Archive for March, 2025

“Kimberly Akimbo” at the Fox is a Lively, Unconventional Story

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on March 27, 2025| Leave a Comment »

Kimberly Akimbo
Book and Lyrics by David Lindsay-Abaire, Music by Jeanine Tesori
Directed by Jessica Stone
Choreographed by Danny Mefford
The Fox Theatre
March 25, 2025

Cast of Kimberly Akimbo
Photo by Joan Marcus
Kimberly Akimbo US Tour

Kimberly Akimbo is a much-lauded musical that won various accolades for its Broadway run, including the Tony Award for Best Musical. When I heard the tour was coming to the Fox, I was especially looking forward to seeing it, since I had heard so many good things about it. After seeing this unique, small-ish show with big ambitions, I can say that, for the most part, it lives up to the hype, at least in terms of quality. I have a few reservations about some of the characters and plot itself, but there’s no denying that this show has a lot of enthusiasm and heart, and the tour has a truly wonderful cast. 

Kimberly (Carolee Carmello) is a teenage girl with a rare genetic condition that makes her age rapidly so that she looks like an older woman. She has recently moved to a new town in New Jersey with her parents, Pattie (Laura Woyasz)–who is expecting a new baby–and Buddy (Jim Hogan). She also has a shady Aunt Debra (Emily Koch), who her parents are trying to flee, but who manages to find them. Kim attends high school and goes skating at a local skating rink, forming a friendship with the geeky Seth (Miguel Gil) in the process. There’s also a group of teens involved in the school show choir (Grace Capeless as Delia, Darron Hayes as Martin, Skye Alyssa Friedman as Teresa, and Pierce Wheeler as Aaron) who soon become closer with Kim and Seth and get roped into Debra’s latest “slightly illegal” scheme. As Kim approaches her 16th birthday and the parents await a new baby, and the teenagers wait to grow up so they can move on from the awkward high school years, the plot tension grows as Debra continues to scheme but Kim has her own ideas of how to go about it. 

The overall themes of aging–and the fact that the most immature characters are the adults, who seem to have more lessons to learn than the teens–work in with the overall “make the most of your life while you’re living it” theme, and there are some especially insightful moments particularly between Kim, Seth, and the other teenagers. The adult characters can be difficult to like, considering how self-focused they are–but they do have their moments as well. Some of the biggest musical moments are from Debra, and the talented Koch makes the most of these moments with an excellent, powerful voice and strong comic timing, but I do find her plot a bit unsatisfying ultimately, and find myself hoping that Buddy and Pattie–also excellently played by Hogan and Woyasz–do become better parents in the future. Still, the real heart of this show is Kim, Seth, and their high school classmates, and casting there is also fantastic. Carmello makes me forget she’s not actually 16 for most of the play, with her quirky, persistent hopefulness and determination. She’s also well-matched by Gil in a goofily charming turn as Seth. Capeless, Hayes, Friedman, and Wheeler are also marvelous and relatable as the show-choir kids, with strong harmonies in the musical numbers. Also, Danny Mefford’s clever choreography adds a gawky energy to the teens’ dance numbers that’s effectively in keeping with their characters and story.

The set, by David Zinn, is detailed and dynamic, aided by Lucy McKinnon’s video design. There are also colorful, characterful costumes by Sarah Laux, and strong hair, wig, and makeup design by J. Jared Janas. Jeanette Oi-Suk Yew’s lighting is also fantastic, but there are some difficulties with the sound in moments. The orchestra, led by conductor Leigh Delano, lends energy and emotion to the memorable Jeanine Tesori score, as well.

Overall, Kimberly Akimbo is a fascinating, entertaining show with a fantastic score and a great cast. I find it difficult to care much about the adult characters at times, but the teen characters are its heart and soul, especially Kimberly herself. There are many relatable high school moments here, and the themes of making the most of life and taking responsibility are important. I can see why it has resonated with so many fans. I’m glad I was able to see this fantastic touring production at the Fox. 

Carolee Carmello, Miguel Gil
Photo by Joan Marcus
Kimberly Akimbo US Tour

The US Tour of Kimberly Akimbo is playing at the Fox Theatre until April 6, 2025

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“Sherwood” is Swashbuckling, Action-Packed Fun at the Rep

Posted in St Louis Theatre, tagged , , , , , , , , on March 22, 2025| 1 Comment »

Ken Ludwig’s Sherwood: The Adventures of Robin Hood
by Ken Ludwig
Directed by Kate Bergstrom
Repertory Theatre of St. Louis
March 21, 2025

Matt Lytle, Jayne McLendon, Michael James Reed, CB Brown, Louis Reyes McWilliams
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is closing out its 2024-2025 season with a wildly entertaining bit of adventurous fun. With nods to the classic story, filmed versions, and especially Monty Python, Ken Ludwig’s Sherwood: The Adventures of Robin Hood is a hilarious, engaging adventure from start to finish. With vivid, whimsical storybook-styling and an enthusiastic, well-chosen cast, this is a show that’s a delight for all ages. 

The Robin Hood story has been told many times in various forms, and the marvelous, vividly realized set by Lindsay Mummert and Courtney O’Neill evokes a giant pop-up storybook surmounted by a massive oak tree. The cast led by Michael James Reed’s Friar Tuck, who narrates much of the story, introduces us to the story of the titular hero, Robin Hood (Louis Reyes McWilliams) in the middle of the action, as he’s about to be executed by the government of the greedy Prince John (Eric Dean White),  conducted by the vain Sir Guy of Gisbourne (Matt Lytle), but then the story flashes back to the very beginning, as Robin of Locksley is born and grows up as a member of the nobility and is soon made aware of the oppression of the Saxons by the Norman conquerors. Upon saving the lives of a miller and his daughter, Deorwynn (Fabiola Cabrera-Davila), Robin starts on a mission to right wrongs and help the poor and oppressed throughout England, rousing the ire of Prince John, Sir Guy, and Sir Guy’s henchman, the foppish Sheriff of Nottingham (David Weynand). Along the way, Robin draws a following, making friends with Friar Tuck along with Little John (CB Brown), and others, and becomes reacquainted with his childhood friend Maid Marian (Jayne McLendon), who had been sent away to France and has returned having become an expert archer and involved in a situation that makes things more complicated for both her and Robin. As the story progresses, many of the familiar Robin Hood tales are told, and adventure ensues as Robin and his merry band lead the fight for justice for the poor and wait for the return of the absent King Richard. 

The tone of this show is decidedly comic, although there are occasional moments of heartfelt drama. The style takes a fair amount of influence from Monty Python specifically, with one hilarious direct nod that I won’t spoil, but that audiences familiar with the source will recognize as soon as they see it. The characterizations are broad and not exactly caricatures, but with the villains veering more into that territory than the heroes, which provides great comic fodder for the actors. Lytle, Weynand, and White especially seem to be having a marvelous time hamming it up in villainous ways, but the heroes also have their moments to shine, led by McWilliams in a heroic turn as Robin and McLendon as the fiery, gutsy Marian who is in every way Robin’s match. Reed, Brown, and Cabrera-Davila also turn in strong, characterful performances, ably supported by Oriana Lada in a variety of roles and DeAnté Bryant as Troubadour, accompanying the cast on guitar as the story goes along.

There’s a lot of music in this show, actually, composed in a traditional folk-style by music director Colin McLaughlin and played and sung throughout the show by various cast members. There’s also dynamic fight choreography by Rachel Lee Flasher and Zachariah Payne, who also serve as intimacy choreographers. The glorious set is augmented well by means of Christina Watanabe’s excellent lighting and Amanda Werre’s proficient sound design. The costumes, by Dottie Marshall Englis, are meticulously crafted and colorful, fitting in with the overall whimsical tone of the show and working well with the aforementioned stunningly realized set. 

In no uncertain terms, Sherwood is simply a hilarious, adventurous romp through the forest, with an adventurous spirit and an enthusiastic cast that gives this production an extra dose of warmth, charm, and chaotic energy. It’s a comedic triumph for director Kate Bergstrom and the entire cast and crew. There’s even a clever use of audience participation at various points, providing even more enjoyment to this bold and simply fun adventure in Sherwood Forest. 

Matt Lytle, David Weynand
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ken Ludwig’s Sherwood: The Adventures of Robin Hood until April 13, 2025

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“Cabaret” Captivates, Challenges With Memorable Staging at NJT

Posted in St Louis Theatre on March 22, 2025| Leave a Comment »

Cabaret
Book by Joe Masteroff, Based on the play by John Van Druten and Stories by Christopher Isherwood
Music by John Kander, Lyrics by Fred Ebb
Directed by Rebekah Scallet
Choreographed by Ellen Isom
New Jewish Theatre
March 20, 2025

Jayson Heil, Lillian Cooper, Spencer Davis Milford, Hailey Medrano, Otto Klemp, Caroline Pillow
Photo by Jon Gitchoff
New Jewish Theatre

Cabaret is a classic musical that continues to entertain, disturb, and challenge all at the same time, in every production of it I have seen. The latest production at the New Jewish Theatre is the third live production of this show I’ve watched, with the two previous stagings also being from local theatre companies. Considering all three I’ve seen, along with Bob Fosse’s 1972 film, I’ve noticed how well this show works through various incarnations and directors’ visions. At NJT, the emphasis seems more on realism and drama, and it works especially well, considering the strong cast and semi-immersive production values that make for an alternately entertaining, disturbing, and challenging evening of theatre.

If you’re familiar with any version of Cabaret, you know the basic story and setting. It’s Berlin in the late 1920’s, at a seedy nightclub called the Kit Kat Club. The club highlights the party atmosphere of 1920s Germany while also providing commentary on the changing times, as the Nazi party rises to power and threatens to take over. As the theatrical Emcee (Spencer Davis Milford) holds court at the Kit Kat Club, American writer Cliff Bradshaw (Dustin Lane Petrillo) arrives in town looking for inspiration for his next novel, and finds stimulation–intellectual and otherwise–in the Berlin nightlife. Staying at a boarding house run by Fraulein Schneider (Jane Paradise) recommended by his mysterious new friend Ernst Ludwig (Aaron Fischer), Cliff absorbs the atmosphere of Berlin and the Kit Kat Club, striking up a friendship with English nightclub performer Sally Bowles (Hailey Medrano), who imposes herself on Cliff as a roommate when she finds herself suddenly in need of housing. As their relationship builds and evolves, we see the increasingly ominous situation building for all characters, as the political climate starts to shift, Fraulein Schneider strikes up a relationship with kindly Jewish fruit merchant Herr Schultz (Dave Coopertstein) while dealing with difficult tenant Fraulein Kost (Caroline Pillow), and Ernst offers Cliff an alternative way of making money that soon reveals Ernst’s true intentions. Meanwhile, the routines at the Kit Kat Club continue, offering entertainment as well as a commentary on the times, as the world-changing events become more and more inevitable. 

The Kit Kat Club routines can be more or less gritty or stylized depending on the production, and here there’s a balance that lends more on the gritty side while still maintaining a level of gloss. Milford’s Emcee is welcoming and entertaining but with a palpable air of danger about him, and Milford is fantastic in the role, singing and dancing up a storm while leading the terrific ensemble (Jayson Heil, Otto Klemp, Amarachi Kalu, and Lillian Cooper, in addition to the rest of the cast who join in at times). Medrano, as Sally, is also marvelous, selling the musical numbers while also coming across as credibly desperate and not exactly a “star” in the world of the play. Petrillo gives a commendable performance as Cliff, as well, considering this is often a fairly thankless role, and Petrillo provides a strong sense of personality and chemistry with Medrano and his other co-stars to provide an ideal “point-of-view” character for the rest of the proceedings. Paradise and Cooperstein are also especially strong in their compelling and bittersweet subplot, with especially strong singing from Paradise. There are also memorable turns from Fischer as the enigmatic Ernst and Pillow as the lascivious, conniving Fraulein Kost. The whole ensemble is excellent, working well in the production numbers, and with Heil, Klemp, and Kalu ably joining in with the band  as needed on violin, clarinet, and flute respectively. 

The band, led by musical director Carter Haney, is especially strong, essentially included as characters in the show and shining in the Kit Kat Club performances especially. The set by David Blake is nothing short of fantastic, as well, with a realistic two-level nightclub setting featuring a few tables in the audience as well, and allowing for the backstage and boarding house scenes well by means of moving furniture pieces. There are also richly detailed costumes by Michele Friedman Siler that contribute much to the overall atmosphere and character of the show, aided by Denisse Chavez’s excellent lighting and Justin Smith’s equally impressive sound design. There’s also dynamic choreography by Ellen Isom that adds much value to the memorable production numbers. 

Cabaret is a heavy show, with a heavy subject matter, although with the excellent script, memorable Kander and Ebb songs, and nightclub setting, it’s uniquely entertaining, as well. It’s a one-of-a-kind show, but also inherently adaptable depending on the director and casting. It works especially well at NJT, where its message is made all the more timely in its immediacy and sense of realism. This is a historical story with a specific time, place, and situation, but there’s an overarching theme that this kind of situation can happen in any time, any place. This production manages to emphasize both the historical setting and the timeless theme. It’s definitely a must-see. 

Jane Paradise, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Cabaret at the J’s Wool Studio Theatre until April 13, 2025

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Albion’s “Beauty Queen” Highlights Dark Comedy, Strong Performances

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on March 22, 2025| Leave a Comment »

The Beauty Queen of Leenane
By Martin McDonagh
Directed by Robert Ashton
Albion Theatre
March 16, 2025

Jason Meyers, Teresa Doggett, Heather Matthews
Photo by John Lamb
Albion Theatre

Albion Theatre has quickly established itself as one of St. Louis’s more consistently excellent theatre companies. With an emphasis on works of British and Irish playwrights, director Robert Ashton and his team have turned their attentions to Ireland with their latest offering, Martin McDonagh’s The Beauty Queen of Leenane. This is a darkly comic, often brutal tale that’s consistent with most of McDonagh’s works, and Albion has staged it with a characterful, snarky tone that emphasizes the energy and excellence of a truly great, memorable cast. 

As is usual for McDonagh’s plays, the characters here aren’t necessarily likable, although they are especially well-drawn and memorable. The focus here is on Maureen Folan (Heather Matthews), a middle-aged single woman who shares a small house in rural Leenane, Ireland with her grumpy, demanding mother Mag (Teresa Doggett). The two share an adversarial relationship, as the insecure Mag does what she can to keep Maureen home with her and taking care of her, since her other two daughters have married and moved out. Maureen resents being tied to her demanding mother, who insists on knowing everything about Maureen’s life and constantly “reminds” her that she’s never found a husband, and most likely never will, despite Maureen’s desperate desire to experience love, romance, sex, and anything that will get her away from her demanding mother. When their neighbor, the talkative and self-focused Ray Dooley (Austin Cochran) stops by to invite them to a “coming home” party for his brother Pato (Jason Meyers), who spends most of his time living and working in London, Mag tries to keep Maureen from finding out, but she does anyway and renews her acquaintance with the awkward but oddly charming Pato. Although they hit it off and share hopes for more of a relationship, of course this is a McDonagh play, and nothing runs smoothly. I won’t say anything else because it would spoil too much, but I will say that just when you think things can’t get any worse, remember who wrote this play and you’ll know that they probably will. 

The characters are meticulously well-drawn and, for the most part, decidedly self-centered, and all are played remarkably well by the first-rate cast. Matthews is alternately gruff and persistently hopeful as the neglected, lonely-but-fierce Maureen, and her scenes with the outstanding Doggett as the irrepressibly meddling Mag are a highlight of this production. Meyers brings a strong air of gawky amiability to the show’s most likable character, Pato, and his chemistry with Matthews is convincing enough to get audiences to hope. There’s also a strong supporting performance by Cochran as the memorably annoying Ray, who plays a surprisingly critical role in the plot. 

The atmosphere and mood of this play are well achieved and maintained by means of Chuck Winning’s well-appointed set, Gwynneth Rausch’s props, and Tracey Newcomb’s well-suited costumes. There’s also strong work from set painter Marjorie Williamson, lighting designer Eric Wennlund, and sound designer Ellie Schwetye. The rural Irish setting and tone of this play is crucial, and the technical aspects work well to transport the audience in a vivid and effective way.

Albion has quickly become one of my favorite theatre companies in St. Louis. It doesn’t hurt that I’m already an Anglophile, but the consistent excellence is what maintains the feeling that, when I hear about a new show from this company, I automatically expect it to be good. The Beauty Queen of Leenane is another success for this company, and even though the tone and occasional “gross-out” aspects of McDonagh’s works make me not the biggest fan of his plays, that is more of a personal taste issue and I can see his obvious talent. It’s productions like this one that make his shows especially worth watching.

Austin Cochran
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting The Beauty Queen of Leenane at the Kranzberg Arts Center until March 30, 2025

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“The Wash” is an Important Story Well-Told at the Black Rep

Posted in St Louis Theatre, tagged , , , , , on March 22, 2025| Leave a Comment »

The Wash
by Kelundra Smith
Directed by Chris Anthony
The Black Rep
March 14, 2025

Velma Austin, Paulette Dawn
Photo by Keshon Campbell
The Black Rep

The Black Rep’s latest production is a fascinating new play that’s at once a history lesson and a riveting drama. Playwright Kelundra Smith’s The Wash is based on a real event that’s not as well-known as it probably should be. Featuring a strong cast and impressive production values, it highlights memorable characters and important issues in a way that is both historical and timely. 

Based on a real strike led by Black washerwomen in Atlanta in 1881, the story of The Wash starts out by evocatively showing the early morning routine of a group of women who work for Anna (Velma Austin), who owns her business. The rhythmic movements show the women at work highlighting the complexity and repetition of their daily jobs involving the hard work that laundering clothes entailed in the late 19th Century. The women come from a variety of backgrounds, ages, and family situations. Jeanie (Paulette Dawn) lives at the establishment and is Anna’s closest friend. She’s a widow hoping to be able to visit her new grandchild in New York state, and devoutly religious. There’s also younger married employees Charity (Joy Ike)–who is happy with her husband but hoping to have a child after a series of disappointments–and Thomasine or “Tommie” (Christina Yancy), who hopes for a better life for her children and endures an abusive marriage. There’s also Jewel, an unmarried student who seeks to fund her education and has some bold ideas. When the women find themselves unable to secure consistent pay for their work–laundering clothes for white families–they eventually organize and work to enlist the help of other Black washerwomen in the area, eventually drawing the attention of white washerwomen represented by Mozelle (Jennifer Theby-Quinn), who arouses suspicion among the others but has her own personal reasons for wanting to join the cause. 

Through the course of the story, we see the seeds of the movement grow and gather local and later national attention, as the story makes the papers and the women endure harassment by the authorities and local law enforcement. There are also interpersonal conflicts, as Tommie finds herself in a personal dilemma, Jewel and Jeanie deal with a difference in personal values, Anna and Charity face serious health issues as a result of the harassment, and Mozelle struggles to convince the others that she’s not a spy. It’s a show full of drama, insight, and a persistent tone of striving for better working conditions as well as aspirations for achieving their individual and family hopes and dreams. It’s a well-told story that’s well-paced, although there are a few moments of “telling” rather than “showing”. 

Director Chris Anthony has assembled a fantastic cast, led by a marvelous turn by Austin as the much-enduring Anna. Austin and the equally excellent Dawn portray a convincing strong friendship bond that forms the emotional heart of the show. There are also strong performances by Ike as the optimistic Charity, Yancy as the conflicted Tommie, Jay as the forward-thinking Jewel, and Theby-Quinn making the most of a smaller role as the persistent Mozelle.  It’s a strong ensemble with energy that drives the plot and mood of the show as the story plays out and the tension builds in a believable, attention-holding manner.

The look, sound, and atmosphere of the production are maintained convincingly by means of the marvelous production team. Dunsi Dai’s evocative set blends realism with abstraction, and the lighting by Jasmine Williams, projections by Kareem Deanes, and sound by Asha Ti-Nu expertly contribute to this overall poetic tone. There are also meticulously detailed costumes by Lou Bird, and memorable choreography by Heather Beal that adds to the overall musical sense of the show, even though it’s not a musical.

The Wash is an excellent example of a drama that teaches a historical lesson while also focusing on character and the timelessness of the message. It’s another example of the terrific casting and staging that the Black Rep is known for. If you haven’t heard of the subject of this play before, you know about it now, and this play has told a fascinating tale with an remarkable air of immediacy and importance. 

Cast of The Wash
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting The Wash at COCA’S Catherine B. Berges Theatre until March 30, 2025

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“Rocky Horror” is Back at New Line with Campy, Well-Cast Production

Posted in St Louis Theatre, tagged , , , , , , , on March 5, 2025| Leave a Comment »

The Rocky Horror Show
Book, Music, and Lyrics by Richard O’Brien
Directed by Scott Miller and Chris Moore
Choreographed by Chelsie Johnston
February 28, 2025

Katie Orr, Bee Mecey, Tori Shea Cole, Rafael DaCosta, Chelsie Johnston
Photo by Jill Ritter Lindberg
New Line Theatre

The Rocky Horror Show is a cult hit with a life of its own, having spawned a perhaps more well-known film and gathered a legion of fans over the last 50+ years. Especially if you’re into dark, campy, raunchy homages of old B-style sci-fi and horror, or if you’re curious to see what everyone has been talking about, this show is worth seeing at least once. At New Line, the production is apparently taking a “back to basics” approach that is focused on capturing the independent, small-theatre vibe that the original stage show had back when it first opened. For the most part, this approach works, especially with the talented cast, simple-but-effective production values and overall horror-comedy vibe, although I do think the campiness could benefit from being  turned up a notch in places. 

After an introduction that sets the tone by calling  back memories of old sci-fi/horror films, the story starts in “earnest” as we meet Brad (Rafael DaCosta) and Janet (Brittany Kohl, an overly perky, “innocent” newly engaged young couple. When their tires blow out on a trip to visit their old teacher Dr. Scott (Christopher Strawhun), they seek out a nearby castle to use their phone, and are led into a world weirder than their wildest dreams. Dr. Frank N. Furter (Todd Schaefer), a corset-and-fishnets clad self-described “Sweet Transvestite” is the proprietor of this castle, attended by cohorts Riff-Raff (Bee Mecey), Magenta (Katie Orr), and Columbia (Tori Shea Cole). Frank is working on a new project, a scantily-clad, muscular “Creature” known as Rocky Horror (Zachary Thompson), while Riff-Raff and Magenta keep dropping hints of an extraterrestrial origin and a desire to go back “home”. Meanwhile, Brad and Janet are given an unexpected “awakening” of sorts and are compelled to participate in a “floor show”. 

There isn’t much plot here, really, since this show is more about concept and camp than plot. It’s about the vibe and the aesthetic, which at times can be a little underdone here, compared to the previous version of this show I have seen (I haven’t seen the film). The cast is generally enthusiastic, with terrific performances especially by DaCosta and Kohl–who turn in strong comic performances–and Shaefer, who hams it up with a touch of menace as Frank.  There’s also strong ensemble energy by everyone else, including Chelsie Johnston as the Narrator. As is usual for New Line, there’s great singing as well, although there are moments when the sound isn’t clear, and one full song–“Eddie’s Teddy”, in which Dr. Scott tells the backstory for Frank’s earlier “project” character, the doctor’s nephew Eddie (also Strawhun)–where the harmonies sound nice, but I couldn’t understand the words, and I was sitting in the front row. The rest of the songs are fairly clear, though, and some numbers like the well-known “The Time Warp” are full of energy and excellently sung and choregraphed by Johnston. The New Line Band, led by music director Randon Lane, does a good job on the show’s catchy score, although there are a few moments when they tend to drown out the singers.

The look of the show is a bit more subdued than I have seen before, but it works, with a simple set by Rob Lippert that features a central runway and a series of microphones, almost suggesting a concert-like atmosphere. The lighting by Jack Kalan is terrific, maintaining just the right mood and vibe, and Eric Goodenough’s costumes are colorful and eye-catching, contributing a stylish air to the overall early 70s and sci-fi/horror theme of the show.

Overall, if you love Rocky Horror, you should enjoy this show. Even though there are times when it seems a bit subdued, for the most part it’s a weird, wild ride of a show. Also, while direct audience participation (like for the film) is discouraged, the audience was enthusiastic, with some attending dressed up for the occasion. This is the second show in a season of repeat productions for New Line, and it entertains with energy and campy, creepy style. 

Tori Shea Cole, Todd Schaefer, Brittany Kohl, Rafael DaCosta
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting The Rocky Horror Show at the Marcelle Theatre until March 22, 2025

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