light operatic romance in the bargain. . . it’s undeniably the perfect marriage of creative minds, across more than a century. And with all those brilliant choristers on stage, you just can’t kill it.” – Richard Green, <i>TalkinBroadway</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9th1Tb2aHaStppj_vJD4S76aFyo3fx9Xd08aIrzmCGobAVJVEFxPigDxcV_c6ZAt5KV1OMSRVYAMqYqKwt3xU62Ln5qQ0H3WHQoF0xEhIoqOyPrERmfjDUZ1RtwdPrZvP6oKOQhoTSYcl/s1600/0P6A6925.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9th1Tb2aHaStppj_vJD4S76aFyo3fx9Xd08aIrzmCGobAVJVEFxPigDxcV_c6ZAt5KV1OMSRVYAMqYqKwt3xU62Ln5qQ0H3WHQoF0xEhIoqOyPrERmfjDUZ1RtwdPrZvP6oKOQhoTSYcl/s320/0P6A6925.jpg" title="The Stanley Daughters, in New Line Theatre's The Zombies of Penzance, 2018. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“If you’re in the mood for theater that will make you laugh while still delivering the pleasure of a high quality score, you won’t want to miss New Line Theatre’s latest production. Reverently irreverent and witty, Gilbert & Sullivan’s <i>The Zombies of Penzance, or At Night Come the Flesh-Eaters</i> is a rollicking good time of a zombie musical. . .New Line hits all the right notes with an abundance of sharp, insidious comedy and a touch of political commentary. The world premiere combines the efforts of W.S. Gilbert and Scott Miller on book and lyrics and Arthur Sullivan and John Gerdes on music, with orchestrations by Gerdes. The clever show is a fast-paced satire that’s at times adroitly bookish and at times total fanboy – of Gilbert and Sullivan… and Romero. George A. Romero that is, the acknowledged patriarch of the modern zombie canon. . . a delightfully fun, pointedly funny musical.” – Tina Farmer, KDHX<br />
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“It’s a rollicking musical filled with mirthful mayhem, just in time for Halloween. . . Miller and Dowdy-Windsor keep the show moving at a sprightly pace under their careful direction, pretty much guaranteeing a jolly good time for all. A pinch of Gilbert & Sullivan humor along with a sprinkling of Romero shivers blend well for a Halloween holiday treat.” – Mark Bretz, <i>Ladue News</i><br />
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“Another triumph for New Line, a theater company with a disarming sense of fun. . . it’s a hilariously inspired joke, and just what theatergoers need in these often troubling times.” – Calvin Wilson, <i>St. Louis Post-Dispatch</i><br />
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“If you’re looking for an uproarious way to spend a couple of hours, Gilbert & Sullivan’s <i>The Zombies of Penzance or At Night Come the Flesh Eaters</i> is a no-brainer!” – Jeff Ritter, <i>Critical Blast</i><br />
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“Another example of the excellent casting and top-notch singing that’s come to be expected from New Line. It’s also a whole lot of fun to watch, but especially so if you like zombie stories, Gilbert and Sullivan, or both. . . In terms of humor and sheer musicality, it’s remarkable. Ultimately, though, this show is a witty, hilarious show that has a lot of fun with its concept and features a first-rate, enthusiastic cast. It’s not ‘traditional’ Gilbert and Sullivan, but that’s really the point. It’s another excellent, thought-provoking show from New Line.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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“Let the wackiness ensue with Miller’s smart book and quick-witted lyrics, using Gilbert’s template. Listen carefully for laugh-out-loud humor, utilizing contemporary snarkiness. . . These zombies might not terrify, after all, but they certainly provide a fun, frothy look in a lighter vein – at both vintage opera and the horror archetypes who proliferate this time of year. Barbara, they are coming, only armed with songs, dances and feelings. One can’t resist the pull of brainy and talented people who set out for a road not taken before.” – Lynn Venhaus, <i>St. Louis Limelight</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAb3dY72RZqqSdB6JoGyJXhBpRNCJ0zuC671Ie4MNUsviOHI2kOyu30iV_ahlb0X_v8NgZCs_E45p6kn2lUYErPPYbxXFBThxiQRgAwEirvBedSo1FMlD1rIOLsUF4v1kQVzZBruTqbMu/s1600/PR-IMG_4760.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAb3dY72RZqqSdB6JoGyJXhBpRNCJ0zuC671Ie4MNUsviOHI2kOyu30iV_ahlb0X_v8NgZCs_E45p6kn2lUYErPPYbxXFBThxiQRgAwEirvBedSo1FMlD1rIOLsUF4v1kQVzZBruTqbMu/s320/PR-IMG_4760.jpg" title="Zachary Allen Farmer as Maj-Gen. Stanley, and Dominic Dowdy-Windsor as the Zombie King, in New Line Theatre's The Zombies of Penzance, 2018. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
New Line Theatre has shocked the music and theatre worlds by discovering a controversial, long-lost first draft by the legendary British team of librettist W.S. Gilbert and composer Arthur Sullivan, who together wrote 14 comic operas from 1871 to 1896.<br />
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One of the team's best known works, <i>The Pirates of Penzance</i>, originally debuted in New York in 1879, and was revived to great success in the early 1980s with Kevin Kline, Linda Ronstadt, and Rex Smith. What we now know is that there was an earlier, stranger draft of the show, with most of the same characters but a somewhat different plot. <br />
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In Gilbert & Sullivan's never-before seen original draft, dated December 1878 and titled <i>The Zombies of Penzance</i> (with the unwieldy subtitle, <i>At Night Come the Flesh Eaters</i>), Major-General Stanley is a retired zombie hunter, who doesn't want his daughters marrying the dreaded Zombies of Penzance, for obvious reasons. According to documents found with the manuscripts, Gilbert and Sullivan finished work on <i>The Zombies of Penzance</i> in early 1879, but their producer Richard D’Oyly-Carte refused to produce it, calling it vulgar, impolitic, and unchristian, and in one particularly pointed letter, “an operatic abomination, an obscene foray into the darkest of the occult arts.” In a letter to his cousin, Gilbert expressed his deep disappointment, writing “I fear the living dead shall be the end of me yet.” <br />
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Until now, music scholars had been baffled by that reference. <br />
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After a battle that almost ended the partnership, the team reluctantly agreed to rewrite their show, and in December 1879, D'Oyly-Carte debuted the more conventional, revised show, <i>The Pirates of Penzance</i>. As he had agreed, Gilbert eliminated all references to zombism. <br />
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In 2013, New Line artistic director Scott Miller discovered the original manuscripts for <i>The Zombies of Penzance</i> in the second sub-basement of the Judson Memorial Church in New York, hidden beneath some moldy band parts from Rockabye Hamlet and Shogun the Musical, and Miller set about reconstructing the bizarre original show as its creators intended. Gilbert's living dead and their Zombie King now make their long-delayed world premiere. Miller has painstakingly reassembled these rediscovered materials into their original form, filling in the gaps with educated guesses based on other G&S shows and drafts. St. Louis composer and orchestrator John Gerdes has reconstructed Sullivan's music. Now, for the first time, audiences will be able to see and hear the comic, flesh-eating insanity Gilbert & Sullivan originally wrought.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-16143034213493738462018-07-22T13:31:00.000-05:002018-07-22T13:31:02.114-05:00Yeast Nation (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Dxlxb_1Eexae_PZPDNS4GGwdu92sBlRjfxplNxLrGysm4aoFfHPiYGkp1Qyfzktzh04LbOLqZFdo7q3gNYclAFIEjpdIkToqwoZRE-M3fB-7CkSzQFKEqofvD8D5xJXo2M6be4Zpyvv-/s1600/YeastNation-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="142" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Dxlxb_1Eexae_PZPDNS4GGwdu92sBlRjfxplNxLrGysm4aoFfHPiYGkp1Qyfzktzh04LbOLqZFdo7q3gNYclAFIEjpdIkToqwoZRE-M3fB-7CkSzQFKEqofvD8D5xJXo2M6be4Zpyvv-/s320/YeastNation-2.jpg" title="graphic design by Matt Reedy, 2018" width="207" /></a></div>
Lyrics by Mark Hollmann and Greg Kotis<br />
Music by Mark Hollmann Book by Greg Kotis<br />
Orchestrations by John Gerdes<br />
May 31-June 23, 2018<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/yeastnationpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/YEAST-NATION-2018/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Jan-the-Unnamed – Sarah Gene Dowling <br />
Jan-the-Elder – Zachary Allen Farmer <br />
Jan-the Second-Oldest – Dominic Dowdy-Windsor<br />
Jan-the-Sly – Grace Langford<br />
Jan-the-Wise – Micheal Lowe<br />
Jan-the-Sweet – Larissa White<br />
Jan-the-Wretched – Keith Thompson<br />
Jan-the-Famished – Jennelle Gilreath<br />
Jan-the-Youngest – Colin Dowd<br />
The New One – Lex Ronan<br />
Yeast Chorus – Colin Dowd, Evan Fornachon,<br />
Brittany Kohl Hester, Eleanor Humphrey,<br />
Bradley Rohlf, Lex Ronan, Keith Thompson<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Sarah Nelson<br />
Guitar – Aaron Brown<br />
Bass/Guitar – Jake Heberlie<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergos<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Director – Sarah Nelson<br />
Stage Manager – Erin Goodenough<br />
Scenic & Lighting Designer – Rob Lippert<br />
Asst. Scenic Designer – Victoria Xu<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Ryan Day<br />
Props Master – Kimi Short<br />
Scenic Artists – Richard Brown, Nick Brunstein, Jonathan Carl,<br />
Patrick Donnigan, Gary Karasek, Paul Troyke<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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“New Line has long been home to weird shows – and this one, from the creators of <i>Urinetown</i>, might be the weirdest yet. Single-cell organisms, singing and dancing in the primordial ooze, more or less simultaneously discover love and dynastic tragedy. The voices are terrific, and the tie-dyed costumes are a hoot; who knew microbiology could be so entertaining?” – Judith Newmark, <i>St. Louis Post-Dispatch </i><br />
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“The production is absolutely spellbinding. . . For those who are familiar with New Line, <i>Yeast Nation</i> features an all-star cast of actors. . . <i>Yeast Nation</i> is probably considered odd by Broadway standards, and most likely why it never found a home there. But that is more the reason to love it, as it epitomizes the creativity we yearn for when discovering new art. The show is very smart, and surely benefits from a second viewing to truly appreciate all of the clever writing. Yet at the end of the day, the sights and sounds will have you captivated – all while having a lot of fun.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“It’s a big goofy summer musical, delightfully performed, full of silly pastiche song and dance, that’s somehow just a little too snarky and ironic for the Muny. . . Come for the nonsense, stay for the soaring musical artistry. . . You haven’t heard Motown and doo-wop spoofs till you’ve heard them in the swoon-worthy richness of a New Line show.” – Richard Green, <i>TalkinBroadway </i><br />
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“New Line Theatre’s current production of the show is directed by the accomplished team of Scott Miller and Mike Dowdy-Windsor, and it moves from strength to strength. The cast is sharp, Rob Lippert’s set and lighting design are both attractive and effective (sitting in The Marcelle is like being inside a human-scale, high-dollar aquarium), and most importantly, I cared about some of these genderless, biologically identical yeasts and their plight. Personal investment is the ultimate goal of every show, but it’s a big ask when you’re talking about yeasts who all share one name.” – Paul Friswold, <i>The Riverfront Times </i><br />
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“Is it New Line turned up to eleven, zany and shocking and well-acted with music and songs that are, dare I say it, infectious? Yes, indeed! <i>Yeast Nation</i> is easily the most bizarre musical you’ll see this year and perhaps for many years to come. . . and yet it completely works. . . There is an incredible amount of live theatre in St. Louis, and some companies are producing challenging and decidedly different fare. With <i>Yeast Nation</i>, Scott Miller, co-director Mike Dowdy-Windsor and the whole New Line crew remind everyone why they are the bad boys of musical theatre.<i> Yeast Nation</i> is the funniest cautionary tale you’re likely to ever see. The basic premise alone of yeast reminding humans that in many ways we aren’t as evolved as we think we are should make this a hot ticket.” – Jeff Ritter, <i>Critical Blast </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE6brEV2YqJw0TsW7D_z7yg4oyFOdWowzbmw3vt8ntUUu1d6VxBtbnmutNrJxn19rvamjbo69ewipvR6m3dFD2wxLrl4XOHsH3UxEXCqJaAYHHudNK5Ad44Do5eBj3k923RkqK-4tlEx51/s1600/IMG_3465.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE6brEV2YqJw0TsW7D_z7yg4oyFOdWowzbmw3vt8ntUUu1d6VxBtbnmutNrJxn19rvamjbo69ewipvR6m3dFD2wxLrl4XOHsH3UxEXCqJaAYHHudNK5Ad44Do5eBj3k923RkqK-4tlEx51/s320/IMG_3465.jpg" title="Larissa White as Sweet and Dominic Dowdy-Windsor as Second, in New Line Theatre's YEAST NATION, 2018. Photo credit: Jill Ritter Lindbergh." width="320" /></a></div>
“New Line Theatre embraces the odd and evolving world of <i>Yeast Nation</i>, giving it vibrant color and effective performances that are delightfully engaging and thoroughly satisfying. You might learn a little science if you listen closely, but you’re sure to leave the theater with a smile, a melody in your head and a new appreciation for our distant neighbors those salt-eating yeasts.” – Tina Farmer, KDHX<br />
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“It’s something doubtless unlike anything most audience members have ever seen, albeit with its own quirky charm. . . Directors Scott Miller and Mike Dowdy-Windsor and their performers bring out the zany silliness of the concept. . . New Line’s production has fun stretching out the show’s central joke, showing how far humanity has come and how far it may yet need to advance.” – Mark Bretz, <i>Ladue News </i><br />
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“In typical fashion, the New Liners bring us a wonderful production full of energy and singing and acting skills that are stellar. . . The usual outstanding ensemble does a wonderful job in backing up all this insanity. . . A nice way to while away a couple of hours with the enormous talent on stage, some good music and a few laughs along the way.” – Steve Allen, <i>Stagedoor St. Louis </i><br />
<br />
“<i>Yeast Nation</i> is a fun, funny show with a theme that’s novel and a message that’s more than timeless. At New Line, it’s given a production that emphasizes the comedy, musicality, and most of all, the heart of the story. . . The musical elements, as is usual for New Line, are top-notch. . . this production is a lot of fun, and another example of the strength and ingenuity of New Line Theatre.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
<br />
<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuDQsoOrnEuOG3l362cdeYsxvUdFvM3TJeLxwdrnx8wMuALCmPveYzrKVB185luW67NyT9C3HIzyQAwEEn-FI2eX4t-UzvXgCQeu-7wdA-GEx7UfRpcADfMWM-Z0C94-i_IloRQ4Po-s0/s1600/IMG_3609.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuDQsoOrnEuOG3l362cdeYsxvUdFvM3TJeLxwdrnx8wMuALCmPveYzrKVB185luW67NyT9C3HIzyQAwEEn-FI2eX4t-UzvXgCQeu-7wdA-GEx7UfRpcADfMWM-Z0C94-i_IloRQ4Po-s0/s320/IMG_3609.jpg" title="Sarah Gene Dowling as Unnamed in New Line Theatre's YEAST NATION, 2018. Photo credit: Jill Ritter Lindbergh." width="213" /></a></div>
New Line has produced 84 musicals over the last 27 years, but though we produce only musicals, we’ve worked in so many different genres of storytelling: comedy, drama, film noir, thriller, melodrama, fairy tale, allegory, fable, folk tale, science fiction, horror, sex farce, social satire, political satire, political drama, religious drama, expressionism, impressionism, absurdism, documentary, autobiography, confessional...<br />
<br />
But it occurred to me a while back we had never produced a bio-historical musical. <i>I don’t know how we missed that, but we had!</i> Luckily for us, Greg Kotis and Mark Hollmann, the mad geniuses behind <i>Urinetown</i>, have been nurturing and developing another wild, dark, comic show; and can you believe it, it’s a bio-historical musical! <br />
<br />
<i>I mean, what are the odds?</i><br />
<br />
<i>Little Shop of Horrors, Bat Boy</i>, and <i>Urinetown</i> taught us the First Commandment of the neo musical comedy: the more seriously you take it, the higher the stakes, the funnier it gets. And with <i>Yeast Nation</i>, Kotis and Hollmann have put that concept on steroids. The central joke here – portraying single-celled yeasts as a human community, with a history, culture, government, alliances, palace intrigue, etc. – gets even funnier because the story is presented as straight-faced, classical tragedy, with obvious, intentional parallels to both <i>Antigone</i> and <i>Macbeth</i>.<br />
<br />
<i>Except they’re all yeasts</i>.<br />
<br />
What I love most about this writing is that the crazy dialogue and lyrics really do come from the point of view of yeasts! The metaphors are metaphors yeasts would use (if yeasts used metaphors). You can just picture “Stasis Is the Membrane That Keeps the Yeasts Together” embroidered on a yeast sampler hanging over a yeast mantelpiece. This show is only the latest proof of the old storyteller’s adage – the more specific the details, the more universal the connection.<br />
<br />
And if it’s not already funny enough that the protagonists of Yeast Nation are literally single-celled yeasts, or that our musical is set three billion years ago on the floor of the ocean, or that these yeasts have emotions, community, and power struggles, or that the two central plot lines of our show parallel <i>Antigone</i> and <i>Macbeth</i>...<br />
<br />
<i>If all that isn’t enough</i>... there’s yet another very funny element that will probably pass right by most of our audience. What may be the funniest aspect of this epic, twisted fable is that some of the weirdest details of our story are biologically accurate. <br />
<br />
Truth… like biology… is stranger than fiction.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-54838467328470101152018-03-26T18:40:00.000-05:002018-03-27T12:15:35.996-05:00Anything Goes (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4g2MjVB-lvLwqyL13kqswRJMDzyudrgMiKbxLWSSoRcJm2kxiAdp0y3wmouqWCkLoqf1cqZsgPLfJzJv_pQjLLXCwCq6Wf3O-QxId8MXdDfWWQTWN5m3bdnibmJX185IxGbuhni0O0uY0/s1600/AnythingGoes-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="142" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4g2MjVB-lvLwqyL13kqswRJMDzyudrgMiKbxLWSSoRcJm2kxiAdp0y3wmouqWCkLoqf1cqZsgPLfJzJv_pQjLLXCwCq6Wf3O-QxId8MXdDfWWQTWN5m3bdnibmJX185IxGbuhni0O0uY0/s320/AnythingGoes-2.jpg" title="Graphic design by Matt Reedy" width="207" /></a></div>
music and lyrics by Cole Porter<br />
book by Guy Bolton, P. G. Wodehouse,<br />
Howard Lindsay and Russel Crouse<br />
March 1-24, 2018<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/anythinggoespage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/ANYTHING-GOES-2018/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Moonface Martin – Aaron Allen<br />
Bonnie Letour – Sarah Gene Dowling<br />
Hope Harcourt – Eileen Engel<br />
Sir Evelyn Oakleigh – Zachary Allen Farmer<br />
Billy Crocker – Evan Fornachon<br />
Mrs. Evangeline Harcourt – Kimmie Kidd-Booker<br />
Reno Sweeney – Sarah Porter<br />
Elisha J. Whitney – Jeffrey M. Wright<br />
Purity – Michelle Sauer<br />
Chastity – Larissa White<br />
Charity – Alyssa Wolf<br />
Virtue – Sara Rae Womack<br />
Bishop/Captain – Dominic Dowdy-Windsor<br />
Reporter/Purser – Will Pendergast<br />
Everybody Else – Jason Blackburn, Clayton Humburg<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Nicolas Valdez<br />
Trumpet – Ron Foster<br />
Second Keyboard – Joel Hackbarth<br />
Percussion – Clancy Newell<br />
Guitar/Banjo – Adam Rugo<br />
Bass – Jake Stergos<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Director – Nicolas Valdez<br />
Choreographers – Michelle Sauer, Sara Rae Womack<br />
Stage Manager – Erin Goodenough<br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Colene Fornachon<br />
Asst Costume Designer – Sarah Porter<br />
Sound Designer – Ryan Day<br />
Props Master – Kimi Short<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
Scenic Artists – Grace Brunstein, Judy Brunstein,<br />
Tamar Crump, Kathleen Dwyer, Mattilyn Johnson,<br />
Gary Karasek, Marija Metiva<br />
Scenic Crew – Richard Brown, Nick Brunstein, Melanie Kozak,<br />
Patrick Donnigan, Paul Troyke, Kate Wilkerson<br />
<br />
<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VgjG4vvfBVHROQdD9BzcMQmVSLhBikc7COwyXcKjlET8uKSLYjolCJlsl_RIOaOYiMIR-kAhjuTPnSgrar1j4P-tCCjvUyrJpylBbFQfKSG3O4gwvHGCVmaicByaE8bkwMs8Fns5sNDP/s1600/0P6A6096.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VgjG4vvfBVHROQdD9BzcMQmVSLhBikc7COwyXcKjlET8uKSLYjolCJlsl_RIOaOYiMIR-kAhjuTPnSgrar1j4P-tCCjvUyrJpylBbFQfKSG3O4gwvHGCVmaicByaE8bkwMs8Fns5sNDP/s320/0P6A6096.jpg" title="Anything Goes, New Line Theatre, 2018. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“At New Line, <i>Anything Goes</i> looks funnier, sharper and smarter than you may remember. . . a spectacular treat for lovers of modern musical theater. . . .<i>Anything Goes</i> is not to be missed. A must for New Line fans and a great introduction to the troupe for newcomers, this spirited, in-your-face production of the Cole Porter classic feels as sharp as the needle on a new Victrola. . . The whole cast shines in this laugh-out-loud production, frequently punctuated by music (thanks to conductor Nicolas Valdez and a smart little band) and dance (thanks to choreographers Michelle Sauer and Sara Rae Womack). From the evangelism parody 'Blow, Gabriel, Blow' to the hilarious encouragement Moonface offers Billy in 'Be Like the Bluebird,' New Line's <i>Anything Goes</i> provides non-stop entertainment without ever getting serious.” – Judith Newmark, <i>St. Louis Post-Dispatch</i><br />
<br />
“Directors Scott Miller and Mike Dowdy-Windsor have a gift for finding the most talented performers for their productions, and this show is no exception. The entire cast of <i>Anything Goes</i> is simply marvelous. . . The New Line Band sounds great as they honor Cole Porter with their performance of his best work. And the cast looks great as the dance to the terrific choreography of Michelle Sauer and Sara Rae Womack. Everything about the show is extraordinary, and I couldn’t wipe the silly grin off my face until long after the final number. New Line has yet another hit on their hands, as they introduce audiences to a version of <i>Anything Goes</i> that they are not likely to have seen before. And in my opinion, the very best version possible.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“Is Scott Miller finally mellowing out after all these years doing shows like <i>Bloody Bloody Andrew Jackson, Celebration, </i>and <i>Jerry Springer the Opera</i>? In a word, no—the New Line Theatre motto is alive and well. Think of a veteran baseball pitcher renowned for a nasty curve. Time and time again the hitter comes to the plate knowing that he’s going to see that hook. This time, Scott surprises the hitter with a fastball down the middle. . . As usual, New Line gets it right. . . this is <i>Anything Goes</i> as it’s meant to be performed and witnessed.” – Jeff Ritter, <i>Critical Blast</i><br />
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“It's a strange choice for St. Louis' self-proclaimed 'bad boy of musical theater,' New Line Theatre. And yet, here we are, with directors Scott Miller and Mike Dowdy-Windsor charging right up the gangplank of the S.S. Fantasy America. Working with the 1962 version of the script and incorporating Miller's standard deep research into the original show's origins, the boys have found an <i>Anything Goes</i> that's sharper, tarter and more satisfying than you'd think possible. In all honesty, I haven't laughed so much at any play in quite some time. And it's not just the zany comedy that gets you; it's the skewering of the super-rich, talentless celebrities, the British and indeed anything else that walks across the ship's deck.” – Paul Friswold, <i>Riverfront Times</i><br />
<br />
“With a smart, energized supporting cast deftly directed by Scott Miller and Mike Dowdy-Windsor, New Line Theatre blends silly comedy, stylish music and effervescent performances in a winning combination which cleverly utilizes all hands on deck. . . Cole Porter knew how to write tunes with smart lyrics and snappy music, and New Line Theatre finds the heart in this 1962 version of the good-humored <i>Anything Goes</i>.” – Mark Bretz, <i>Ladue News</i><br />
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“Those clever lyrics and dynamite book work perfectly for this always inventive local treasure that is New Line. . . As usual, Artistic Director Scott Miller, with co-director Mike Dowdy-Windsor, has put together a superb cast of actors/singers who carry off the powerful music with strict attention to the charm and wit of the dialogue. . . Miller and company have proven once again that they can make their own imprint on any musical -- even a revered classic like this one.” – Steve Allen, <i>Stagedoor St. Louis</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOkJ4kDh7_1tmDUab0_0qEFU9IWXRWj00X6Fjj_Pv1UqBpGP2nxipfl_PfQ21ZREBIzY-eMN8YSlHeAVzYiHBNzaTuqe5B-KVNZpRD8myAdCo77P9XmMupRopjsMw4P6edlCkHjhYbm7QP/s1600/IMG_1674.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOkJ4kDh7_1tmDUab0_0qEFU9IWXRWj00X6Fjj_Pv1UqBpGP2nxipfl_PfQ21ZREBIzY-eMN8YSlHeAVzYiHBNzaTuqe5B-KVNZpRD8myAdCo77P9XmMupRopjsMw4P6edlCkHjhYbm7QP/s320/IMG_1674.jpg" title="Anything Goes, New Line Theatre, 2018. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“A full moon illuminated the Friday night sky, and that moonglow permeated New Line Theatre’s production of <i>Anything Goes</i>, giving this timeless screwball comedy extra oomph. Two obvious takeaways from opening night: Never take this old warhorse for granted, and the frisky ensemble is having tons o’ fun pretending to set sail.. . . Kicky and kooky, this <i>Anything Goes</i> is a buoyant blast from the past that revitalizes one of the great, grand old musicals with charm, humor and style.” – Lynn Venhaus, <i>St. Louis Limelight</i><br />
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“New Line’s staging of the show’s 1962 version, energetically directed by Scott Miller and Mike Dowdy-Windsor, includes a song list jam-packed with Porter standards and a strong cast to make those numbers soar. Though the book’s greatest strength may be its role as a vehicle for the tunes, it does offer a keen depiction of an America where gangsters are worshipped like celebrities and evangelism is akin to show business. Not much has changed on that score. . . Between the unlikely pairings and the trashy fun, this low comedy classic is bound to leave you with a smile on your face.” – Andrea Torrence, <i>St. Louis Theatre Snob</i><br />
<br />
“Directors Scott Miller and Mike Dowdy-Windsor make sure that everyone has a good time in this very broad comedy whose social implications – lionizing people who are criminals, religious hypocrisy – are easily relatable in today’s world. . . it surely is a great deal of fun, especially if you have the least bit of romantic in you.” – Ann Pollock, <i>St. Louis Eats and Drinks</i><br />
<br />
“They're doing <i>Anything Goes</i>? Really? How can they get an ocean liner and those big dance numbers on that little stage? Well, somehow New Line Theatre's Scott Miller and his team have done it, and done it superlatively well. . . <i>Anything Goes</i> is a triumph!” – Steve Callahan, KDHX<br />
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“<i>Anything Goes</i> is <i>Anything Goes</i> no matter who produces it, right? Well, maybe not. New Line Theatre, known for its productions of edgier and lesser known shows, has taken this classic, 'fun' show and given it a presentation that’s in several ways different than what’s come to be expected as usual. There’s an emphasis on satire and less of an emphasis on dance than other productions I’ve seen, but still, it’s <i>Anything Goes</i>, and the overall effect is energetic, smart, and very very funny. . . Here at New Line, what we get to see is a sharp, witty, tuneful, and well-cast production that’s a delight from start to finish. . . . This is a slightly different <i>Anything Goes</i> than you may be used to, but that’s a good thing. It’s a fresh look at an older show, with a bright, memorable score of hits by a legendary composer, as well as delightful moments of broad comedy and some pointed satirical touches. And the cast is great, as well. It might not be the type of show one might expect from New Line, but the level of excellence is certainly on par with New Line’s best. It’s refreshing, bold, and lots of fun.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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“The New Line production exhibits the insight into the text and the context of the show that is par for the course when this company presents a classic. Directors Scott Miller and Mike Dowdy-Windsor have cultivated a performance style that is well-suited for a show that originated in the 1930s.” – Gerry Kowarsky, <i>Two on the Aisle</i><br />
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“The good news: this show holds up reasonably well, thanks to smart, funny cast members who do well with comedy and singing; and thanks to those towering, songs from my grandfather's age. But those songs, by Cole Porter, speak a streamlined, universal language of love. And that makes this 1962 version of <i>Anything Goes</i> a huge departure from what we've come to expect from the New Line Theatre in the past: a great company that readily supplies a stunning 'deep dive' into rich, complex character; and the search for meaning in a world gone dangerously wrong. Even so, this famed musical is still an interesting bit of dash, and in some ways actually does fit the profile of this excellent local company, at The Marcelle Theatre. . . It's a show full of schemers and marks, so conceptually, it measures up nicely to past New Line shows like <i>The Sweet Smell of Success</i>, and <i>Jerry Springer the Opera</i>...” – Richard Green, <i>TalkinBroadway</i><br />
<br />
<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4R1gtXFsorvyz8NTjZsuYi22okHW1kpkkMk1vhzQziht0SwgBdsJ1RnPfzxD-GLtmTGwf2pxEfqk3_fd4jLF64QbAXxm0DrR-TexULi_js_MSus19O6UuKVrqK-RgBB9t7FsyrjHdpwrg/s1600/IMG_2069.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4R1gtXFsorvyz8NTjZsuYi22okHW1kpkkMk1vhzQziht0SwgBdsJ1RnPfzxD-GLtmTGwf2pxEfqk3_fd4jLF64QbAXxm0DrR-TexULi_js_MSus19O6UuKVrqK-RgBB9t7FsyrjHdpwrg/s320/IMG_2069.jpg" title="Anything Goes, New Line Theatre, 2018. Photo credit: Jill Ritter Lindberg." width="213" /></a></div>
Why is "the bad boy of musical theatre" producing the 1934 musical comedy <i>Anything Goes</i>? “What are they gonna do to it?”<br />
<br />
That's what I keep hearing.<br />
<br />
Well, we're not doing anything <i>to it</i>, other than what we always do, take the show back to its roots, back to its creators' original intentions, to let it be again the pointed, adult satire it once was.<br />
<br />
After all, could a show title ever describe our company better?<br />
<br />
In 2006 I was writing a musical theatre history book, <i>Strike Up the Band</i>, and as I wrote about <i>Anything Goes</i>, I realized things I had never thought about before. Maybe it was because when I first got to know the show, I hadn't yet developed analytical skills, so I hadn't really looked beyond the surface. But writing about the show, I realized there are two central themes running through the story, two delicious pieces of social satire that are just as relevant today as they were in 1934.<br />
<br />
We still turn religion into show business – <i>and we've gotten so much better at it!</i> And we still turn criminals into celebrities. <br />
<br />
<i>Anything Goes</i> is totally a New Line show. <br />
<br />
I’ve learned so much about this show. I learned that Reno was based on two real-life people, the infamous speakeasy hostess Texas Guinan (also a model for Velma Kelly in Chicago), and to a lesser extent, the first superstar evangelist, Aimee Semple McPherson. <br />
<br />
I learned from an actor who was playing Moonface and had done lots of research on the show, that Victor Moore originally played Mooney very mousy, jittery, with a high, nasally voice, and none of the Brooklyn accent we're used to from more recent productions. The joke is that he’s the opposite of every 1930s gangster cliché.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi78vZqn2xnSSsb7wqePbLIILHse8-7SYpAid4kmU4ybOWsLv2-9uT6GtqDRetas32b5tnN4p2FwcIVBpJYCoIYjHN7O8ya3SOQZghIybCdYiyPOCbu4Vcg-WnZ4JMgnT7Jk1vkmKLrnl8H/s1600/IMG_2299.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi78vZqn2xnSSsb7wqePbLIILHse8-7SYpAid4kmU4ybOWsLv2-9uT6GtqDRetas32b5tnN4p2FwcIVBpJYCoIYjHN7O8ya3SOQZghIybCdYiyPOCbu4Vcg-WnZ4JMgnT7Jk1vkmKLrnl8H/s320/IMG_2299.jpg" title="Anything Goes, New Line Theatre, 2018. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
Also, it's important that Sir Evelyn is not gay, which is the usual default for unimaginative actors. Suggesting he's gay short-circuits a big part of the intricate plot. It's much funnier if he's obviously straight – and terribly goofy-charming. After all, we have to believe that hard-boiled Reno falls for him. (It occurs to me that Reno and Evelyn are sort of Harold Hill and Marian, but with the genders reversed...)<br />
<br />
As relevant and as wickedly funny as ever, <i>Anything Goes</i> describes 2018 as much as 1934. Without changing much at all (other than the size of the cast), we can reveal things about this show that people don't usually see; and this show can reveal truths about our world today. All we have to do is trust this material and follow it wherever it takes us. This time it’s taken us on a hell of a crazy ride!<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-23840350004223926332017-10-26T21:50:00.004-05:002018-03-27T12:14:52.959-05:00Lizzie (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkWnYXA4Q9yUWkWLthJUB38qJLG_mG_5Mtx_csPeEnI6oBqNU3t4vOrRA3QH2ITK-pJbrvDszgTeOP4DCKSL6AfJHuw0D3puCHoWC-vn9ljrlJvYRT68xnq8g9wdftjDqi9VHqY8q6AtoV/s1600/lizzie-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="140" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkWnYXA4Q9yUWkWLthJUB38qJLG_mG_5Mtx_csPeEnI6oBqNU3t4vOrRA3QH2ITK-pJbrvDszgTeOP4DCKSL6AfJHuw0D3puCHoWC-vn9ljrlJvYRT68xnq8g9wdftjDqi9VHqY8q6AtoV/s320/lizzie-2.jpg" title="Graphic design by Matt Reedy" width="205" /></a></div>
music by Steven Cheslik-deMeyer and Alan Stevens Hewitt<br />
lyrics and original concept by Steven Cheslik-deMeyer and Tim Maner<br />
book and additional music by Tim Maner<br />
additional lyrics and orchestrations by Alan Stevens Hewitt<br />
Sept. 28-Oct. 21, 2017<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/lizziepage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/LIZZIE-2017/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Lizzie Borden – Anna Skidis Vargas<br />
Bridget Sullivan – Kimi Short<br />
Alice Russell – Larissa White<br />
Emma Borden – Marcy Wiegert<br />
<br />
<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Sarah Nelson<br />
Guitar – D. Mike Bauer<br />
Bass – Jake Heberlie<br />
Cello – Emily Trista Lane<br />
Percussion – Clancy Newell<br />
Keyboard/Guitar – Jake Stergos<br />
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<b>THE ARTISTIC STAFF</b><br />
Director – Mike Dowdy-Windsor<br />
Music Director – Sarah Nelson<br />
Stage Manager – Erin Goodenough <br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Ryan Day<br />
Props Master – Alison Helmer<br />
Scenic Artists – Richard Brown, Nick Brunstein, Kate Wilkerson <br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFx6wC5SrMnBotCXgx8qJdsjyF0UqS2nY0C3rpn1pOXAOu-sAAyfmNCzwYfCe5pfldhyphenhyphenNSNigvNN4YH2r5uTjyEdkHXioBeYAY_80y0beIlwnbwE_SIwNQPdLQZCHkxuJUTVwMPVs5joR/s1600/0P6A3106.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="845" data-original-width="1600" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFx6wC5SrMnBotCXgx8qJdsjyF0UqS2nY0C3rpn1pOXAOu-sAAyfmNCzwYfCe5pfldhyphenhyphenNSNigvNN4YH2r5uTjyEdkHXioBeYAY_80y0beIlwnbwE_SIwNQPdLQZCHkxuJUTVwMPVs5joR/s320/0P6A3106.jpg" title="Anna Skidis Vargas, Kimi Short, Larissa White, and Marcy Wiegert in New Line Theatre's "Lizzie," 2017. Photo credit: Jill RItter Lindberg." width="320" /></a></div>
“<i>Lizzie</i> explodes on the stage with a ferocious, hard rock energy that suits the murderous tale. New Line Theatre takes a boisterous swing at the legend of Lizzie Borden with <i>Lizzie</i>, a rock ‘n’ roll musical that’s one part horror story, one part rock opera, and all riot grrrl fury. The all-female cast attacks the concept with zeal and the result is hard rocking storytelling that grabs you by the collar and doesn’t let go until the final chord. . . Theatergoers who enjoy a driving beat, insistent melodies, and powerful vocals will find the show easy to embrace and a lot of fun to experience. From the haunting opening notes to the final anthemic rendition of ‘40 Whacks,’ New Line Theatre’s <i>Lizzie</i> grabs your attention and compels you to listen. “ – Tina Farmer, KDHX<br />
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“<i>Lizzie</i> is a unique musical experience, and I was absolutely blown away by it. . . New Line Theatre has put together a production that’s like the coolest rock concert ever, and I cannot recommend it highly enough. . . New Line Theatre’s production of <i>Lizzie</i> is a creative and imaginative juggernaut that is led by a stellar creative team, and some magnificently talented actresses and musicians. I say it all the time with New Line shows, but this one rocks especially hard. Get out and see it, repeatedly!” – Chris Gibson, <i>BroadwayWorld</i><br />
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“Director Mike Dowdy-Windsor helms this raucous production, which fuses a punk rock attitude with slashing, guitar-driven rock. . . All four power the second act to its conclusion, which hints at happiness but ultimately implies that Lizzie Borden’s life was forever shadowed by the events of that day. The final song is an audience singalong of the playground ditty ‘Forty Whacks.’ It’s a solemn reminder that a woman can get away with murder, but she can never escape society’s judgment.” – Paul Friswold, <i>The Riverfront Times</i><br />
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“A stylish, engrossing two-act show. Through director Mike Dowdy-Windsor’s new staging of <i>Lizzie</i> at the Marcelle Theatre, the 1892 mystery gets a great rock-opera treatment – but one that’s also drenched in psychological pathos – with a lot of fine visual and musical elements, and (more importantly) with New Line Theatre’s trademark soaring singing harmonies, from four first-rate actresses. . . It’s very compelling in this intimate setting, with a six-person band and lots of colorful, smoky rays of light pouring down, helping fill out the rock-concert motif. And it all becomes a great moral cause for for the audience, as a psychologically wounded Lizzie takes justice into her own hands – in a pounding, exciting, and beautifully assembled musical production, with lots of surprisingly good rock anthems and ballads.” – Richard Green, <i>TalkinBroadway</i><br />
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“‘A sizzling, sensational rendition of a rock musical built around the infamous 19th century murder case that became a cause celebre and part of American folklore. . . <i>Lizzie</i> is full of energy, lively and extremely likable music and a quartet of engaging, appealing performances by its players. Add <i>Lizzie</i> to the rich artistic trove of adaptations and interpretations of one of America’s enduring criminal stories.” – Mark Bretz, <i>Ladue News</i><br />
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“New Line Theatre’s <i>Lizzie</i> Is The Rock Musical At Its Absolute Best. . . if the cast of New Line Theatre’s hard rock musical <i>Lizzie</i> was an actual band they’d be number one with a bullet...or more accurately a hatchet. . . The fun is in watching these four supremely talented actresses pour everything they have into a collection of original songs. . .Director Mike Dowdy-Windsor has put together a hit show that will be talked about for years to come by anyone who sees it. Memorable songs belted out by four voices that would make ‘The Red Rocker’ Sammy Hagar green with envy makes this production the must see event of the fall in St. Louis. Get your tickets now because I predict that the entire run of <i>Lizzie</i> will sell out as the buzz makes its way through St. Louis’ ever-expanding theatre scene.” – Jeff Ritter, <i>Critical Blast</i><br />
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“Take one lurid unsolved mystery – the notorious Lizzie Borden case. Smash conventions. Add four fearless females with punk rock energy, raging hormones and righteous anger, and the result is the bold, bewitching headbangers’ ball <i>Lizzie</i>. These rebels with a cause are a fierce force, and grab hold with gusto from the start. They feel these roles in every molecule of their being, unleashing fury and outrage as oppressed women who discover their own voices. . . Don’t think for a second that Lizzie is one note. It has surprising depth, and that’s a credit to the well-rounded skills of its cast. Four of my favorite actresses in town seize the night, and own that stage. New Line Theatre resists any attempt to go for gimmicks, instead presenting passionate performances that ring true.” – Lynn Venhaus, <i>Belleville News-Democrat</i><br />
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“There are lots of musicals that deal with disturbing subject matter, and New Line Theatre makes it its business to track them down. But <i>Lizzie</i> is in a class by itself – a hard-rocking, riot-grrrl explosion of rage, nerve and the best goth/steampunk/rollerchic costumes ever flaunted on a St. Louis stage.” – Judith Newmark, <i>St. Louis Post-Dispatch</i><br />
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“The story still captivates more than a century later, and New Line Theatre seems a fitting company to stage this defiant, mostly sung-through musical inspired by her, told in the language of unchecked rebellion – straight-up rock. . . No one will ever know precisely what went down in the House of Borden back in 1892, but this heady retelling will force any condemnation to the back seat. Basking in the glow of Lizzie’s liberation is much more gratifying. Don’t walk, run to see it.” – Andrea Torrence, <i>St. Louis Theatre Snob</i><br />
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“<i>Lizzie</i> Slashes Its Way Across The New Line Stage With Powerful Performances. . .Now, four wonderful performances by four stunning ladies brings that story to life. . . <i>Lizzie</i> is more than a musical; it’s an event of epic proportions. These four women simply hew their way through a rock-perfect score and strike fear, terror and a bit of humor through the audience. This one is a no-brainer – you must see it and savor it.” – Steve Allen, <i>St. Louis Stage Door</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvOfJty8UlAXvyX3sRKIHAgycikvnI7VHObR09-OG8b4Mmv2cSVlEJEarOeoYT3yvesg_yivU43-gv9ttbC921lQZlZ1OJMWzXygp7jyYDbyBABhVDch-_qMzq9GntVFe2ZTQW9kXfEPi/s1600/IMG_9812.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvOfJty8UlAXvyX3sRKIHAgycikvnI7VHObR09-OG8b4Mmv2cSVlEJEarOeoYT3yvesg_yivU43-gv9ttbC921lQZlZ1OJMWzXygp7jyYDbyBABhVDch-_qMzq9GntVFe2ZTQW9kXfEPi/s320/IMG_9812.jpg" title="Anna Skidis Vargas as Lizzie, in New Line Theatre's "Lizzie," 2017. Photo credit: Jill RItter Lindberg." width="213" /></a></div>
“A narrative of gory murder, burlesque costuming, and musings on gender and class are not all that <i>Lizzie</i> provides its audience, however. Despite or (depending on how much you love the horror genre) perhaps because of, its thematic and narrative darkness, it is, above all, fun. Backed by a hard-rocking, talented band, the cast seem to have enjoyed themselves as much as the audience did. . . A punk musical that draws as much on horror movie tropes of family dynamics gone horribly wrong as it does on the Victorian news story that helped usher in our contemporary fascination with media accounts of domestic murder and the trials that follow, <i>Lizzie</i> may not appeal to everyone. It is unapologetically feminist in an all-but-academic way, and those who think feminism is still a dirty word might want to go elsewhere. But for the rest of us, <i>Lizzie</i> gives us 90 minutes of heart (and Heart), style, and high-energy, darkly funny (and sad and angry) entertainment just in time for Halloween.” – Rachel Lewis, <i>The Scene Shop</i><br />
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“It works. It actually does. . . There actually is something rather Gothic, in the earlier sense of the word, about all this. Nevertheless, seeing it in visual contemporary Goth, is invigorating. Is the play historically accurate? Well, since we had no forensics teams then, there are few absolute answers. Authors Steven Cheslik-deMeyer, Tim Maner and Alan Stevens Hewitt do utilize several intriguing, yea, even titillating theories that have been floated over the years. . . Director Mike Dowdy-Windsor has done a superb job of casting.” – Ann Pollack, <i>St. Louis Eats & Drinks</i><br />
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“That is a hard-rocking, badass dark comedy. . . I love rock operas. I love rock music. And clearly I am a fan of musicals. This show has everything that I could ever ask for. The cast, comprised of only four extremely talented actors, are so strong in their roles. Not only can they sing and act, obvious prerequisites for starring in a musical, but they can rock! At times I wasn’t sure if I was in a play, or a rock concert. And I loved every minute of it. Not rocking out to the show, and shaking the row of chairs I was seated in, was honestly one of the hardest things I’ve had to do at a theatrical performance.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“What’s given here is a concert of relationships, finely crafted, shockingly portrayed, and effectively humanized, played with energy, grit, and magnetism by the first-rate New Line cast. . .You think you know what you’re getting – the Lizzie Borden story with rock music – and that is what New Line presents, but there is a lot more to it than that simple premise describes. The format here is a particular strength in that it takes subject matter that’s been talked about and presented in many different ways before, and brings it to the audience in a way that at once sets it apart and makes it more accessible. This <i>Lizzie</i> is loud, but it’s also incisive. The story is old, but it’s also new. It’s a story that’s been told, but not in this way. It’s New Line at its bold, brash, thought-provoking best.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-78531383267808016542017-08-23T13:49:00.000-05:002018-03-27T12:14:00.322-05:00Out on Broadway: The Third Coming (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFxDcGHApgsnCixH1evuWwhQUO16FYg5UjlXsne0KSbDVCNvzcE2SiSivOJKkkG9mQhfyfSn8TtlFes8ui72AJ0yObudeZU8Ze3XRStAAzA9xnq61H7szgrYHOvKb1bT9PpEusMGdajeS8/s1600/OOB3C-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" data-original-height="219" data-original-width="141" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFxDcGHApgsnCixH1evuWwhQUO16FYg5UjlXsne0KSbDVCNvzcE2SiSivOJKkkG9mQhfyfSn8TtlFes8ui72AJ0yObudeZU8Ze3XRStAAzA9xnq61H7szgrYHOvKb1bT9PpEusMGdajeS8/s320/OOB3C-2.jpg" width="206" /></a></div>
conceived and directed by Scott Miller<br />
August 3-19, 2017<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/oob3cpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/OUT-ON-BROADWAY-3-2017/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Dominic Dowdy-Windsor<br />
Mike Dowdy-Windsor<br />
Ken Haller<br />
Sean Michael<br />
Keith Thompson<br />
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Nate Jackson on piano<br />
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<b>THE ARTISTIC STAFF</b><br />
Director – Scott Miller<br />
Music Director – Nate Jackson<br />
Stage Manager – Erin Goodenough<br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Box Office Manager – Kimi Short<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJbfRQHU92ZZt-GN7IXJ8mZqAOWyP7DJooyieVz0p_uYKPDcFSS8IzQ7B9JvcS0mF5IiimopU6z0SxeZQlD9R-BuHFEtQKar0bUs8zdh1yAjWhJM3ZDldwp15XqedW2plGCJPl0Oo6UKIS/s1600/0P6A1803.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJbfRQHU92ZZt-GN7IXJ8mZqAOWyP7DJooyieVz0p_uYKPDcFSS8IzQ7B9JvcS0mF5IiimopU6z0SxeZQlD9R-BuHFEtQKar0bUs8zdh1yAjWhJM3ZDldwp15XqedW2plGCJPl0Oo6UKIS/s320/0P6A1803.jpg" title="The cast of Out on Broadway: The Third Coming, New Line Theatre, 2017. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“New Line Theatre loves setting convention on its ear, so this selection of brassy, sassy, tender, and touching songs is a refreshing summer tonic, a valentine to ‘Love is Love is Love’.” – Lynn Venhaus, <i>OnSTL</i><br />
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“The return of <i>Out on Broadway</i> is a rewarding opportunity to reflect on social progress.” – Gerry Kowarsky, <i>Two on the Aisle</i><br />
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“Somehow, under the direction of New Line founder Scott Miller, we end up teetering on the brink of some new discovery, as yet unknown, with a silvery-voiced anthem of unity and understanding. . . Outside of a revue like this, how often are you going to get to hear all these great, obscure songs performed live? New Line hasn’t done a wise, searching sampler like this, filled with amazing pieces, in 17 years. So if you've ever been in love with musicals, don't miss this show. ... It's a thoughtful and kind evening of rare songs and fine performances—with a lot of unexpected hilarity thrown in.” – Richard Green, <i>TalkinBroadway</i><br />
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“Director Scott Miller has once again put together a show that transcends simply good music and talented performers. The most important takeaway is that love is universal, and no matter who the songs were written for – they all apply to people in love. Never does a number fail to work because of the casting – forget that they are all talented – but that they are all male. It doesn’t matter, and never does a song not feel right because it was originally performed between a man and a woman. And that is a perfect example of how love works between all people. The humanity of the show shines throughout, and it is a wonderful evening of musical theater for all to enjoy.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“It’s as stripped down to the bone as a New Line production will likely ever get, and that’s perfectly fine, because the music is pretty great. . . As a straight man, there were no moments lost on me because I don’t ‘get’ gay culture. That’s the biggest takeaway from<i> Out on Broadway: The Third Coming</i> – there really isn’t that much difference between hetero or gay couples in love. Love is just love. That’s why you can pick songs from all over the musical map and still feel the relevance and the emotion even if they’re sung by or to a different gender than originally performed. If anything, I’d say this production would appeal mostly to well-versed fans of musical theatre as much as appealing to your romantic preferences.” – Jeff Ritter, <i>Critical Blast</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtVnVR0IXeE3BRvlu3OQFiszKtNHq0Ec4fp1QQ4Tkj0-CD02ygfAaXOW0ybWovEFWhQFBvIdiIouS8HFLmNdUbLT_RXkDccj-Qkw6oHEdv_UkCKpNIQ4jQDhvhOkJ1VwI834kuHmApGleq/s1600/IMG_7494.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtVnVR0IXeE3BRvlu3OQFiszKtNHq0Ec4fp1QQ4Tkj0-CD02ygfAaXOW0ybWovEFWhQFBvIdiIouS8HFLmNdUbLT_RXkDccj-Qkw6oHEdv_UkCKpNIQ4jQDhvhOkJ1VwI834kuHmApGleq/s320/IMG_7494.jpg" title="The cast of Out on Broadway: The Third Coming, New Line Theatre, 2017. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“<i>Out on Broadway: The Third Coming</i> lights up The Marcelle with music and love. . . The show loosely traces the progression of love, beginning with the idea of loving and accepting oneself before loving others, but there's nothing heavy handed or preachy in the message. The selected songs, primarily lesser known musical gems that deserve a listen, complement each other well while adding humor and genuine pathos to the evening. For the 2017 edition of the revue, company artistic director Scott Miller added numbers from recent shows that prove a surprising fit. . . the men interpret every song well, with intention and perspective that's clear, genuinely expressive, and uniformly well performed.” – Tina Farmer, KDHX<br />
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“If you didn't catch it you really missed an exceptional theatrical cabaret of sorts, which was truly wonderful, and which I hope sparks a fourth coming! . . . New Line Theatre’s <i>Out On Broadway: The Third Coming</i> was filled with shimmering and beautiful tunes from shows, many of which New Line produced over the years.” – Chris Gibson, <i>BroadwayWorld</i><br />
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“<i>Out on Broadway: The Third Coming</i> is a pleasant little evening that puts the focus – albeit from a different angle – on a collection of songs which underscore the ever-changing musical vitality of Broadway.” – Mark Bretz, <i>Ladue News</i><br />
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“Scott Miller and Nate Jackson, the pianist and music director, give the show an easygoing mood, favoring sophistication over splash. <i>Out on Broadway: The Third Coming</i> feels as if it could have played a supper club, but of course it could not have existed in the days when supper clubs flourished. The Marcelle makes a good alternative.” – Judith Newmark, <i>St. Louis Post-Dispatch</i><br />
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“There’s a great collection of songs here, and seeing them presented in a new context, and with the overall theme of the lives and loves of gay men in America in 2017 is an illuminating experience. This being ‘part 3,’ I found myself watching the show this time wishing I could have seen parts 1 and 2, especially considering how much culture has changed in the last 20 years. Overall, <i>Out On Broadway: The Third Coming</i> is a great opportunity to hear from these talented men and see life through their eyes, and hear it through their voices. And what impressive voices they are, as well.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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“<i>Out On Broadway: The Third Coming</i>, which runs through August 19th at The Marcelle Theatre is not only a whole new experience with brand new Broadway hits, but also has added a jewel in its crown thanks to the premiere of the original new song, 'Hope' by Jason Robert Brown. . . The charm of the production is how Scott Miller bends and shapes some songs that are otherwise sung by females in their original shows, to being sung by the men in the company, giving a whole new meaning to the experience. . .<i> Out On Broadway: The Third Coming</i> comes together thanks to the well-disciplined velvety voices of the cast, which includes Dominic Dowdy-Windsor, Mike Dowdy-Windsor, Ken Haller, Sean Michael and Keith Thompson, who all sang their hearts out for a very appreciative audience, especially those who have had the joy of experiencing all three incarnations of the production.” – Keaton Treece, <i>St. Louis Limelight</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AP_nNgC7DCt9R2aRexUNteG67WNzBhPHO71Lw_n1tJelFM3gHd9235CpDd8akNUBj4P_rlKc-JnPdxSu2rhTy40Oz3RwhhrHRddjSnTYegEwN4FwILXZOvsorrwmUoZIiyCOKOsYbDDo/s1600/IMG_7465.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AP_nNgC7DCt9R2aRexUNteG67WNzBhPHO71Lw_n1tJelFM3gHd9235CpDd8akNUBj4P_rlKc-JnPdxSu2rhTy40Oz3RwhhrHRddjSnTYegEwN4FwILXZOvsorrwmUoZIiyCOKOsYbDDo/s320/IMG_7465.jpg" title="Mike and Dominic Dowdy-Windsor in Out on Broadway: The Third Coming, New Line Theatre, 2017. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
<i>Out on Broadway: The Third Coming</i> is the third installment of something I never expected to have even a second installment.
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Back in 1996, I put together an evening of theatre songs to be sung from a gay perspective, and we called it <i>Out on Broadway</i> (OOB, for short.) Without rewriting anything, we gave songs like "We Kiss in a Shadow" from <i>The King and I</i>, and "In My Own Lifetime" from <i>The Rothschilds</i>, entirely new context and new resonance. The show had very little staging, no “costumes” really, just a stage with a piano and a couple stools. Looking back, I think my model was the original <i>Side by Side by Sondheim</i>.
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The show sold out the run in March, so we brought it back for another sold-out run in August, with just a couple tweaks to the song list.
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A few years later, our cast album for the original OOB was finally being released (yes, you read that right, we made a cast album!), and it occurred to me that a second edition would be fun, so we created <i>Out on Broadway 2000</i>, quickly dubbed by us OOB2K. This time we did a few songs from the first show, but found a lot of new ones.
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Then last year, talking about New Line's season, our associate artistic director Mike Dowdy-Windsor mentioned <i>Out on Broadway</i> – could we do another one? The more I thought about it, the more I liked it. Twenty-one years after the first one debuted, we need <i>Out on Broadway</i> right now more than thought we would.
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We’ve brought back some of our favorite songs from the other two editions, and we’ve added new songs that weren't even written yet in 2000. Though our show explores a bunch of issues, the main agenda for the evening is just to take a look at gay lives and gay relationships – more than anything, to reveal how much like our straight friends we are.
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When we did the original OOB in 1996, <i>Will & Grace</i> wasn't on the air yet, and in fact, the odious, Orwellian-named Defense of Marriage Act was passed just a month after we brought OOB back for its encore run. Even for our second edition in 2000, gay Americans still didn't have equal marriage rights anywhere in the country. It's a different world now. But it's still a world that needs to hear our voices, maybe right now more than ever in these tumultuous times.
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We've put together <a href="http://www.newlinetheatre.com/OOB3Csonglist.pdf" target="_blank">a terrific song list</a> for you. If you've seen the last two editions, you'll love what we've kept, and you'll also love the new gems we've found. If you’re new to OOB, welcome!
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Enjoy the ride!Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-65618273715112642242017-06-29T19:02:00.002-05:002018-03-27T12:13:15.522-05:00Sweet Smell of Success (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4pUQOw1DaALPVcOR8X2sY1AuTplNzA4lZj85bHUao1z464V7cpijHvSAadCW-MFZY38x4GGqhUfL_E6XsAoNJBpJZbrKkPNq9g7puois_bP-uttZO7_ZGopnzLB2SDNkvU6MuBWJl7K_/s1600/sweetsmell-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="219" data-original-width="142" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4pUQOw1DaALPVcOR8X2sY1AuTplNzA4lZj85bHUao1z464V7cpijHvSAadCW-MFZY38x4GGqhUfL_E6XsAoNJBpJZbrKkPNq9g7puois_bP-uttZO7_ZGopnzLB2SDNkvU6MuBWJl7K_/s320/sweetsmell-2.jpg" title="graphic design by Matt Reedy" width="207" /></a></div>
music by Marvin Hamlisch<br />
lyrics by Craig Carnelia<br />
book by John Guare,<br />
based on the short story and screenplay by Lehman Engel<br />
June 1-24, 2017<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/sweetsmellpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/SWEET-SMELL-OF-SUCCESS-2017/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Sidney Falco – Matt Pentecost<br />
J.JHunsecker – Zachary Allen Farmer<br />
Susan Hunsecker – Ann Hier<br />
Dallas Cochran – Sean Michael<br />
Rita – Sarah Porter<br />
Madge – Kimi Short<br />
Lt. Kello – Kent Coffel<br />
Otis Elwell – Jason Blackburn<br />
New Yorkers – Jason Blackburn, Mara Bollini, <br />
Kent Coffel, Alison Helmer<br />
William Pendergast, Michelle Sauer, <br />
Christopher Strawhun, Sara Rae Womack<br />
<br />
<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Jeffrey Richard Carter<br />
Trumpet – Kaela Barnett<br />
Keyboard – Sue Goldford<br />
Reeds – Steven Johnson<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergos<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Director – Jeffrey Richard Carter<br />
Choreographer – Taylor Pietz<br />
Stage Manager – Patrick Donnigan<br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Elli Castonguay<br />
Props Master – Kimi Short<br />
Scenic Artists – Gary Karasek, Nick Brunstein, <br />
Grace Brunstein, Paul Troyke, Richard Brown<br />
Box Office Manager – Jason Klefisch<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpGaGa3IALQztSvDdOjgZK_bvhWkahbVOZkJHI3BG6SU-HkX0VgLAWrG1xPckTE3mH1oT3VZn4zRZ5F8zhhI2YBmKY6p3MomiL9CpvpLN7FwjZvfJg0AErM3yLCnPgswaJhrDNNGOo_g5G/s1600/0P6A1422.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpGaGa3IALQztSvDdOjgZK_bvhWkahbVOZkJHI3BG6SU-HkX0VgLAWrG1xPckTE3mH1oT3VZn4zRZ5F8zhhI2YBmKY6p3MomiL9CpvpLN7FwjZvfJg0AErM3yLCnPgswaJhrDNNGOo_g5G/s320/0P6A1422.jpg" title=""Dirt," Sweet Smell of Success, New Line Theatre, 2017. Photo credit: Jill Ritter Lindberg" width="320" /></a></div>
“New Line Theatre sizzles with <i>Sweet Smell of Success</i>. . . The show casts unflattering shadows on the underside of fame, but the musical is spectacular theater and visually gorgeous. The story is compelling and captivating, the performances are uniformly strong and harmonically on point, and attention to detail adds the finishing touch on New Line Theatre's entertaining production.” – Tina Farmer, KDHX<br />
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“There are so many things to love about New Line Theatre's latest production, <i>Sweet Smell of Success</i>, that this review is certain to be filled with superlatives. . . Superior performances, a great band, and sharp direction make this show a must-see. . . a joy to behold. It's smartly conceived and executed, and completely engrossing. What's more, it's totally relevant to events we see transpire in the world of journalism today. ” – Chris Gibson, <i>BroadwayWorld </i><br />
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“<i>Sweet Smell of Success</i> is a string of firecrackers that detonates at dangerously close range. It's dark, it's dirty and it somehow tricks you into believing in the petty dreams of an ambitious scumbag, at least for a little while. And the best part? While those little explosions are still ringing in your ears, you realize exactly how you were duped — and your own complicity in the game Sidney and J.J. play with other people's lives.” – Paul Friswold, <i>Riverfront Times</i><br />
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“In a sense, the stage has never been so empty. It's fully peopled, but it's a late night world of smirking nightclub owners and press agents and would-be ingénues, all starved for success, leaving humanity in short supply. It's the opposite of <i>Our Town</i>, where only the set pieces are meant to look fake. But don't worry, there's also a beautiful love story growing up between the cracks, like some defiant orchid. Romance, in fact, gains synergy under the direction of Scott Miller and Mike Dowdy-Windsor: the dominant, grueling cynicism of Sweet Smell of Success only makes the romantic subplot more compelling. . . It's a show that's full of kind-hearted people showing their tough edge, and tough-hearted people striving to show a kindly façade. The trick, as in real life, is in telling the difference between the two.” – Richard Green, <i>TalkinBroadway </i><br />
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“New Line Theatre's <i>Sweet Smell of Success</i> Is disturbingly brilliant . . I’ve covered New Line’s show for a long time, and co-directors Scott Miller and Mike Dowdy-Windsor do two things exceptionally well: find great material that may be better suited for their black box theatre at The Marcelle than the glitzy, over-produced attempts on Broadway, and cast some the best and brightest up and coming actors in the St. Louis area to perform it. . . When the acting in any show is so good you forget you’re merely observing the show and aren’t actually in it, they’ve got you. The entire cast of <i>Sweet Smell of Success</i> got me big time. . . tremendously entertaining. The plot is intricate without being difficult to follow, the songs are memorable, and the acting is top notch.” – Jeff Ritter, <i>Critical Blast </i><br />
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“A smart, intriguing, and endlessly entertaining story . . . Once again, New Line has produced a show full of incredible songs that I’ve never heard of – yet instantly fell in love with. Hats off to the New Line Band, directed by Jeffrey Carter, who beautifully transports the audience to ’50s New York with their endless talent. . . Directors Scott Miller and Mike Dowdy-Windsor bring home another winner with this twisted tale of success, and the rise and fall that inevitably comes with it. The music is fantastic, as the intriguing story pulls you in and doesn’t let go until the very end. The entire cast – from the principals to everyone in the ensemble – is extremely talented, and does a terrific job in bringing this tale to life.” – Kevin Brackett, <i>Review STL</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO0ct8jcSm9dZOJkFxjnO0-E0HARJiIgTezoocAXI8x6PPKadV7oIimJzdZKZK44KhkZ5O-__JLEZpSQjnpir7gVwNiv1VfT3oDJdf1eu62g4Xwn4MhcO0kaAMtFEslSAxHfw8VGDipSqQ/s1600/0P6A1294.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO0ct8jcSm9dZOJkFxjnO0-E0HARJiIgTezoocAXI8x6PPKadV7oIimJzdZKZK44KhkZ5O-__JLEZpSQjnpir7gVwNiv1VfT3oDJdf1eu62g4Xwn4MhcO0kaAMtFEslSAxHfw8VGDipSqQ/s320/0P6A1294.jpg" title="The cast of Sweet Smell of Success, New Line Theatre, 2017. Photo credit: Jill Ritter Lindberg" width="320" /></a></div>
“It’s a blue world at New Line Theatre: kind of sad, kind of dirty, kind of blue in Marvin Hamlisch’s jazzy score for <i>Sweet Smell of Success</i>. . . That mood is established from the get-go by music director Jeffrey Richard Carter and the New Line Band. They sound as if they’re appearing at the Marcelle via time travel, on loan from a midcentury hot spot in Greenwich Village.. . .its smoky atmosphere thrives at New Line.” – Judith Newmark, <i>St. Louis Post-Dispatch </i><br />
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“The musical version of <i>Sweet Smell of Success</i> opened big on Broadway. . . Scott Miller, the founder of New Line Theatre, saw it, loved it – and realized it didn’t belong in a big Broadway house. He was right. Much of it takes place in smoky nightclubs of the 1950’s and in the equally smoky offices of press agents. Intimacy is good for the music, it’s good for the actors and it’s good for its effect. The only thing New Line’s current production lacks in reproducing that intimacy is actual cigarette smoke. . . Jeffrey Carter and the New Line band take good care of the score and the sound from Elli Castonguary is nearly perfectly balanced. Taylor Pietz’ choreography – and this is a dance-heavy version of the show – is fun, especially with the chorus, which has some folks who would have been right at home in <i>Guys and Dolls</i>. They’re a delight. Much credit to Miller and co-director Mike Dowdy-Windsor for this show, which manages to be a romp despite its very serious story.” – Ann Pollack, <i>St. Louis Eats and Drinks</i><br />
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“This is the kind of show that New Line does especially well–a show that might have been too ‘small’ in a sense for Broadway. It’s the kind of show where an intimate presentation in a venue like New Line’s Marcelle Theatre can be ideal, to scale this story down to its most important elements–the characters, the raw emotions, and the key concepts at play in this seedy, sultry, and sometimes downright scary morality tale that focuses on the down side of the quest for fame. . . This is a challenging, incisive story with an incisive message, richly drawn characters, and even more richly drawn settings. It’s an homage to Film Noir, tied to its time in one way, but surprisingly timeless in another, since the modes of communication and the names may change over the years, but human nature hasn’t changed, and neither have the temptations that come with the thirst for knowledge, influence, and especially power and control. <i>Sweet Smell of Success</i> isn’t always sweet, but at New Line and with this cast and creative team, it’s certainly a success.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts </i><br />
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“New Line Theatre captures the rhythm of Marvin Hamlisch’s jazz/rock musical score as well as the biting social satire about the dark side of the 1950s in John Guare’s book in its current production of <i>Sweet Smell of Success</i>. . . a well-wrought execution of a fascinating look at what some people remember as the ‘good old days’.” – Mark Bretz, <i>Ladue News </i><br />
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“Set in rollicking jazz clubs in 1950s New York, the current staging of <i>Sweet Smell of Success</i> at New Line Theatre pulses with a live jazz ensemble and excellent singing.” – Rosalind Early, <i>St. Louis Magazine</i><br />
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“It's a must-see this summer!” – Lynn Venhaus, OnStL<br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0gTwrn5zugt5vR_unHvke5vUtaiefvKEajKkiYfu7ib7Acn-9J6fLu0bavHCOLpmnOl8uDiOv6kK1OxTIYRddQNpt05pr0TYBmYDiCVtkxqu5VpNqUGv-o1utG5aNJPUgyIWU4kGoxZ-G/s1600/IMG_6194.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0gTwrn5zugt5vR_unHvke5vUtaiefvKEajKkiYfu7ib7Acn-9J6fLu0bavHCOLpmnOl8uDiOv6kK1OxTIYRddQNpt05pr0TYBmYDiCVtkxqu5VpNqUGv-o1utG5aNJPUgyIWU4kGoxZ-G/s320/IMG_6194.jpg" title="Matt Pentecost as Sidney and Zachary Allen Farmer as J.J. in Sweet Smell of Success, New Line Theatre, 2017. Photo credit: Jill Ritter Lindberg" width="320" /></a></div>
I saw <i>Sweet Smell of Success</i> on Broadway in 2002, and I immediately realized this show doesn’t play by the same rules as most other musicals. <br />
<br />
First, it's a very intimate story about four people with incredibly volatile, complicated relationships, and I think that doing the show in our small blackbox will be so much more intimate and more intense than in a huge Broadway theatre. Here, there’s no distance from these ugly, ferocious, fragile emotions, no safety.<br />
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Second, this is almost a jazz opera. Like <i>Sweeney Todd</i>, the music only stops periodically, to underline certain moments, to punctuate the action. But this kind of 1950s club jazz shouldn’t be a big, heavy, orchestral thing; it's an up-close, sweaty, sexy, subtle thing. A full Broadway orchestra, a big stage, and a big chorus, took the urban and the desperate out of the story. Our band will offer up the kind of sound you'd really hear in a jazz club in the 50s.<br />
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The reviews of the Broadway production weren't great, but I think they really missed the point. This isn't a conventional musical, if there even is such a thing anymore, and that's how they judged it. Like almost every show we produce at New Line, <i>Sweet Smell</i> is one of a kind. But like a few other shows we've done in recent seasons, it’s also a moral thriller. It will leave you breathless, and the Act I finale is a killer cliffhanger! More than any other show I've ever worked on, this is a virtuosic translation to the musical stage of the devices, tone, and atmosphere of film noir.<br />
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I'm reading some great books about that time and place, and about Walter Winchell, the real life Broadway columnist that J.J. Hunsecker is based on. What surprised me the most – and it made me understand better the high stakes in our story – was that sixty million Americans across the country read Winchell's nasty, petty gossip column every morning over their coffee. <i>Sixty Million People</i>. That's close to half of all the men, women, and children in America at the time.<br />
<br />
J.J. has power only because sixty million people want their morning dirt. Like<i> Chicago, Sweet Smell</i> lays the responsibility for this nightmare world right at our feet. We are to blame for our own mess. <br />
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<i>Oklahoma!</i> this ain't. <br />
<br />
In the age of Fox News, Breitbart, social media, and fake news, this show may be even more timely now than it was in 2002. We can never forget that information is power – and power corrupts. <br />
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Enjoy the ride!<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-31728653404982154842017-03-26T17:28:00.000-05:002018-03-27T12:12:34.036-05:00Zorba (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbjoEbw7WJ5DjL5KN1lvWgq26diDni85smH03BOPlxmTGvY_ZZEP_VyyQXxj-mJRowtN8xqLERfAjO7d1ZTjhy6yFUffxK4re4k3TkNs4Aw-eT_ICDYX28VyjU67oiFF14PoU15SByCc/s1600/zorba-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbjoEbw7WJ5DjL5KN1lvWgq26diDni85smH03BOPlxmTGvY_ZZEP_VyyQXxj-mJRowtN8xqLERfAjO7d1ZTjhy6yFUffxK4re4k3TkNs4Aw-eT_ICDYX28VyjU67oiFF14PoU15SByCc/s320/zorba-2.jpg" title="graphic design by Matt Reedy." width="207" /></a></div>
lyrics by Fred Ebb<br />
music by John Kander<br />
book by Joseph Stein,<br />
based on the novel by Nikos Kazantzakis<br />
March 2-25, 2017<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/zorbapage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/ZORBA-2017/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Zorba – Kent Coffel<br />
Nikos – Dominic Dowdy-Windsor<br />
Madame Hortense – Margeau Steinau<br />
Widow – Ann Hier<br />
Leader – Lindsey Jones<br />
Pavli – Evan Fornachon<br />
Mimiko – Devin Riley<br />
People of Crete – Mara Bollini, Sarah Dowling, <br />
Robert Doyle, Even Fornachon, <br />
William Pendergast, Devin Riley, <br />
Kimi Short, Sara Rae Womack<br />
<br />
<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Sarah Nelson<br />
Bouzouki/Guitar – D. Mike Bauer<br />
Violin – Twinda Murry<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergos<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy-Windsor<br />
Music Director – Sarah Nelson<br />
Choreographer – Michelle Sauer<br />
Stage Manager/Lighting Technician – Brendan O’Brien<br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Benjamin Rosemann<br />
Asst. Sound Designer – Elli Castonguay<br />
Props Master – Kimi Short<br />
Scenic Artists – Melanie Kozak, Kate Wilkerson, <br />
Patrick Donnigan, Richard Brown, Paul Troyke<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Videographer – Jason Contini<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDVguR98CkpZ15De-OSMDw84ftgw5SscAUnnilYiGIjLuAbnMkKqJwNtGdTc9rTvSU96Q7MoGwdQ2qJSQMR2UghdQe6jj9bOI2HFIsKCmQ_xQodbWdmFNYNgpkXhgVzdZtu5IrtmPvzMWo/s1600/xx-0P6A7321.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDVguR98CkpZ15De-OSMDw84ftgw5SscAUnnilYiGIjLuAbnMkKqJwNtGdTc9rTvSU96Q7MoGwdQ2qJSQMR2UghdQe6jj9bOI2HFIsKCmQ_xQodbWdmFNYNgpkXhgVzdZtu5IrtmPvzMWo/s320/xx-0P6A7321.jpg" title="The cast of New Line Theatre's Zorba, 2017. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“Filled with passion and genuine exuberance, <i>Zorba</i> is the most beautifully hopeful tragedy I've seen in quite some time. The score and dancing are evocative, drenched with the sounds of Greek folk music. The lyrics are filled with exposition and storytelling reminiscent of the classics. The musical tackles the story of humanity as told through the eyes of an aging man determined to squeeze every last ounce from his own life. . . Thankfully, New Line Theatre has produced a deeply satisfying and effective show that resonates with hope. <i>Zorba</i> is a compelling story. The performances are sharply executed and endearing, and, though the ending is sad, it is filled with joy and gratitude.” – Tina Farmer, KDHX<br />
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“New Line Theatre's production is a real revelation, because even though this show received its fair share of award nominations, it's really not revived that often. Perhaps it's the darker shades that pervade the show that turn some people off, but then life isn't always sunshine and roses, so I like that that those elements are present. This kind of presentation is something that New Line does better than anyone else, and that's to revive a neglected or forgotten show for a new audience to appreciate, and their track record is impeccable in this regard. This show is a genuine must see. . . Directors Scott Miller and Mike Dowdy-Windsor find the heart and humor that define this piece, and they have their cast deftly bring it to life for another generation to enjoy. . . Don't miss New Line Theatre's <i>Zorba</i>! It's not only tuneful, but it provides food for thought. A nice combination.” – Chris Gibson, <i>BroadwayWorld</i><br />
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“For nearly all of New Line Theatre's existence, Scott Miller has brought a piercing, keen intellectual meaning to his shows; and now in the last couple of years there have been added layers of warmth and kindness and heart, thanks to this extremely knowledgeable director/producer/author, now working in tandem with co-director Mike Dowdy-Windsor. Plus, here, some pretty over-qualified actors on stage, and the songs of Kander & Ebb, from 1968, right after their blockbuster Cabaret.” – Richard Green, <i>TalkinBroadway</i><br />
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“A lesser known musical by lyricist Fred Ebb and composer John Kander, Zorba demonstrates the duo’s remarkable talent for creating intriguing and intoxicating musical stories. Directors Scott Miller and Mike Dowdy-Windsor take this rarely performed work and mine its rich potential in a highly entertaining presentation by their energized cast in the current New Line Theatre production. . . The production’s success is due in no small part to the exhilarating musical accompaniment of conductor/pianist Sarah Nelson and her band. . . <i>Zorba</i> the musical will lift your spirits with its wisdom and its zest and make you appreciate what you have all the more.” – Mark Bretz, <i>Ladue News</i><br />
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“The show is directed by Scott Miller and Mike Dowdy-Windsor, a winning combination that started a couple of seasons ago. . . Their work on this production is another home run for New Line, packed full of great choreography and stage direction. . . <i>Zorba</i> is a musical that you may not yet know, but one that you will never forget. The songs are brilliantly crafted, telling a story of an unlikely friendship and the ups and downs that come with life. There is a significant lesson behind the catchy songs and wonderful performances that should not be ignored. Life is both good and bad, and you have to embrace everything that it entails to fully appreciate it. The show does an incredible job of teaching this lesson, and is non-stop fun at the same time.” – Kevin Brackett, <i>ReviewSTL</i><br />
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“New Line Theatre’s newest production, <i>Zorba</i>, is a perfect example of the unpredictability of the one commodity that everyone holds most precious. . . Kent Coffel showed once again why he’s one of the best local actors in the St. Louis area. . . he can grab the attention of an audience in so many ways: booming voice, fantastic facial expressions, and deep characterization. . . His Zorba feels completely realized, more than just an actor’s notion of who the character is. To what extent he’s traversed the globe, how many unique adventures he’s had throughout his life, I couldn’t say. Kent’s gift as an actor is making you forget the actor completely and only see, in this case, Zorba. Every actor strives for that but not everyone achieves it. I tip my hat to Mr. Coffel on a job most beautifully done. . . I also tip my hat to the always sensational New Line Band....” – Jeff Ritter, <i>Critical Blast</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqyFCa75bUuS3jSF9kFxOWCVyoyUcWAedoKbVbp_ii0MlnwfqzI85dcDjnIQ092AbALTijHakC51IsFeEvu-XcpQDjVTRH3tIuokIU-99E-AOssLUC6e-Y_f1x6o6JVgMi01d0mWUfk-W1/s1600/IMG_1981.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqyFCa75bUuS3jSF9kFxOWCVyoyUcWAedoKbVbp_ii0MlnwfqzI85dcDjnIQ092AbALTijHakC51IsFeEvu-XcpQDjVTRH3tIuokIU-99E-AOssLUC6e-Y_f1x6o6JVgMi01d0mWUfk-W1/s320/IMG_1981.jpg" title="Margeau Steinau as Hortense and Kent Coffel as Zorba in New Line Theatre's Zorba, 2017. Photo credit: Jill Ritter Lindberg." width="213" /></a></div>
“Thankfully, New Line Theatre's current production of this rarely produced classic is a lived-in marvel of beauty and honesty. And it has a lot of bouzouki, which is always nice (the stringed Greek instrument is criminally underused in musicals). Much of the credit should be heaped upon the shoulders of Kent Coffel, who plays Zorba as an aged rake who loves sharing an instructive story almost as much as he enjoys pursuing women and breaking into dance. . . <i>Zorba</i> is a show that leads you into deep waters.” – Paul Friswold, <i>The Riverfront Times</i><br />
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“New Line Theatre has given us a solid production with Kent Coffel in the title role and a solid supporting cast. Mr. Coffel has the zest and charisma needed for such an overpowering personality. He unabashedly swaggers into every situation, woos the women as if he knows they can’t resist him and handles the delightful music with a singing voice that matches the confidence of the character. . . A wonderful supporting cast who double up some pivotal roles are remarkable as well. Scott Miller and Mike Dowdy-Windsor co-directed and they bring out the unusual story line and odd mix of characters full of life -- and even a few deaths -- with satisfying results...” – Steve Allen, <i>Stage Door St. Louis</i><br />
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“While John Kander and Fred Ebb’s celebrated masterpiece <i>Cabaret</i> plays the Fox Theatre, New Line Theatre offers up a gemlike production of one of the team’s later, lesser-known musicals, <i>Zorba</i>. New Line has previously staged <i>Cabaret</i>, as well as Kander and Ebb’s <i>Chicago</i> and <i>Kiss of the Spider Woman</i> — all three with flair and intelligence. But with this zesty new production, New Line asserts a particular advantage that a small, idiosyncratic theater can bring to its community. It can mount the shows it chooses, shows we don’t see anyplace else. In this case, the gamble really pays off.” – Judith Newmark, <i>St. Louis Post-Dispatch</i><br />
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“It’s a good show for the intimate confines of the Marcelle Theater, full of storytelling and vivid characters. . . New Line always seems to cast first on the basis of musical talent and other considerations after that, and here’s another place where it’s rewarded, the chorus sounding really great. Directors Scott Miller and Mike Dowdy-Windsor have carried this off well, and Rob Lippert’s set and lighting work well. . . Despite the funny lines, this is ultimately a serious, thoughtful show and it’s given a good showcase here.” – Ann Pollack, <i>St. Louis Eats and Drinks</i><br />
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“After seeing <i>Zorba</i> at New Line Theatre last week, I decided to quit my job. Instead of work, I would go wherever my feet would take me, making my living with odd jobs, beholden to no one. By the time I got home, I had sobered up (or chickened out). But that’s the kind of impact <i>Zorba</i> can have. From the early assertion that 'life is what you do while you’re waiting to die,' through the penultimate song 'I Am Free,' Zorba sells a vision of life that’s not necessarily new (live every moment to the fullest and like it’s your last), but is extremely seductive. . . ” – Rosalind Early, <i>St. Louis Magazine</i><br />
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“Sarah Nelson’s music direction is impressive, as is the band’s impeccable work. . .Co-directors Scott Miller and Mike Dowdy-Windsor emphasize the show’s ‘live in the moment’ philosophy, which is always good to be reminded of, and this production is all about living out loud. . . <i>Zorba</i> has the kind of message that makes us appreciate life as it is.” – Lynn Venhaus, <i>Belleville News-Democrat</i><br />
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“A celebration of the beauty and messiness of life itself. At New Line, this show is brought to the stage with energy, intelligence, and an especially strong cast in the leading roles. It’s definitely a show worth seeing.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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Have you ever pondered the Meaning of Life? If not, you need to smoke some pot. If you have, we've got a musical just for you.<br />
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<i>Zorba</i> opens in a bouzouki parlor in Greece where a group has gathered to drink and tell stories. They tell us the story of Zorba and his philosophy of living life to the fullest. <br />
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So what is this brilliant, rarely produced show really all about?<br />
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On the surface, <i>Zorba</i> is a wild mashup of sex comedy, romantic tragedy, social commentary, and philosophical debate. All in one. Along with some wonderful Kander & Ebb songs. <i>Zorba</i> is very much like the other Kander & Ebb shows <i>Cabaret</i> and <i>Chicago</i>, except <i>Zorba</i> really isn't cynical, while the other two are almost entirely cynical.<br />
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Years ago, I was listening to the <i>Zorba</i> cast album and had a huge revelation. I recognized suddenly the subtle, stunning brilliance of calling the opening song “Life Is.” <br />
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It's not an unfinished phrase, which is what it seems on the surface. After all, the title is not “Life Is...” No, the point of the title – and the song and the entire show – is that Life just is. Or in my own lingo, “It is what it is.” No use trying to change it or rage against it. Life is good and bad and beautiful and ugly and tender and rough and everything else; and the only way to fully love life is to embrace <i>all</i> of it. The only way to be truly happy is to love all of life. Even when people leave us, even when they die.<br />
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That's the secret to happiness that Zorba knows and Nikos must learn.<br />
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Lots of people have told me they think <i>Zorba</i> is depressing, but they're missing the point of the show, and they're not listening to the opening number. It’s not depressing; it's just aware. When Anthony Quinn revived and rewrote the show in the 1980s, they changed the Leader's first line to, “Life is what you do till the moment you die.” A kinder, gentler <i>Zorba</i>. But <i>Zorba</i> isn't about the fear of making the audience sad: it's about the embrace of the adventure of living. Tonight you’ll hear the real lyric.<br />
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I had another revelation about this same song recently in rehearsal. What I realized is that “Life Is” is a debate, an argument; and so is the rest of the show. Our story, though so funny and emotional on the surface, is as much a philosophical debate as it is a romantic comedy-drama. Throughout the entire story, Zorba is teaching Nikos just as Socrates once taught Plato, through argument, through story, through parable.<br />
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Don't get me wrong, <i>Zorba</i> tells a straight-forward, linear story, but as with most Kander & Ebb shows, there's a whole lot more going on. <i>Zorba</i> achieves what Bob Fosse once called “Poetry, Popcorn, and Politics,” or in other words, artistic beauty, pure fun, and important issues, all in one.<br />
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It's an extraordinary show, as emotional and cerebral as it is rowdy and vulgar, and populated by a bunch of wonderful characters that you're really not going to want to leave at the end of the story. We’re very glad we get to share it all with you tonight.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-18013628564140782102016-10-16T15:35:00.002-05:002018-03-27T12:11:54.212-05:00Celebration (2016)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizc1aj7b9nsQmZ7lkzFyUyHKGFFZICajQ6UFRJ5Bu3rkb0NAVf-A0lxqAgJPt9MAxA4h8Cd6ezMuVvdk6ZzvfuLzzBrtsrbbWVouW-OcOtvtg5gAUoiR1PPcoW1Et_ng9A16lXgIny8L5o/s1600/celebration-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizc1aj7b9nsQmZ7lkzFyUyHKGFFZICajQ6UFRJ5Bu3rkb0NAVf-A0lxqAgJPt9MAxA4h8Cd6ezMuVvdk6ZzvfuLzzBrtsrbbWVouW-OcOtvtg5gAUoiR1PPcoW1Et_ng9A16lXgIny8L5o/s320/celebration-2.jpg" width="206" /></a></div>
words by Tom Jones<br />
music by Harvey Schmidt<br />
Sept. 29-Oct. 22, 2016<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/celebrationpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/CELEBRATION-2016/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Potemkin – Kent Coffel<br />
Orphan – Sean Michael<br />
Angel – Larissa White<br />
William Rosebud Rich – Zachary Allen Farmer<br />
Revelers – Colin Dowd, Sarah Dowling, Christopher Lee, Todd Micali, Nellie Mitchell, Michelle Sauer, Kimi Short<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Sarah Nelson<br />
Guitar – D. Mike Bauer<br />
Keyboard 2 – Sue Goldford<br />
Percussion – Clancy Newell<br />
Bass – Jake Stergos<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy<br />
Music Director – Sarah Nelson<br />
Choreographer – Michelle Sauer<br />
Stage Manager/Lighting Technician – Brendan O’Brien<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Benjamin Rosemann<br />
Lighting Designer – Kenneth Zinkl<br />
Props Master – Mike Dowdy-Windsor<br />
Scenic Artists – Patrick Donnigan, Richard Brown,<br />
Melanie Kozak, Paul Troyke, Kate Wilkerson <br />
Box Office Manager – Jason Klefisch<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Videographer – Kyle Jeffery Studios<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiipq2jIs42KVdQY6lYvbCOWo3E6yGMmOwtGxrPpWrAa0IXDly8ph1RjxCFCfjbF73hmM0At6NDaVTfy7IoVa-SXj650KDQq3Pw9b2_TrUvDw5K9LrqL87zd-ok49om6lP9EEh6bZbrkRJr/s1600/0P6A5068.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiipq2jIs42KVdQY6lYvbCOWo3E6yGMmOwtGxrPpWrAa0IXDly8ph1RjxCFCfjbF73hmM0At6NDaVTfy7IoVa-SXj650KDQq3Pw9b2_TrUvDw5K9LrqL87zd-ok49om6lP9EEh6bZbrkRJr/s320/0P6A5068.jpg" title="Orphan and the Revelers singing "Orphan in the Storm," in New Line Theatre's Celebration, 2016. Photo credit: Jill Ritter Lindberg." width="320" /></a></div>
“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 <i>Celebration</i>, 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, <i>Celebration</i> is a delightfully provocative musical gem filled with intentional pomp and theatrical circumstance.” – Tina Farmer, KDHX<br />
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“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 <i>Celebration</i>.” – Chris Gibson, <i>BroadwayWorld </i><br />
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“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 <i>Celebration</i>. . . 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, <i>TalkinBroadway</i><br />
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“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 <i>Celebration</i> is a mystical journey that brings rebirth and rejuvenation.” – Paul Friswold, <i>The Riverfront Times</i><br />
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“New Line Theatre’s world premiere of the revised <i>Celebration</i> 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, <i>Critical Blast</i><br />
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“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 <i>The Fantasticks</i> debuted in 1960.”“ – Judith Newmark, <i>St. Louis Post-Dispatch</i><br />
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“Brisk and lightweight in appearance but abetted by universal themes of hope and beauty, age and death, <i>Celebration</i> is an intriguing musical written by the creators of <i>The Fantasticks</i>, 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 <i>Celebration</i> at the Marcelle Theater while there’s still time.” – Mark Bretz, <i>Ladue News</i><br />
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“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, <i>Stagedoor St. Louis</i><br />
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“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, <i>St. Louis Theatre Snob</i><br />
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“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, <i>Belleville News Democrat</i><br />
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“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. <i>Celebration</i> 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, <i>Snoop’s Theatre Thoughts</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<i>Celebration</i> 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. <br />
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<i>Doesn't that sound like a great idea for a musical comedy?</i><br />
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All theatre is ritualistic in some way, but <i>Celebration</i> isn't just a modern descendant of ritual; it is actually ritual itself.<br />
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Bookwriter-lyricist Tom Jones wrote in the introduction to the 1973 published script, “<i>Celebration</i> 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).”<br />
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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 <i>of</i> nature. This isn't a story about the passing of time; this is the story <i>of</i> time. There is no Fourth Wall. And our stage is infinite. Which means the audience's imaginations do much of the work.<br />
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This really isn't like any other musical you've ever seen. (I find that's true of a <i>lot</i> 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.<br />
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At the end of his intro to the published script, Jones wrote, “We did <i>Celebration</i> 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 <i>wasn't</i> a Broadway musical. Who knows? Perhaps we will do it again someday. With revisions. And in a proper place.”<br />
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Tom Jones has given New Line Theatre the honor of premiering his revised <i>Celebration</i>, right here in St. Louis in our beautiful blackbox theatre. A proper place, indeed.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-10616017743088504632016-10-15T17:02:00.002-05:002018-03-27T12:11:08.990-05:00Tell Me on a Sunday (2016)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMKtN24w-1gD-Q8_ddSDr-1NuoU19eal8_ZwbmQJtQIQarRwTGx0q5fT1obtcD-TO2UU5yTMjLQ3NLu4rf2JjpXHOp5IJGKGkCaP3omA7FZ4M8KFFwgJwUp2tWPdOWKXCC1jQGGqB4Uk9Z/s1600/tellmeonasunday-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMKtN24w-1gD-Q8_ddSDr-1NuoU19eal8_ZwbmQJtQIQarRwTGx0q5fT1obtcD-TO2UU5yTMjLQ3NLu4rf2JjpXHOp5IJGKGkCaP3omA7FZ4M8KFFwgJwUp2tWPdOWKXCC1jQGGqB4Uk9Z/s320/tellmeonasunday-2.jpg" width="203" /></a></div>
book and lyrics by Don Black<br />
music by Andrew Lloyd Webber<br />
August 11-27, 2016<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/tellmepage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/TELL-ME-ON-A-SUNDAY-2016/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Emma – Sarah Porter<br />
<br />
<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Nate Jackson<br />
Cello – Eric Bateman<br />
Percussion – Clancy Newell<br />
Reeds – Harrison Rich<br />
Bass – Jake Stergos<br />
<br />
<b>THE ARTISTIC STAFF</b><br />
Director – Mike Dowdy-Windsor<br />
Directing Intern – Daniel Washelesky<br />
Music Director – Nate Jackson<br />
Stage Manager/Lighting Technician – Michael Juncal<br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Benjamin Rosemann<br />
Props Master – Kimi Short<br />
Dialect Coach – Laurie McConnell<br />
Scenic Artists – Patrick Donnigan, Gary Karasek,<br />
Melanie Kozak, Kate Wilkerson <br />
Box Office Manager – Kimi Short<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Videographer – Kyle Jeffery Studios<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOjJJdCFebdpdKUKRVTNSXEXKhQAXGVB0Jox_Tvx5CNaR1omX9OTMjss7vqcgAVUxOYdMq03RG8dvrX6FdDhvZY9RD7ozftC7c0j58yo0rPVNTjImwr8uWF7VyNsINoxXfloD-A6n9Jbrm/s1600/0P6A4846.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOjJJdCFebdpdKUKRVTNSXEXKhQAXGVB0Jox_Tvx5CNaR1omX9OTMjss7vqcgAVUxOYdMq03RG8dvrX6FdDhvZY9RD7ozftC7c0j58yo0rPVNTjImwr8uWF7VyNsINoxXfloD-A6n9Jbrm/s320/0P6A4846.jpg" title="Sarah Porter in New Line's Tell Me on a Sunday. Photo credit: Jill Ritter Lindberg" width="213" /></a></div>
“New Line's <i>Tell Me on a Sunday</i> 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 <i>Starlight Express</i>. Of course it's no surprise that New Line Theatre's season-closing production of the show wrings so much joy from <i>Tell Me on a Sunday</i>; 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, <i>The Riverfront Times</i><br />
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“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 <i>Sex and The City</i>, without the sex; or <i>Bridget Jones' Diary</i>, 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, <i>TalkinBroadway</i><br />
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“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<br />
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“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<br />
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"Heartaches and hope are the recurrent themes of the Andrew Lloyd Webber one-act musical, <i>Tell Me On a Sunday</i>, 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, <i>Belleville News-Democrat</i><br />
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“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, <i>Ladue News</i><br />
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“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 <i>Tell Me on a Sunday</i> as soon as possible.” – Jeff Ritter, <i>Critical Blast</i><br />
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“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, <i>Two on the Aisle</i><br />
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“Sarah Porter shines in <i>Tell Me on a Sunday</i> . . . 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, <i>St. Louis Post-Dispatch</i><br />
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“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, <i>Stage Door St. Louis</i><br />
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“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, <i>Snoop’s Theatre Thoughts</i><br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-78398805583160433692016-06-29T15:16:00.000-05:002018-12-15T12:52:46.255-06:00Atomic (2016)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lZm6mHYpyUvzjg3M2wO5AaPr64Lc_jxh3FGaPomC0e9YankdnpIyvC4REq1BIhF82ZiprsEozSMj6nJKEV3ag2_xVwOlWb-yA_x22GaahvIv4ddG2T0QqWii68EwxwC_nFopYWAM_-as/s1600/atomic-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: em; margin-left: 1em;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lZm6mHYpyUvzjg3M2wO5AaPr64Lc_jxh3FGaPomC0e9YankdnpIyvC4REq1BIhF82ZiprsEozSMj6nJKEV3ag2_xVwOlWb-yA_x22GaahvIv4ddG2T0QqWii68EwxwC_nFopYWAM_-as/s320/atomic-2.jpg" title="Graphic design by Matt Reedy" width="204" /></a></div>
book and lyrics by Danny Ginges<br />
music and lyrics by Philip Foxman<br />
Orchestrations by Andy Peterson<br />
June 2-25, 2016<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/atomicpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/ATOMIC-2016/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Leo Szilard – Zachary Allen Farmer<br />
Trude Weiss – Ann Hier<br />
Enrico Fermi – Reynaldo Arceno<br />
Arthur Compton – Ryan Scott Foizey<br />
Edward Teller / General Groves – Sean Michael<br />
Physicist / Bartender / Factory Girl – Victoria Valentine<br />
Leona Woods – Larissa White<br />
J. Robert Oppenheimer / Paul Tibbets – Jeffrey M. Wright<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Jeffrey Richard Carter<br />
Guitar – D. Mike Bauer<br />
Guitar/Keyboard – Adam Rugo<br />
Cello – Eric Bateman<br />
Bass – Jake Stergos<br />
Violin – Twinda Murry<br />
Percussion – Clancy Newell<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy<br />
Music Director – Jeffrey Richard Carter<br />
Stage Manager/Lighting Technician – Michael Juncal<br />
Scenic & Lighting Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Benjamin Rosemann<br />
Props Master – Kimi Short<br />
Scenic Artists – Patrick Donnigan, Gary Karasek,<br />
Melanie Kozak, Kate Wilkerson <br />
Nuclear Physics Consultant – Kathleen Dwyer<br />
Box Office Manager – Kimi Short<br />
Volunteer Coordinator – Alison Helmer<br />
Graphic Designer – Matt Reedy<br />
Videographer – Kyle Jeffery Studios<br />
Photographer – Jill Ritter Lindberg<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUDqidHpql11NDfvHV1VqNVetExN8D-l_HmETkyy1fQEERWMDyynabZ92TN6zF2hgNwsBNUXUqIdH0Q9wTkSWkFPFtWq8J5lUMCT3gObWV3cKEz0VZ5IzZJJIvlB6u2LUSg0DIsyw_jqJX/s1600/IMG_8990.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUDqidHpql11NDfvHV1VqNVetExN8D-l_HmETkyy1fQEERWMDyynabZ92TN6zF2hgNwsBNUXUqIdH0Q9wTkSWkFPFtWq8J5lUMCT3gObWV3cKEz0VZ5IzZJJIvlB6u2LUSg0DIsyw_jqJX/s320/IMG_8990.jpg" title="Ann Hier and Zachary Allen Farmer in New Line Theatre's ATOMIC. Photo credit: Jill Ritter Lindberg." /></a></div>
<b>REVIEWS</b><br />
“New Line Theatre’s <i>Atomic</i> 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, <i>The Riverfront Times</i><br />
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“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. . . <i>Atomic</i> 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, <i>BroadwayWorld</i><br />
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“<i>Atomic</i> 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 <i>Atomic</i> is gripping, gritty stuff...” – Mark Bretz, <i>Ladue News</i><br />
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“History comes to life with a strong cast and an intriguing script in New Line Theatre’s production of <i>Atomic</i>, a musical account of the Manhattan Project. . . <i>Atomic</i> is a strong production and audiences who appreciate theater’s ability to spur conversation may particularly enjoy this thought-provoking show.” – Tina Farmer, KDHX<br />
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“A long forgotten but important historical figure gets his due in the zealous rock musical <i>Atomic</i>, 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. . . <i>Atomic</i> 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, <i>Belleville News Democrat</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J3K2-U5hkLVAyKJ3YmdJfboqRabC25FxgUMm1El8GFYBgxdSG5Cv8LUfuuH-wc1kBYrzXf6qImblkP0ks2Kr_KaV0p_7Af3-nsF2HX3CRWk4bQSr1eqQqeuPZkUPG5p96MMum-xZ7srl/s1600/IMG_9004.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J3K2-U5hkLVAyKJ3YmdJfboqRabC25FxgUMm1El8GFYBgxdSG5Cv8LUfuuH-wc1kBYrzXf6qImblkP0ks2Kr_KaV0p_7Af3-nsF2HX3CRWk4bQSr1eqQqeuPZkUPG5p96MMum-xZ7srl/s320/IMG_9004.jpg" title="The cast of New Line Theatre's ATOMIC. Photo credit: Jill Ritter Lindberg." /></a></div>
“If you think the theatre season in St. Louis is pretty much over when spring rolls around, think again. <i>Atomic</i> 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, <i>Critical Blast</i><br />
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“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. . . <i>Atomic</i> 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, <i>St. Louis Post-Dispatch</i><br />
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“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, <i>TalkinBroadway</i><br />
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“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, <i>Stagedoor St. Louis</i><br />
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“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, <i>St. Louis Eats & Drinks</i><br />
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“<i>Atomic</i> 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, <i>St. Louis Theatre Snob </i><br />
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“An extremely well-staged, well-cast, compelling piece of theatre. . . New Line’s production of <i>Atomic</i> 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, <i>Snoop’s Theatre Thoughts</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSB-NWIFCwpx6VIehfCgfdvH_yH0FrE41JIZShsMnys1fNOt9k1CoJchX-biftQSXNMOSDPskBzOfVAPp1qdfaknm0XrEiASPUiw-FA0ihDXmnWHD8_PVG_MyT3DnFFwnA1nie5_pcikiH/s1600/IMG_9069.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSB-NWIFCwpx6VIehfCgfdvH_yH0FrE41JIZShsMnys1fNOt9k1CoJchX-biftQSXNMOSDPskBzOfVAPp1qdfaknm0XrEiASPUiw-FA0ihDXmnWHD8_PVG_MyT3DnFFwnA1nie5_pcikiH/s320/IMG_9069.jpg" title="Reynaldo Arceno, Sean Michael, and Zachary Allen Farmer in New Line Theatre's ATOMIC. Photo credit: Jill Ritter Lindberg." /></a></div>
<b>DIRECTOR'S NOTES</b><br />
New Line’s production of <i>Atomic</i> 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.<br />
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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.<br />
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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.<br />
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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?<br />
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The energy and intensity of this story demand rock and roll.<br />
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I’ve realized that <i>Atomic</i> 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. <br />
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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.<br />
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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.<br />
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Like <i>1776</i> does, <i>Atomic</i> 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...<br />
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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.<br />
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We hope you find this story as powerful as we do.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-13759696717750538392016-05-13T18:14:00.000-05:002018-12-15T12:52:56.528-06:00American Idiot (2016)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPrMi0mNBiahub-5-OrpfQSWQ7XqA-FhlxJHv-Ddhf0Mwq8gbDVOMtbiSk4EaAu9Bf_SniTGvWxsGPSNMforn_DaxT73ifxQCGhlVQmrADOdpqNAj_FhiiI4fRAIQiIv_KO85FoAOfGv2S/s1600/americanidiot-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPrMi0mNBiahub-5-OrpfQSWQ7XqA-FhlxJHv-Ddhf0Mwq8gbDVOMtbiSk4EaAu9Bf_SniTGvWxsGPSNMforn_DaxT73ifxQCGhlVQmrADOdpqNAj_FhiiI4fRAIQiIv_KO85FoAOfGv2S/s320/americanidiot-2.jpg" title="graphic design by Matt Reedy" width="206" /></a></div>
music by Green Day<br />
lyrics by Billie Joe Armstrong<br />
book by Billie Joe Armstrong and Michael Mayer<br />
March 3-26, 2016<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/americanidiotpage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/AMERICAN-IDIOT-2016/" target="_blank">Production Photos</a><br />
<br />
<b>THE CAST</b><br />
Johnny – Evan Fornachon<br />
Will – Brendan Ochs<br />
Tunny – Frederick Rice<br />
St. Jimmy – Chris Kernan<br />
Whatsername – Sarah Porter<br />
Heather – Larissa White<br />
Extraordinary Girl – Sicily Mathenia<br />
Favorite Son – Kevin Corpuz<br />
Rock & Roll Boyfriend – Clayton Humburg<br />
Ensemble – Kevin Corpuz, Cameisha Cotton,<br />
Clayton Humburg, Jeremy Hyatt, <br />
Omega Jones, Sean Michael, Ariel Saul,<br />
Tanya Sapp, Gabe Taylor<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Sue Goldford<br />
Guitar – D. Mike Bauer<br />
Guitar – Aaron Doerr<br />
Bass – Andrew Gurney<br />
Violin – Twinda Murry<br />
Cello – Jessica Nations<br />
Percussion – Clancy Newell<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy<br />
Music Director – Jeffrey Richard Carter<br />
Stage Manager/Lighting Technician – Michael Juncal<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Benjamin Rosemann<br />
Lighting Designer – Kenneth Zinkl<br />
Props Master – Kimi Short<br />
Scenic Artists – Patrick Donnigan, Melanie Kozak, Gary Karasek, Kate Wilkerson<br />
Box Office Manager – Kimi Short<br />
Volunteer Coordinator – Alison Helmer<br />
Videographer – Kyle Jeffery Studios<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
<br />
<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWRfKOFpaxQ2NHdMmEvTMpGLYK5V6dIk2Cd6kFzX4vBm1vMOqAOuVxLQVRLwy-En5rpdMvgabl-YzWIiX5m_vZK3o67mXduq1ab22hXRCK0kM8Tm-jZ_VZX6LIiEcABIpmGMFAUN7mD4zl/s1600/0P6A1074.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWRfKOFpaxQ2NHdMmEvTMpGLYK5V6dIk2Cd6kFzX4vBm1vMOqAOuVxLQVRLwy-En5rpdMvgabl-YzWIiX5m_vZK3o67mXduq1ab22hXRCK0kM8Tm-jZ_VZX6LIiEcABIpmGMFAUN7mD4zl/s320/0P6A1074.jpg" title="Brendan Ochs as Will, Evan Fornachon as Johnny, and Frederick Rice as Tunny, in New Line Theatre's American Idiot, 2016. Photo credit: Jill Ritter Lindberg." /></a></div>
"Where does Scott Miller find so many appealing young performers for his New Line Theatre shows? <i>American Idiot</i> 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, <i>St. Louis Post-Dispatch</i><br />
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"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, <i>TalkinBroadway</i><br />
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"Entertaining and effective, <i>American Idiot</i> 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<br />
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"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, <i>BroadwayWorld</i><br />
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"<i>American Idiot</i> 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, <i>Riverfront Times</i><br />
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"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, <i>Alton Telegraph</i><br />
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"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 <i>American Idiot</i> 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, <i>Ladue News</i><br />
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"The fury that simmers within generations of young adults is nothing new, but New Line’s current production of Green Day’s <i>American Idiot</i>, 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, <i>St. Louis Theatre Snob</i><br />
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"New Line Theatre’s <i>American Idiot</i> 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, <i>Critical Blast</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTfDAgqmI_q7qy5C11jNKH_PWQuIFIM0Sq8UxUWu0wg6A0eKAxw0L5wf8XQpd07nosrH_yUzuRh-0gOTD8iV0krVHPPFs2viwxBm7SH68KFplzbwIaWD2x2PSNReyUOvmR3YA2LGB786x2/s1600/0P6A1057.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTfDAgqmI_q7qy5C11jNKH_PWQuIFIM0Sq8UxUWu0wg6A0eKAxw0L5wf8XQpd07nosrH_yUzuRh-0gOTD8iV0krVHPPFs2viwxBm7SH68KFplzbwIaWD2x2PSNReyUOvmR3YA2LGB786x2/s320/0P6A1057.jpg" title="The cast of New Line Theatre's American Idiot, 2016. Photo credit: Jill Ritter Lindberg." /></a></div>
"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, <i>Belleville News-Democrat</i><br />
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"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, <i>StageDoorStL</i><br />
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"The musical based off of the Green Day album <i>American Idiot</i> 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, <i>Onstage</i><br />
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"<i>American Idiot </i>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, <i>American Idiot</i> 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<br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoXu43Yt8QC-gLxxR9mqkGasMsMVWy0YF4IFFCn8-jlpD76vCusA4-jgdBMAEFmznw2x0E4h2tWIJaU2U1z4ANhWqXQt9gMUoByBD-fc2XYzpmDaGRljHoOa_zCQq3FrdFFmglfULDQ7gK/s1600/0P6A1404.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoXu43Yt8QC-gLxxR9mqkGasMsMVWy0YF4IFFCn8-jlpD76vCusA4-jgdBMAEFmznw2x0E4h2tWIJaU2U1z4ANhWqXQt9gMUoByBD-fc2XYzpmDaGRljHoOa_zCQq3FrdFFmglfULDQ7gK/s320/0P6A1404.jpg" title="Sarah Porter as Whatsername, Evan Fornachon as Johnny, and the cast of New Line Theatre's American Idiot, 2016. Photo credit: Jill Ritter Lindberg." /></a></div>
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...<br />
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It’s interesting to work on <i>American Idiot</i>, as <i>Hamilton </i>dominates the world of musical theatre. People talk about how <i>Hamilton</i> will fundamentally change the art form (and I think they’re right and I’m really glad), but it reminds me that <i>Rent</i> was just as paradigm shattering in 1996, just as revolutionary, just as "fusion-ary" and influential. I realize that <i>American Idiot</i> holds up the center of a political rock theatre trilogy. As tuned into its own zeitgeist as <i>Rent</i> was, so is <i>American Idiot</i>, and so is <i>Hamilton</i>.<br />
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<i>American Idiot</i> 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 <i>Passing Strange</i> would put it. <br />
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Heroes’ journeys can be concrete, as in an actual journey, or they can be interior. <i>Or both</i>. In <i>American Idiot</i>, 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 <i>High Fidelity</i>). 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.<br />
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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.<br />
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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!"<br />
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In other words, "<i>Your</i> Real is not <i>my</i> 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 <i>everything</i>?"<br />
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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.<br />
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Just as our Hero Myths have taught us.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-86221244716097748812016-01-22T14:08:00.001-06:002023-12-18T15:31:16.654-06:0025 to Life! An Evening with New Line Theatre (2016)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhISt9JEFXlrXd7Tm6yjNoXcR9PGq13bmMBAYhcLfjRR16Um75T1IiU-403-CDjU9FV-ZPnpWZCLGPkABTsH9pcyyAISsJJhg_3Gw5kCQrxiIS3khFfptJzNTUAhw9_sPrxmj9GOQ_KY/s1600/sheldon16-2.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhISt9JEFXlrXd7Tm6yjNoXcR9PGq13bmMBAYhcLfjRR16Um75T1IiU-403-CDjU9FV-ZPnpWZCLGPkABTsH9pcyyAISsJJhg_3Gw5kCQrxiIS3khFfptJzNTUAhw9_sPrxmj9GOQ_KY/s320/sheldon16-2.jpg" width="204" /></a></div>
a world premiere concert<br />
January 5-6, 2016<br />
Sheldon Concert Hall<br />
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<strong>THE CAST </strong><br />
Reynaldo Arceno, Mike Dowdy,<br />
Colin DeVaughan, Zachary Allen Farmer,<br />
Ryan Foizey, Nikki Glenn,<br />
Joel Hackbarth, Lindsey Jones,<br />
Taylor Pietz, Sarah Porter,<br />
Anna Skidis, Deborah Sharn,<br />
Kimi Short, Keith Thompson,<br />
Larissa White, Jeffrey M. Wright<br />
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<strong>THE ARTISTIC STAFF</strong><br />
Director – Scott Miller<br />
Sound – Tim Albert<br />
Lighting – Gabe Taylor<br />
Pianist – Scott Miller<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZBnhHTNMW1M-YbmNGXtqJQ3x7QAHt9t2HDgPwLXouF9dam93Q-Yq1eRnXCaD0x7jtzzTvJdreiuR2Z-W7eDvR1pp-sFPmRNELkBZJF_jm0aHHqdjHPA3_Gee23OkbGU3KYMGYe5Jjyg/s1600/newline25+-+37.jpg" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZBnhHTNMW1M-YbmNGXtqJQ3x7QAHt9t2HDgPwLXouF9dam93Q-Yq1eRnXCaD0x7jtzzTvJdreiuR2Z-W7eDvR1pp-sFPmRNELkBZJF_jm0aHHqdjHPA3_Gee23OkbGU3KYMGYe5Jjyg/s320/newline25+-+37.jpg" title="The cast of "25 to Life!"" /></a></div>
<b>THE SONG LIST</b><br />
ACT I<br />
“Four Jews in a Room Bitching” (from <i>March of the Falsettos</i>) – Zak, Dowdy, Joel, Jeff<br />
“Children, Children” (from <i>Bat Boy</i>) – Colin, Company<br />
“Timid Frieda” (from <i>Jacques Brel</i>…) – Taylor, Sarah, Colin, Joel<br />
“You Could Do Better Than Him” (from <i>Bonnie & Clyde</i>) – Rey, Jeff<br />
“Once in a While” (from <i>The Rocky Horror Show</i>) – Ryan (on guitar), Larissa<br />
“Sorry-Grateful” (from <i>Company</i>) – Keith, Joel <br />
“Poor Child” (from <i>The Wild Party</i>) – Deborah, Rey, Kimi, Jeff<br />
“Dear One” (from <i>Kiss of the Spider Woman</i>) – Nikki, Dowdy, Larissa, Ryan<br />
“Ballad of Floyd Collins” (from <i>Floyd Collins</i>) – Colin (on guitar), Kimi, Zak, Anna<br />
“Fight for Me” (from <i>Heathers</i>) – Anna<br />
“The Stuff” (from <i>Reefer Madness</i>) – Nikki<br />
“There Are Worse Things I Could Do” (from <i>Grease</i>) – Sarah<br />
“Worse Things” (from <i>Attempting the Absurd</i>) – Larissa, Company<br />
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ACT II<br />
“Misery” (from <i>Cry-Baby</i>) – Ryan, Taylor, Zak, Sarah, Kimi, Lindsey, Company<br />
“The Tale of Zachary Church” (from I<i>n the Blood</i>) – Zak<br />
“The I Love You Song” (from <i>Spelling Bee</i>) – Anna, Zak, Deborah<br />
“Wicked Little Town” (from <i>Hedwig and the Angry Inch</i>) – Rey<br />
“The Ballad of the Sad Young Men” (from <i>The Nervous Set</i>) – Lindsey<br />
“Used to Be” (from <i>Hands on a Hardbody</i>) – Keith, Jeff, Ryan, Nikki, Anna, Taylor, Joel<br />
“Deeper in the Woods” (from <i>The Robber Bridegroom</i>) – Dowdy, Company<br />
“Moments in the Woods” (from <i>Into the Woods</i>) – Deborah <br />
“This Plum is Too Ripe” (from <i>The Fantasticks</i>) – Taylor, Ryan, Joel, Dowdy<br />
“You Don’t Know”/“I Am the One” (from <i>Next to Normal</i>) – Kimi, Jeff, Ryan<br />
“A Great Big Cloud of Smoke” (from <i>Johnny Appleweed</i>) – Rey, Joel, Company<br />
“The Hills of Tomorrow” (from <i>Extreme Sondheim</i>) – Full Company<br />
<br />Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-41977696024047924112015-10-28T17:02:00.001-05:002018-12-15T12:53:58.627-06:00Heathers (2015)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgF4onsd5cyUzcEWVQAQ64Ca0QbyAnY8M3sUiJHriBnjQzka01BkCYEo1I1_7s5_pUZza9JmkUkL0l_sVA221GRgcalakgLR9g1lwOYdEh8LNpMGz7pr6aMrd-wKRJ4GsWM4X8QMVzWe3G/s1600/heathers-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgF4onsd5cyUzcEWVQAQ64Ca0QbyAnY8M3sUiJHriBnjQzka01BkCYEo1I1_7s5_pUZza9JmkUkL0l_sVA221GRgcalakgLR9g1lwOYdEh8LNpMGz7pr6aMrd-wKRJ4GsWM4X8QMVzWe3G/s320/heathers-2.jpg" title="graphic design by Matt Reedy" width="208" /></a></div>
book, music, and lyrics by<br />
Laurence O’Keefe and Kevin Murphy<br />
based on the film by Daniel Waters<br />
October 1-24, 2015<br />
Marcelle Theater<br />
<a href="http://www.newlinetheatre.com/heatherspage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/Heathers-2015/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Veronica Sawyer – Anna Skidis<br />
J.D. – Evan Fornachon<br />
Heather Chandler – Sicily Mathenia<br />
Heather Duke – Cameisha Cotton<br />
Heather McNamara – Larissa White<br />
Martha Dunnstock – Grace Seidel<br />
Ram Sweeney – Omega Jones<br />
Kurt Kelly – Clayton Humburg<br />
Young Republicanette – Brenda Bass<br />
Preppy Stud – Kevin Corpus<br />
Hipster Dork – Colin Dowd<br />
Beleaguered Geek – Alex Glow<br />
Kurt’s Dad/Veronica’s Dad/Principal Gowan – Joel Hackbarth<br />
Ms. Fleming/Veronica’s Mom – Lindsey Jones<br />
Ram’s Dad/Big Bud Dean/Coach Ripper – Chris Kernan<br />
Stoner Chick – Victoria Valentine<br />
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<b>THE NEW LINE BAND</b><br />
Conductor/Piano – Sue Goldford<br />
Guitar – D. Mike Bauer<br />
Bass – Andrew Gurney<br />
Violin – Twinda Murry<br />
Percussion – Clancy Newell<br />
Reeds – Harrison Rich<br />
Trumpet – Patrick Swan<br />
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<b>THE ARTISTIC STAFF</b><br />
Directors – Scott Miller, Mike Dowdy<br />
Directing Intern – Jeremy Hyatt<br />
Music Director – Jeffrey Richard Carter<br />
Choreographer – Robin Michelle Berger<br />
Stage Manager/Lighting Technician – Gabe Taylor<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Benjamin Rosemann<br />
Lighting Designer – Kenneth Zinkl<br />
Props Master – Kimi Short<br />
Scenic Artists – Kathleen Dwyer, Melanie Kozak, Gary Karasek, Kate Wilkerson<br />
Box Office Manager – Kimi Short<br />
Volunteer Coordinator – Alison Helmer<br />
Videographer – Kyle Jeffery Studios<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUvVDBpMERYlLRebNpTIC_y5Hc0NH6_UIfN9C-Gl7szzpV8tz_aAN2NwE_b-kWT6QcyO07h-J5b6u9oFbFpPcBflWM3WXizUaOtA2gZaDIz2-vhXqyqy-ssBAWsia3mTxwou4oAE6MDLLm/s1600/0P6A6783.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUvVDBpMERYlLRebNpTIC_y5Hc0NH6_UIfN9C-Gl7szzpV8tz_aAN2NwE_b-kWT6QcyO07h-J5b6u9oFbFpPcBflWM3WXizUaOtA2gZaDIz2-vhXqyqy-ssBAWsia3mTxwou4oAE6MDLLm/s320/0P6A6783.jpg" title="Evan Forachon as J.D. and Anna Skidis as Veronica, singing "Seventeen" in New Line's Heathers, 2015. Photo credit: Jill Ritter Lindberg" /></a></div>
“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 – <i>hoo-boy, is it present</i> – 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, <i>The Riverfront Times</i><br />
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“Now you can see <i>Heathers</i> 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, <i>BroadwayWorld</i><br />
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“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, <i>Buzz On Stage</i><br />
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“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 <i>Heathers</i>, 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, <i>TalkinBroadway</i><br />
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“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 <i>Heathers</i> 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<br />
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“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 <i>Heathers</i> into a bright-colored gem. . . it’s indeed one of the standouts of the year.” – Lynn Venhaus, <i>Belleville News-Democrat </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTXeoG_wmmDY4b5PA_gkc0b0FO8G9MejHTA5qDG3cjnuJ_atQyGHF3vbCn9I7g-GgET9wIbWs7UpdEefc4GY2DlnWakSIkE83OREkOjzgvAr50tmiPXLi1FkLWNtjNwgFdb8Ierx6uabjr/s1600/0P6A6379.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTXeoG_wmmDY4b5PA_gkc0b0FO8G9MejHTA5qDG3cjnuJ_atQyGHF3vbCn9I7g-GgET9wIbWs7UpdEefc4GY2DlnWakSIkE83OREkOjzgvAr50tmiPXLi1FkLWNtjNwgFdb8Ierx6uabjr/s320/0P6A6379.jpg" title="The Heathers (l-r, Cameisha Cotton, Sicily Mathenia, Larissa White), singing "Candy Store" in New Line's Heathers, 2015. Photo credit: Jill Ritter Lindberg" /></a></div>
“<i>Heathers The Musical</i> 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, <i>ReviewSTL</i><br />
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“With sparkling performances by Anna Skidis and Evan Fornachon in the primary roles of Veronica and J.D., New Line’s <i>Heathers</i> continues the company’s rich history of bringing challenging musical theater to St. Louis audiences. . . <i>Heathers</i> 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 <i>Ladue News</i><br />
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“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 <i>Heathers</i>. 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. . . <i>Heathers</i> 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, <i>Alton Telegraph</i><br />
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“On Friday night, New Line Theatre celebrated its 25th anniversary in ideal fashion: It opened a smart new show, <i>Heathers</i>, in its sleek new theater, the Marcelle. . . <i>Heathers</i> – 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 <i>Hair, Grease, bare, Passing Strange, Cry-Baby </i>and <i>Rent</i>, New Line has explored musicals about teens and young adults trying to figure out how, or even why, to live.” – Judith Newmark, <i>St. Louis Post-Dispatch</i><br />
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“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, <i>St. Louis Theatre Snob</i><br />
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“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, <i>St. Louis Eats and Drinks</i><br />
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“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. <i>Heathers the Musical</i> is a hit.” – Michelle Kenyon, <i>Snoop’s Theatre Thoughts</i><br />
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“If <i>Heathers</i> makes you squirm a little, that’s good – it means they’re doing it right. . . Yes, <i>Heathers</i> – 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 <i>Heathers</i> is more relevant now than it was in the late 80s.” – Jeff Ritter, <i>Critical Blast</i><br />
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“<i>Heathers</i> is quite a feather is New Line’s cap.” – Gerry Kowarsky, <i>Two on the Aisle</i><br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijnUlMINTS1405ouYVwFdUWAPXEtjpus16xipt5bNjD1Yn0NcC12P52farhOga6CjiyvEQ5VG2zv_bj3L7Ltu_s2CkTpGYUIoWVBl4OTpMvVdzjhNJjrkKHSBFQ1o-McPjMmpSXlMwzhCV/s1600/0P6A6274.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijnUlMINTS1405ouYVwFdUWAPXEtjpus16xipt5bNjD1Yn0NcC12P52farhOga6CjiyvEQ5VG2zv_bj3L7Ltu_s2CkTpGYUIoWVBl4OTpMvVdzjhNJjrkKHSBFQ1o-McPjMmpSXlMwzhCV/s320/0P6A6274.jpg" title="The cast of New Line's Heathers, 2015. Photo credit: Jill Ritter Lindberg" /></a></div>
<i>Heathers</i> 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.<br />
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<i>Heathers</i> 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.<br />
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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.<br />
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Can we blame the kids in <i>Heathers</i> 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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9hJ_i9_Aus_BLTTa0tB1tH1l5yr1YFvfBdLpNsvVVwWRmKIsbyanISLEYw56gV1iKFOVPknsYeYLCCJGx7THq6izFqWy_C5wk4N7pq_1TwpVYKh1bdf4MvX0BjNvsWtPQ3Zz92iByCEDS/s1600/0P6A6710.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9hJ_i9_Aus_BLTTa0tB1tH1l5yr1YFvfBdLpNsvVVwWRmKIsbyanISLEYw56gV1iKFOVPknsYeYLCCJGx7THq6izFqWy_C5wk4N7pq_1TwpVYKh1bdf4MvX0BjNvsWtPQ3Zz92iByCEDS/s320/0P6A6710.jpg" title="Clayton Humburg and Omega Jones as Kurt and Ram, in New Line's Heathers, 2015. Photo credit: Jill Ritter Lindberg" /></a></div>
Most teen comedies are about conforming. If the lead character is unable to conform, they have to be “removed” from the community. But in <i>Grease, Cry-Baby</i>, and <i>Heathers</i>, 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 <i>Grease</i> and <i>Cry-Baby</i> present two conflicting communities. In <i>Heathers</i>, 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.<br />
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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. <i>Heathers</i> 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. <br />
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Today, as many in our culture continue to demonize The Other, <i>Heathers</i> is a blunt reminder to take care how we treat those Others…<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0tag:blogger.com,1999:blog-3044204796690533395.post-41890081008576632582015-06-22T15:46:00.000-05:002018-12-15T12:54:08.199-06:00The Threepenny Opera (2015)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLnQhjp6E1C7x30phC8iKixtFsSyBtbHudrAFa-oLnIkBPBZTrI9hDUQT3a4zCqw9lX8vgURJMYTjPwCBkDi8opjjgYKtSxrZGZ-xD3noah0UoQ6cAtS3sZJADatugKDk1-XCgSZXDWxWg/s1600/3po-2.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;" title="graphic design by Matt Reedy"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLnQhjp6E1C7x30phC8iKixtFsSyBtbHudrAFa-oLnIkBPBZTrI9hDUQT3a4zCqw9lX8vgURJMYTjPwCBkDi8opjjgYKtSxrZGZ-xD3noah0UoQ6cAtS3sZJADatugKDk1-XCgSZXDWxWg/s320/3po-2.png" width="210" /></a></div>
music by Kurt Weill<br />
book and lyrics by Bertolt Brecht<br />
American adaptation by Marc Blitzstein<br />
May 28-June 20, 2015<br />
Washington University South Campus Theatre<br />
<a href="http://www.newlinetheatre.com/3popage.html" target="_blank">Show Webpage</a><br />
<a href="https://newline.smugmug.com/Theater/THREEPENNY-2015/" target="_blank">Production Photos</a><br />
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<b>THE CAST</b><br />
Capt. Macheath – Todd Schaefer<br />
Mr. J.J. Peachum – Zachary Allen Farmer<br />
Mrs. Peachum – Sarah Porter<br />
Polly Peachum – Cherlynn Alvarez<br />
Tiger Brown – Christopher “Zany” Clark<br />
Lucy Brown – Christina Rios<br />
Jenny Diver – Nikki Glenn<br />
Reverend Kimball / Warden Smith – Reynaldo Arceno<br />
Readymoney Matt – Brian Claussen<br />
Crookfinger Jake – Kent Coffel<br />
Charles Filch – Jeremy Hyatt<br />
Walt Dreary – Todd Micali<br />
Molly – Kimi Short<br />
Betty – Margeau Steinau<br />
Bob the Saw – Luke Steingruby<br />
Dolly – Larissa White<br />
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<b>THE NEW LINE BAND</b><br />
Piano/Conductor – Jeffrey Richard Carter<br />
Trombone – Tom Hanson<br />
Percussion – Clancy Newell<br />
Guitar – Adam Rugo<br />
Trumpet – Patrick Swan<br />
Reed I – Marc Strathman<br />
Reed II – Rebecca Parisi<br />
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<b>THE ARTISTIC STAFF</b><br />
Director – Scott Miller<br />
Directing Intern – Alex Glow<br />
Music Director – Jeffrey Richard Carter<br />
Stage Manager/Lighting Technician – Kristina Cirone<br />
Scenic Designer – Rob Lippert<br />
Costume Designer – Sarah Porter<br />
Sound Designer – Benjamin Rosemann<br />
Lighting Designer – Kenneth Zinkl<br />
Props Master – Kimi Short<br />
Scenic Artists – Kate Wilkerson, Melanie Kozak, Patrick Donnigan, Gary Karasek, Sharon Russell<br />
Box Office Manager – Svetlana Slizskaya<br />
Volunteer Coordinator – Alison Helmer<br />
Videographer – Kyle Jeffery Studios<br />
Graphic Designer – Matt Reedy<br />
Photographer – Jill Ritter Lindberg<br />
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<b>REVIEWS</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKzNgIKyr1hzJ3INm_S6h-mwBI7iZnSNEFjbJCGeYsdgxaoWT8NLGa1VTijGWrkaSJtqo6UdQvr2flQA5octezMtmu1mQXOwpFQTd98Fi3ngUTbu1nyETPdrrtltNrSTcvJ7ejLi5diRHM/s1600/Act-II-finale.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;" title="The Act II finale of New Line Theatre's Threepenny Opera, 2015. Photo credit: Melanie Kozak"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKzNgIKyr1hzJ3INm_S6h-mwBI7iZnSNEFjbJCGeYsdgxaoWT8NLGa1VTijGWrkaSJtqo6UdQvr2flQA5octezMtmu1mQXOwpFQTd98Fi3ngUTbu1nyETPdrrtltNrSTcvJ7ejLi5diRHM/s320/Act-II-finale.jpg" /></a></div>
“New Line Theatre presents the show it was created to perform. . . <i>The Threepenny Opera</i> 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, <i>The Threepenny Opera</i> feels as raw as your butcher’s best – or as an open wound. It’s also very funny.” – Judith Newmark, <i>St. Louis Post-Dispatch</i><br />
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"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 <i>The Threepenny Opera</i>." – Paul Friswold, <i>The Riverfront Times</i><br />
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“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 <i>Threepenny</i> 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, <i>TalkinBroadway</i><br />
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“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 <i>The Threepenny Opera</i>. So few have seen in all its dingy glory, and this is your chance to do so.” – Chris Gibson, <i>BroadwayWorld</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSoOI_DaKHMBXPsaSFTbxACofk5lw7GC0rtghYYu1YMeJ7ixucBQWczQz3pJ9gxZmy9cyAPwl3i7J8x33GzjAOH3ffROfCqJ8HqniWzLz-e-YVummfoVZtaGyUMJmV1MZWagWsDYB5OIO3/s1600/IMG_5534.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;" title="The Peachums in New Line Theatre's Threepenny Opera, 2015. Photo credit: Jill Ritter Lindberg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSoOI_DaKHMBXPsaSFTbxACofk5lw7GC0rtghYYu1YMeJ7ixucBQWczQz3pJ9gxZmy9cyAPwl3i7J8x33GzjAOH3ffROfCqJ8HqniWzLz-e-YVummfoVZtaGyUMJmV1MZWagWsDYB5OIO3/s320/IMG_5534.jpg" /></a></div>
“The granddaddy of dark, decadent musicals, The <i>Threepenny Opera</i> 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, <i>Ladue News</i><br />
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“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<br />
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“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 <i>Threepenny Opera</i>. It might just change how you look at life!” – Jeff Ritter, Critical Blast<br />
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“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, <i>The Telegraph</i><br />
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“Standing on its own, the New Line production flavors <i>The Threepenny Opera</i> 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, <i>Belleville News Democrat</i><br />
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“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 <i>Sweeney Todd</i> inference isn't accidental. A worthwhile evening.” – Ann Pollack, <i>St. Louis Eats and Drinks</i><br />
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“<i>The Threepenny Opera</i> 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, <i>Snoop’s Theatre Thoughts</i><br />
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“You'll find much to enjoy in New Line's <i>Threepenny Opera</i>.” – Bob Wilcox, KDHX-TV<br />
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<b>DIRECTOR'S NOTES</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiHCCxB96u8fLH6jCcdy0Vj8VfrLcx6nZfLbZrIvTT0R2o4LCWij_00qZUS4kLIMS-egCyBUMTENje4eX1qhZxtruIoZljZ67VxRfVpXX8LxKkfJu_T5bhTSZgeAZiQ8E1I7RTr4J64ua9/s1600/0P6A5291.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;" title="Mack and Polly, in New Line Theatre's Threepenny Opera, 2015. Photo credit: Jill Ritter Lindberg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiHCCxB96u8fLH6jCcdy0Vj8VfrLcx6nZfLbZrIvTT0R2o4LCWij_00qZUS4kLIMS-egCyBUMTENje4eX1qhZxtruIoZljZ67VxRfVpXX8LxKkfJu_T5bhTSZgeAZiQ8E1I7RTr4J64ua9/s320/0P6A5291.jpg" /></a></div>
Despite what many people think, audiences do not want escape. More than anything, audiences want truth. They find human connection in that truth.<br />
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Escape is disconnection. That’s not what audiences want. That’s not what <i>Threepenny</i>’s bookwriter and lyricist Bertolt Brecht wanted. And it’s not what New Line does.<br />
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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.<br />
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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.<br />
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<i>No, we’re putting on a horror show</i>.<br />
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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. <i>Threepenny</i>’s central argument is that it’s not possible to be a moral or decent person, <i>and also survive</i>, in modern capitalism. And let’s be honest, for many people in America today, that is true, or at least nearly true. <br />
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In other words, like its descendants, <i>Bat Boy, Chicago, Cabaret</i>, and <i>Urinetown</i>, <i>Threepenny</i>’s agenda is to present a sociological (comic) horror story. It’s <i>Frankenstein</i>, but we are the mad scientist. Instead of zombies robbed of their humanity, these monsters are just regular people, just like you and me, <i>robbed of their humanity</i>. They’re not transformed into monsters by a supervillain or a radioactive spider, but <i>by us</i>, by the society that we are part of.<br />
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<i>We are to blame</i>, Brecht is saying. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpRpM1ygPni8TYFtwl7bywEgoJv9gu6UM_HIiLVfvfaAkHjIz9imkFHHmn7w3P-pFbMqyOz2sXDnewkQWcpOhRaPg1nTQFsBui0SK859SnOI5-gErxtWnc_wg_ui4WMTaknpGYRioQiTRH/s1600/0P6A5217.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;" title="Mack's gang, in New Line Theatre's Threepenny Opera, 2015. Photo credit: Jill Ritter Lindberg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpRpM1ygPni8TYFtwl7bywEgoJv9gu6UM_HIiLVfvfaAkHjIz9imkFHHmn7w3P-pFbMqyOz2sXDnewkQWcpOhRaPg1nTQFsBui0SK859SnOI5-gErxtWnc_wg_ui4WMTaknpGYRioQiTRH/s320/0P6A5217.jpg" /></a></div>
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, <i>Bonnie & Clyde</i> and <i>Jerry Springer the Opera</i>.<br />
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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. <i>Brecht and Elizabeth Warren</i>. He’s telling us that if we don’t want our world to look like <i>Threepenny</i>, 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... <br />
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Which is why the revivals of <i>Threepenny</i> keep coming. When Mack sings, “So listen closely to Mack the Knife,” he means it. <br />
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And we’d better hear him.<br />
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Scott Millerhttp://www.blogger.com/profile/03040182526474379719noreply@blogger.com0