American Idiot (2016)

music by Green Day
lyrics by Billie Joe Armstrong
book by Billie Joe Armstrong and Michael Mayer
March 3-26, 2016
Marcelle Theater
Show Webpage
Production Photos

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

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

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

REVIEWS

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

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

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

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

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

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

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

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

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

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

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

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

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

DIRECTOR'S NOTES

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

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

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

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

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

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

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

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

Just as our Hero Myths have taught us.

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

a world premiere concert
January 5-6, 2016
Sheldon Concert Hall

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

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

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

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

Heathers (2015)

book, music, and lyrics by
Laurence O’Keefe and Kevin Murphy
based on the film by Daniel Waters
October 1-24, 2015
Marcelle Theater
Show Webpage
Production Photos

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

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

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

REVIEWS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DIRECTOR'S NOTES

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

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

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

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

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

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

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

The Threepenny Opera (2015)

music by Kurt Weill
book and lyrics by Bertolt Brecht
American adaptation by Marc Blitzstein
May 28-June 20, 2015
Washington University South Campus Theatre
Show Webpage
Production Photos

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

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

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

REVIEWS

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

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

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

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

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

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

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

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

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

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

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

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

DIRECTOR'S NOTES

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

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

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

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

No, we’re putting on a horror show.

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

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

We are to blame, Brecht is saying.

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

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

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

And we’d better hear him.

Jerry Springer the Opera (2015)

music by Richard Thomas
book and lyrics by Stewart Lee and Richard Thomas
March 5-28, 2015
Washington University South Campus Theatre
Show Webpage
Production Photos

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

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

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

REVIEWS

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

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

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

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

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

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

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

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

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

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

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

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

DIRECTOR'S NOTES

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

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

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

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

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

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

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

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

Enjoy the ride.

Bonnie & Clyde (2014)

music by Frank Wildhorn
lyrics by Don Black
book by Ivan Menchell
October 2-25, 2014
Washington University South Campus Theatre
Show Webpage
Production Photos

THE CAST
Clyde Barrow – Matt Pentecost
Bonnie Parker – Larissa White
Marvin “Buck” Barrow – Brendan Ochs
Blanche Barrow – Sarah Porter
Ted Hinton – Reynaldo Arceno
Governor Miriam Ferguson – Mara Bollini
Sheriff Schmid – Christopher “Zany” Clark
Guard/Capt. Hamer – Kent Coffel
Preacher – Zachary Allen Farmer
Henry Barrow – Joel Hackbarth
Emma Parker – Alison Helmer
Eleanore – Ann Hier
Judge/Shopkeeper/Bank Teller – Marshall Jennings
Stella – Nellie Mitchell
Cumie Barrow/Trish – Kimi Short
Deputy Bud – Christopher Strawhun

THE NEW LINE BAND
Piano/Conductor – Jeffrey Richard Carter
Guitar – D. Mike Bauer
Violin – Nikki Glenn
Second Keyboard – Sue Goldford
Bass – Andrew Gurney
Percussion – Clancy Newell
Reeds – Robert Vinson

THE ARTISTIC STAFF
Directors – Scott Miller, Mike Dowdy
Directing Intern – Alex Glow
Music Director – Jeffrey Richard Carter
Stage Manager – Gabe Taylor
Scenic and Lighting Designer – Rob Lippert
Sound Designer – Tim Ceradsky
Costume Designers – Sarah Porter, Marcy Wiegert
Props Master – Kimi Short
Lighting Technician – Gabe Taylor
Box Office Manger – Luke Steingruby
Volunteer Coordinator – Alison Helmer
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

REVIEWS

“If you live in New York or London, you enjoy lots of opportunities to see new shows. . . In St. Louis, we have those opportunities as well – mostly because of Scott Miller, the artistic director of New Line Theatre. New Line has earned considerable attention over the years, originally for its scaled-down treatment of established musicals and in recent seasons for Miller’s smart presentation of rarely staged shows that are worth another look. Bonnie & Clyde is the latest of these offerings. . . The production’s directors, Miller and New Line associate artistic director Mike Dowdy, tell this morally bankrupt story with plenty of flair. Matt Pentecost, as the sweet-faced Clyde Barrow, and Larissa White, as slithery Bonnie Parker, deliver their songs with bold, in-the-spotlight bravura. . . The whole score is treated well by the bluesy combo under Jeffrey Carter.” – Judith Newmark, St. Louis Post-Dispatch

“You have to check out New Line’s current production of Bonnie & Clyde. You’ll be blown away by how engaging the story and characters are, and you’ll be humming the score as you walk out the doors because it’s just so incredibly and infectiously catchy. . . Directors Scott Miller and Mike Dowdy interpret this piece with considerable style and energy, and the entire cast is fully invested in their vision. Musical Director Jeffrey Richard Carter’s contributions are inestimable, as Frank Wildhorn’s delicious, genre-hopping, syncopated score gets completely stuck in your head. . . Don’t miss out on a chance to see New Line Theatre’s brilliant and tuneful production of Bonnie & Clyde. I guarantee you’ll be singing, whistling, or humming one of the songs from the score before the night is through.” -- Chris Gibson, BroadwayWorld

“New Line has once again seen the potential in an unappreciated show – and has given it a new and glorious life! . . . Bonnie & Clyde is a cool show, and yet another surprise from the company who knows how to keep their choices interesting. The entire cast does a terrific job in this public enemy period piece, bringing the story you think you knew to life through music and dance as only New Line can.” – Kevin Brackett, ReviewSTL

“A fast-paced, toe-tapping romp through the lives of these two outlaw lovers who captured the public’s fascination during America’s depression and made heroes out of two inept, small time thieves who eventually became killers as well. . . . Directors Scott Miller and Mike Dowdy bring it all together for another entertaining and fun-filled show. . . an evening that is full of surprises and multiple magic moments.” – Steve Allen, Stagedoor St. Louis

“A joy ride of infectious music . . . With fine source material, directors Scott Miller and Mike Dowdy harness the energy and intelligence of their cast, coupled with the crackling chemistry between title performers Larissa White and Matt Pentecost, for an evening of engaging and thoughtful entertainment. . . Perhaps New Line has mounted a superior production to the Broadway version, because this buoyant, captivating rendition makes it puzzling to understand why Bonnie & Clyde met such a quick death on the Great White Way.” – Mark Bretz, Ladue News

“Bonnie & Clyde starts off New Line Theatre’s 24th season with a bang and some exciting new stars, notably Larissa White, Matt Pentecost and Brendan Ochs as well as giving relative newcomer Rey Arceno another opportunity to shine. If you haven’t checked out a New Line show yet this would be a great place to start.” – Jeff Ritter, Critical Blast

“A sure-fire hit. . . Bonnie & Clyde is New Line’s latest project, and with its excellent cast and dynamic, colorful staging, it proves to be a surprisingly resounding success. . . I’ve come to expect excellence from New Line, and my expectations have been met and exceeded by this impressive and memorable production. I like being surprised by great performances, and there are quite a few in this show. Bonnie & Clyde is a show that’s compelling even as it’s unsettling and not a little disturbing, as two charismatic but unashamedly corrupt people rise to prominence quickly and then, even more quickly, fall. It’s a truly memorable production.” – Michelle Kenyon, Snoop’s Theatre Thoughts

“Action alternates with introspection in the book by Ivan Menchell, as these folk heroes, their families and crime sprees are vividly brought to life by a superb cast. . . Bonnie and Clyde’s two years together are now part of American folklore, and New Line’s take makes the characters indelible.” – Lynn Venhaus, Belleville News-Democrat

“Fast-paced and lively (though it begins with a pair of gruesome deaths), the musicalization of these famous bank robbers delivers a reckless kind of delight, almost in spite of itself. . . [It] captures the deep moral friction of Texas and the suffering of the Depression, bristling all the while with the sharp elbows of defiance. It’s full of fine love songs (appropriate to the era), and songs of rebellion and dire warning too. But it’s also a tragedy without remorse, and a comedy full of consequence. . .” – Richard Green, TalkinBroadway

“Painstakingly directed by Scott Miller and Mike Dowdy, the New Line cast brings real soul to Frank Wildhorn’s rockabilly- and gospel-inflected score. . . With lyrics by Don Black and book by Ivan Menchell, the performance is rounded out by a strong ensemble cast . . Rob Lippert’s smart set and creative lighting combine with several provocative directorial touches by Miller and Dowdy. . . This streamlined version of the tale makes for a fun, albeit gory, night of theater. . . This Bonnie & Clyde should be on anyone’s Most Wanted list.” – Malcolm Gay, The Riverfront Times

“This production was fascinating to watch. . . the performances were powerful . . . When a production of this caliber can make me care less about playoff baseball, that is saying something.” – Jim Ryan, BoomSTL

“Tight and strong. . . While the huge appeal of the underlying story of Bonnie and Clyde largely escapes me, when it's treated as well as it is here, it does make a good show.” – Bob Wilcox, KDHX

“What better local company to snatch this show up and give it a fresh perspective, as it’s done many times in the past, than New Line Theatre? . . . Under Jeffrey Richard Carter’s musical direction, the New Line Band is tight, handling Wildhorn’s score of depression-era blues, folk, gospel and rockabilly superbly. . . These details, along with Scott Miller and Mike Dowdy’s precise direction, work together seamlessly. Seeing this production makes it hard to understand why it didn’t last longer in NYC.” – Andrea Torrence, St. Louis Theatre Snob

DIRECTOR'S NOTES

Why do we all know the names Bonnie and Clyde? Hype.

Bonnie and Clyde weren't particularly competent criminals. They made a lot of mistakes. They left a lot of robberies with nothing to show for it. And they only rarely robbed banks; mostly, it was little mom-and-pop grocery stores and gas stations, often leaving robberies with as little as five or ten dollars.

So how did these half-assed kid-criminals get to be as famous as the “professionals” like Al Capone or John Dillinger? The media. There were two ways to be famous in America in the 1930s. You had to get in the papers or on the screen. In the opening number of Bonnie & Clyde, Bonnie chooses the screen, and Clyde chooses the papers. As it turned out, what really did the trick was Bonnie's poems – the newspapers published anything she gave them, and that's ultimately what made them stars.

Personally, I think the main reason they became more famous than other gangsters is that they were Just Two Wild Kids in Love. None of the other outlaws of the period had a story like that. (Can’t you see Mary Sunshine from Chicago writing about them?) Just imagine Bonnie and Clyde in today's über-saturated media environment. They'd be uploading videos to YouTube twice a day and live-tweeting their robberies. And the FBI would be tracking the GPS on their car because Clyde hadn't thought about that...

This version of the famous story leaves out a lot of things and people, because this isn't historical biography; this is a fable. And the moral of the fable is: A broken country creates broken people with broken values. Like Assassins, this is a show not about historical accuracy as much as emotional authenticity. Documentaries focus on details; this story is about the emotional state of our country during these dark times.

This isn't a love story, either; it’s a story about the unintended creation of criminals. The horror and despair of their lives have molded these damaged, dangerous kids, who can see only one crooked path to any kind of happiness or security in this dystopian America; and they're ill-equipped either to legitimately make their own way, or really, even to be all that good at crime. Because they're essentially children. Emotionally, socially, morally, psychologically, everything but physically, they're children. Continually fed a religion that no longer seems relevant, Bonnie and Clyde have no moral compass, no role models, just the hell-for-leather all-American pursuit of happiness.

At the expense of everyone else. That part Jefferson left out. Clyde brushes up against morality a couple times, but it baffles him. That part of him is broken. Or was never formed. You might say our story tonight is a horror fable, as scary as anything the Grimm Brothers gave us, about how America produced these two monsters and how they would be abandoned by their makers: a socio-economic Frankenstein story of the Great Depression, and a cautionary tale for us today about ever increasing income inequality...

Hands on a Hardbody (2014)

music by Trey Anastasio and Amanda Green
lyrics by Amanda Green
book by Doug Wright
based on the documentary film by S. R. Bindler
May 29-June 21, 2014
Washington University South Campus Theatre
Show Webpage
Production Photos

THE CAST
Jesus Peña – Reynaldo Arceno
Mike Ferris – Mike Dowdy
Janis Curtis – Cindy Duggan
Frank Nugent – Zachary Allen Farmer
Greg Wilhote – Ryan Foizey
Virginia Drew – Alison Helmer
Ronald McCowan – Marshall Jennings
Heather Stovall – Taylor Pietz
JD Drew – Todd Schaefer
Norma Valverde – Anna Skidis
Cindy Barnes – Margeau Baue Steinau
Chris Alvaro – Luke Steingruby
Don Curtis – Keith Thompson
Kelli Mangrum – Marcy Wiegert
Benny Perkins – Jeffrey M. Wright

THE NEW LINE BAND
Piano/Conductor – Sue Goldford
Guitar – D. Mike Bauer
Cello – Emily Ebrecht
Violin – Nikki Glenn
Bass – Andrew Gurney
Second Keyboard – Joel Hackbarth
Percussion – Clancy Newell

THE ARTISTIC STAFF
Director – Scott Miller
Assistant Director – Mike Dowdy
Stage Manager – Gabe Taylor
Scenic Designer – Rob Lippert
The Truck – Rob Lippert, Patrick Donnigan, Melanie Kozak,Shelley Francis, Kathleen Dwyer
Sound Designer – Kerrie Mondy
Costume Designers – Sarah Porter, Marcy Wiegert
Lighting Designer – Kenneth Zinkl
Props Master – Kimi Short
Lighting Technician – Gabe Taylor
Box Office Manager – Christopher "Zany" Clark
Volunteer Coordinator – Alison Helmer
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

REVIEWS

“The songs in this musical are so damn good. It’s hard to find the words that will truly do them justice. . . With great music, a talented cast and a tremendous group of creatives, Hands on a Hardbody is the surprise hit of the year. There’s something in it for everyone, and surely some aspect to relate with. Whether it’s a truck, or something else your chasing, you’ve got to ‘just keep holding on.’” – Kevin Brackett, ReviewSTL

“In the case of the musical Hands on a Hardbody, story, music and production all come together seamlessly in New Line Theatre’s brilliant and captivating presentation. . . considering that most of the performers spend most of their time literally standing around that cynosure vehicle, Hands on a Hardbody is deceptively exhilarating. . . If you like many musical styles all done impeccably, take this production for a test run.” – Mark Bretz, Ladue News

“Looking over a list of New Line Theatre’s shows for the past 23 years is a very telling experience. This is a group dedicated to restoring the old and embracing the new. That’s why their current production of Hands on a Hardbody shouldn’t shock you that it’s so damn good (it really is), because this is exactly what they do so well. They take something tuneful and different, perform it enthusiastically in an intimate environment, and the audience is rewarded with a fresh and invigorating experience. Go see Hands on a Hardbody now!” – Chris Gibson, BroadwayWorld

“Because of its big heart and real story, the theatrical experience is refreshing, an antithesis of spectacle. It’s warm, funny and touching – clever showcasing, compassionate writing by Pulitzer Prize-winning Doug Wright and pleasing songs by Tony nominees Trey Anastasio and Amanda Green. . . This production features a vitality and nobility that makes it a must-see. You might not have heard of this show, but you definitely won’t forget it.” – Lynn Venhaus, Belleville News-Democrat

“The tender and often funny show comes off as the little show that could. There is nothing huge about it, except it’s packed with emotion and originality, and is a true treat for seasoned or new theater goers alike. Even the cynical will enjoy it. . . Perhaps this clever and heartfelt show—that treats its characters with the utmost respect—never belonged on the Great White Way. It definitely belongs at New Line.” – Christopher Reilly, Alive Magazine

“This bittersweet musical considers the fragile state of the American Dream in the 21st century, with heartfelt songs and familiar characters. . . The result is a solid production, resonating with simple truths and honest, realistic characters who manage to find silver linings in their struggles. . . Scott Miller’s sharp eye and sure direction keep the show visually interesting; with a surprising amount of action considering most of the cast keeps one hand firmly planted on the large truck center stage. The result is an emotionally compelling show that pays tribute to the resilient spirit of the American people without relying on the potentially false promise of the American Dream.” – Tina Farmer, KDHX

“Director Scott Miller has a knack for bringing renewed life to musicals, old and new, and Hardbody is no exception. Sucking you in from the first extended number, ‘It’s a Human Drama Thing,’ . . Your heart breaks a little each time someone takes their hand off of that truck. Go see it.” – Andrea Torrence, St. Louis Theatre Snob

“It’s a pretty sure bet that in the next five years or so, we’ll all have some gizmo called Google Maps of the Soul. And with that app, whenever you’re heading for abstract locations like the intersection of Hope and Despair, you can know about it well before you ever hit the off-ramp. The same advance notice would apply to the cerebral cross-streets of Laughter and Tears, and Faith and Skepticism, as well. But till then, you can just bookmark all those cataclysmic mental latitudes (with a lot of delicious jokes and songs, too) by making one stop at the regional premiere of Hands on a Hardbody, under the surprisingly lithe and dynamic direction of New Line Theatre’s artistic chief Scott Miller. . . And at precisely that moment, you realize you have reached your psychological destination: a crossroads of where we were, and where thought we had been going.” – Richard Green, TalkinBroadway

“With some catchy songs, a strong cast and excellent staging, New Line brings this show to life in vibrant, life-affirming style. . . It’s a stirring story of friendship, love, faith, disillusionment, fear, economic hardship, and the ever-enduring sense of hope that there’s something better down the road. . . It’s a vibrant, energetic, and deeply compelling production with characters just as full of vibrant color as the truck they are all vying for. Although that truck can ultimately only go to one person, everyone is a winner in the long run, and that includes the audience of this big, shiny, colorful prize of a show.” – Michelle Kenyon, Snoop’s Theatre Thoughts

“Last year, Hands on a Hardbody had just a short run on Broadway. New Line – which took similar chances on High Fidelity and Cry-Baby – gives the show its first production since then. Prediction: It won’t be the last.” – Judith Newmark, St. Louis Post-Dispatch

“It’s been my experience that any musical in which lyricist and composer Amanda Green is involved is always a ton of fun. . . That seems to be Scott Miller’s specialty, finding discarded musicals in the Broadway junkyard, like High Fidelity, and turning them into regional theatre gold. Amanda Green was present for the opening performance and she appeared to enjoy herself immensely. Of course it’s easy to enjoy a production featuring so many of the top voices in the St. Louis theatre scene today.” – Jeff Ritter, The Trades

“There are plenty of bright spots to this quirky show, which, judging from the standing ovation it received Friday night, succeeds on the passion of its cast and singularity of its execution.” – Malcolm Gay, The Riverfront Times

DIRECTOR'S NOTES

Hands on a Hardbody is about a real-life contest that went on for years in East Texas, in which the last person standing with their hand on a pickup truck, often after three or four days, wins it. The contest ended after 2005, when one of the contestants lost, went across the street, broke into a Kmart and shot himself in the head.

Talk about high stakes.

But our story isn’t really about the truck. It’s about the American middle class struggling to climb out of the massive, seemingly inescapable hole that our government threw us into in the 1980s and again in the early 2000s. And it’s also about what makes us Americans – attitude, grit, bravado, stubbornness, contradiction, self-delusion, toughness, aggressiveness, appetite, commitment, authenticity. These people are America.

This is a character study of our country.

But it’s not just about economic salvation; it’s also about the salvation of dignity. Many of these people have had their dignity taken away from them, by Reaganomics (in the original 1997 documentary) or the 2008 recession (in the musical). This contest is a chance to reclaim that lost dignity.

At first, I thought this was a story about holding on, hanging tough. But now I see that, even more, it’s about what we value, a very timely topic in these tough times. Every one of these contestants thinks this truck is incredibly important, their salvation, their only hope. In the first two songs in the show, they each tell us how high the stakes are for them, how desperately they need to win, how it will change or even save their lives. But then all but one of them lose, and we find out in the last song that they were wrong about the truck.

The truck wasn’t the point after all, they discover. It’s the journey, not the destination; the ordeal, the striving, that teaches them what they need to learn. On the other hand, many of them wouldn’t take this journey (ironically enough, by standing around a truck that never goes anywhere), if not for this contest and this truck. In a way, none of them really needs to win the truck, but they all need the truck to find what they are missing.

The contest shows them that they were on the wrong path. They were valuing things and ultimately, they all learn that people – simple human connections – matter more.

Benny is right, after all; it is a human drama thing.

Rent (2014)

book, music, and lyrics by Jonathan Larson
original concept/additional lyrics by Billy Aronson
based on the novel Scenes de la Vie de Bohème by Henri Murger
March 6-29, 2014
Washington University South Campus Theatre
Show Webpage
Production Photos

THE CAST
Mark Cohen – Jeremy Hyatt
Roger Davis – Evan Fornachon
Angel Dumott Schunard – Luke Steingruby
Tom Collins – Marshall Jennings
Mimi Marquez – Anna Skidis
Maureen Johnson – Sarah Porter
Joanne Jefferson – Cody LaShea
Benjamin Coffin III – Shawn Bowers
Paul, Waiter, “Christmas Bells” soloist, et al. – Kevin Corpuz
Mr. Jefferson, The Man, et al. – Robert Lee Davis III
Gordon, “Seasons of Love” soloist, et al. – Zachary Allen Farmer
Steve, vender, Pastor, et al. – Ryan Foizey
Alexi Darling, Back-Up Singer, et al. – Wendy Greenwood
Angry Lady, “Seasons of Love” soloist, et al. – Melissa Harris
Mrs. Jefferson, et al. – Nellie Mitchell
Mrs. Cohen, Pam, Back-Up Singer, et al. – Marcy Wiegert

THE NEW LINE BAND
Piano/Conductor – Justin Smolik
Lead Guitar – D. Mike Bauer
Bass – Vince Clark
Rhythm Guitar – Aaron Doerr
Percussion – Clancy Newell

THE ARTISTIC STAFF
Director – Scott Miller
Assistant Director – Mike Dowdy
Music Director – Justin Smolik
“Tango: Maureen” Choreographer – Robin Michelle Berger
Scenic and Lighting Designer – Rob Lippert
Costume Designers – Sarah Porter, Marcy Wiegert
Sound Designer – Kerrie Mondy
Scenic Painters – Melanie Kozak, Sharon Russell, Gary Karasek
Graffiti Artists – William Wade, Kathleen Dwyer, Mitchell Matthews, Justin Foizey
Stage Manager – Gabe Taylor
Props Master – Alison Helmer
Lighting Technician – Gabe Taylor
Box Office Manager – Kim Avants
Volunteer Coordinator – Ann Stinebaker
Graphic Designer – Matt Reedy
Photographer – Jill Ritter Lindberg

REVIEWS

“So how did co-directors Scott Miller and Mike Dowdy craft the hard-faceted and brilliant gem of a show I saw Friday night from the detritus that is Rent? The mind reels. Theirs is a Rent that is sharp, incisive and viscerally moving. These characters matter; their struggles to find themselves in the wastelands of their early twenties are a potent reminder of what it's like to feel lost in your own life, and that even small steps toward maturity can feel immense. In Miller and Dowdy's hands, Rent is a show that deserves every bit of its formidable reputation as the musical that revivified musicals for the next generation. . . It is a masterpiece of stagecraft, a composition as visually stunning as it is sonically powerful.” – Paul Friswold, The Riverfront Times

“Jonathan Larson's 1996 rock musical unfolds to epic proportions in this lively new production. It's also sweet and funny and beautiful, under the direction of Scott Miller. . . It almost seems Mr. Miller is choosing his seasons nowadays for sheer emotional complexity, along with New Line's usual focus on strong musicianship. And the results have been enthralling. Rent continues the company's recent trend of bringing stunning characters furiously to life, in all their contradictions.” – Richard Green, TalkinBroadway

"An intimate, emotionally charged production filled with memorable performances. . . Director Scott Miller and assistant Mike Dowdy have assembled a uniformly talented, fearless cast, and the two excel in pulling out the small moments that illuminate character development. The presence of a guiding hand is clear throughout the production, yet the movements and character nuances feel almost organic, as if each actor pulled his or her role from the inside out. The result is a unified cast that creates a truly bohemian community on the stage. And this feeling is intensified in the group numbers, where layered harmonies blend seamlessly, rising and falling with the emotion of the story." – Tina Farmer, KDHX

“With the current local production of Rent, the question was could New Line Theatre show me something the national tour hadn’t? The answer came last Saturday night: Yes. Yes, they could. . . Undoubtedly, the intimacy of a small production helps to make the story more sincere, but it’s more than that. Director Scott Miller has removed sole focus on a handful of characters to focus on the cast as a whole, and this helps to view the work as a singular organism, with a singular meaning and purpose. Even the music seemed better, with the excellent voices and performances by the cast and the New Line band under the direction of Justin Smolik, two things you can always count on at New Line. . . Everything works together throughout the entire production, top to bottom, for a powerhouse evening of theater.” – Christopher Reilly, Alive Magazine

“If you think you've seen Rent before, you really haven't. . . This is a must-see show, and I cannot recommend it highly enough. . . Scott Miller's direction, with the able assistance of Mike Dowdy, is a revelation. . . Rent is a modern classic, and New Line's wonderful production shows us why.” – Chris Gibson, BroadwayWorld

“This Rent has a completely different vibe from the big show that toured the country. Intimate and raw, this production makes the story coherent and the music effective, instead of merely loud. Yes, size matters – but not in the way we usually think it does.” – Judith Newmark, St. Louis Post-Dispatch

“Leave it to New Line Theater to give this seminal work a fresh spin. The result is an electric, enthralling presentation of the landmark Pulitzer-Prize, Tony-winning musical that ran for 12 years on Broadway. . . [The actors'] zeal propelled the show's intensity, and it seemed like we were seeing some of these characters for the first time.” – Lynn Venhaus, Belleville News-Democrat

“The new concept and the advantage of intimacy that New Line always offers, makes this one a big, fat hit. . . It’s a total effort that shows the diversity and depth of New Line talent. Scott Miller has once again put his personal stamp on a classic show and it turns out to be yet another audience pleaser. . . this score is pulsating, tender and just a pure delight. Now we have a production that matches these great songs and makes you actually like the people who populate the show. This one’s a big hit, folks.” – Steve Allen, Stagedoor St. Louis

“I was admittedly one of those folks who didn't get all the hype around Rent after I saw it for the first time several years ago. Well, now I get it. The characters this time around, though dealing with major issues that would be tough for anyone, have an affable quality that was lacking the last time I saw it. Could it be because seeing a show like this in New Line's intimate space makes the theatre experience not just something you see, but something you feel? Yes. But it's also New Line's artistic director, Scott Miller's knack for gaining a deep understanding of whatever he puts his hands on, and translating that to his cast, who in turn translate that to us, reaching out to the audience, in this case literally, with invigorating connection. way better than the touring production. There. I said it.” – Andrea Torrence, St. Louis Theatre Snob

“Rent is being performed by New Line Theatre to sold-out houses, including a most appreciative audience. . . Seeing Rent up close and personal at New Line’s theater is a definite improvement over the more impersonal venue at The Fox, where touring companies have done the show with seemingly less impact.” – Mark Bretz, Ladue News

“I’m glad directors Scott Miller and Mike Dowdy have chosen to follow their own vision for the show. New Line’s version is full of youth and energy. It’s also staged with a sense of immediacy that brings a lot of life to the show. Although the passage of time has turned Rent into something of a period piece, New Line doesn’t treat it that way, and that’s as it should be. It’s an iconic show made achingly real, with all the truth and energy brought along with its humanity. It may have taken New Line many years to finally do this show, but this production is well worth that wait.” – Snoop’s Theatre Thoughts (local blogger)

“As a first-time observer of this story, there was a lot to take in. Rent is the kind of show that rewards its audience with repeated viewings. I could see the show five more times and discover some new facet that I completely overlooked each time before. It’s complex, funny, dark, thought-provoking and ultimately very entertaining.” – Jeff Ritter, The Trades

DIRECTOR'S NOTES

Since we first announced Rent, several people have said to me some variation of “I hate Rent. Those characters are all selfish, whiny brats!” These people are not entirely wrong. But they’re also missing a lot.

This is a coming-of-age story, and so it requires a central character (or characters) who have not yet come of age. If the kids in Rent were all well-adjusted and wise, there’d be no story to tell. Remember what a whiny bitch Luke Skywalker is when we first meet him on Tatooine? And though we don’t really see it, it’s strongly implied early in The Wizard of Oz that Dorothy is a real pain in the ass too. And really, the whole point of High Fidelity is that Rob’s a dick, and he needs to grow up and stop being a dick.

Every protagonist in every story has to learn something. In Rent, these kids need to learn to see beyond their own selves, their own lives, their own immediate wants; to learn that we’re all interconnected, we’re all responsible for each other, or as Sondheim put it so elegantly, “Careful, no one is alone.”

I have this theory that the people who hate Rent see their younger selves in these characters and they don’t like that. After all, most of us are whiny and selfish when you’re young (and we artsies can be the worst); we all still have growing up left to do at that age. On the other hand, several of the central characters in Rent are dealing with much bigger issues than nineteen- or twenty-year-olds should face – AIDS, death, suicide, drug addiction, dangerous streets, etc. How many college-age kids ever grapple with anything like that?

 Hero Myth stories like this work because we instinctively recognize the elements of the story, even if only subconsciously, as elements of our own lives. The hero’s journey is always a metaphor for living a human life.

Angel is the wise wizard in this collective hero myth. She’s almost other-worldly in her Zen-like understanding of the world around her, her wisdom, her compassion. She’s there to teach the others (and us) a valuable lesson, to see the world in terms of what we can give instead of what we can get. Angel teaches her friends to be more Christ-like.

After all, Rent is about “the least of these,” the poor, the outcasts, the sick, the rejected – you know, the folks Jesus hung out with. For much of the twentieth century, Alphabet City has been where mainstream society’s rejects form their own community, their own support system, to some extent even their own economy. It’s the place where Mark can toast, “To being an us for once, instead of them.” It’s a place where Mark can ask, “Is anyone in the mainstream?” because he knows the answer is no. Not here.

Maybe the most potent part of the magic of Rent is that its production requires the same kind of community the show depicts. Any cast of Rent has to be, by Jonathan Larson’s design, racially and sexually diverse. And that’s why performing and watching Rent can be so powerful – the sense of community and the intense emotions aren’t just realistic; they’re real. The actors aren’t just portraying all that; they’re living it onstage.

And we’re living it with them.