Posts Tagged ‘chris moore’

Quirky, Experimental “Promenade” Showcases Strong Cast, Creative Staging at New Line

Posted in St Louis Theatre, tagged , , , , , , , on March 13, 2026| Leave a Comment »

Promenade
Book and Lyrics by Maria Irene Fornés, Music by Al Carmines
Directed by Scott Miller and Chris Moore
New Line Theatre
March 6, 2026

Cast of Promenade
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is known for shining light on off-beat and lesser known shows, and their latest offering is one of their quirkiest yet. Promenade is an experimental musical from 1969 that features a catchy score and a markedly absurdist style. It’s sharply satirical and surprisingly relevant to today, featuring a cast and creative team that have gone all-in on the absurdity, making for a thought-provoking, entertaining and challenging production that highlights the best of what New Line is about. 

This is a highly experimental show from the 1960s that doesn’t have a “plot” per se, but it does have a structure. Two convicts, known only as 105 (Ronmal Mottley) and 106 (Tawaine Noah) escape from a prison in which they are guarded by an egotistical, clueless Jailer (Ian McCreary). They then end up crashing a posh party attended by a group of “Aristocrats” identified by letters of the alphabet: Miss I (Kathleen Dwyer), Miss O (Benni Jillette), Miss U Chelsie Johnston), Mr. R (Chris Moore), Mr. S (Kent Coffel), and Mr. T (Robert Doyle). They sing about their “problems” such as each being in love with someone who loves someone else (“Unrequited Love”), and watch a performer (Lauren Tenenbaum) emerge from a cake and sing a song (“Chicken Is He”).  They are waited on by a Servant (Stephanie Merritt), Waiter (Nathan Mecey), and Dishwasher (Michael Kramer), and are later joined by the self-important and power loving Mayor (W. Smith III). While the Jailer tries to find the escaped prisoners, the power dynamics and class differences are emphasized as the scenes change and eventually involve a war in which the Waiter and Dishwasher are enlisted against their will. Also, the Servant and prisoners encounter a wandering Mother (Bee Mecey) looking for her long-lost children. 

Essentially, this is a series of vignettes emphasizing class struggles, socioeconomic differences, and misuse of power, as well the different standards for those suffering from various consequences of life. The music is catchy, and several tunes have been playing in my head since seeing the show on opening night. The styles range from operatic to vaudeville to 1960s musical theatre, showcasing the strong voices of the cast particularly well. The cast is fantastic across the board, with Bee Mecey a particular standout both for comic timing and vocals as the forlorn Mother. Merritt also carries strong presence as the Servant, and Mottley and Noah make a strong impression as 105 and 106, with Smith showing off hilarious comic presence as the gleefully snooty Mayor. The group singing and harmonies are also especially excellent, with strong ensemble chemistry and energy. Livy Potthoff’s choreography is also strong, as are the musical arrangements by music director Jason Eschofen, who leads the terrific New Line Band. 

Another notable aspect of this production is the creative staging and use of Rob Lippert’s minimalist but memorable set, including table set piece that is cleverly reused several times to become the center for various scenes. The costumes by Becca Rose Bessette are also eye-catching and whimsical. The lighting by Eric Wennlund also works especially well to set the mood, as does Ryan Day’s sound design. It’s an energetically paced production, highlighting the satirical nature of the material and showcasing the performers with vibrant energy.

Promenade is a show like you probably haven’t seen before. Although it does fit in musically and thematically with its 1960s origin, its themes resonate a great deal to notable topics of today. It’s a production that brings out the best of what New Line can do while satirizing some of the worst of what humanity has to offer in terms of economic disparity and abuse of power. It’s certainly a show that will make you think, and you just might find the songs playing in your head as you leave.

Tawaine Noah, Stephanie Merritt, Bee Mecey, Ronmal Mottley
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Promenade at the Marcelle Theatre until March 28, 2026

Read Full Post »

Well-Cast “Bat Boy” Makes a Strong Impression at New Line

Posted in St Louis Theatre, tagged , , , , , , , , , on October 8, 2025| Leave a Comment »

Bat Boy
Story and Book by Keythe Farley & Brian Flemming
Music & Lyrics by Laurence O’Keefe
Directed by Scott Miller and Chris Moore
New Line Theatre
October 3, 2025

Brittany Kohl, Rafael DaCosta, Marlee Wenski
Photo by Chris Moore
New Line Theatre

It’s the time of year again, when many theatre companies turn toward weirder and/or spookier subject matter in the lead-up to Halloween. In that vein, New Line has chosen to revisit a show they’ve done before, the tabloid-inspired sci-fi/horror dark comedy Bat Boy, which provides a good opportunity for its cast and crew to ham up a storm while also conveying a warning message about jumping to judgment and blame of “outsiders” for the world’s problems. Under the direction of Scott Miller and Chris Moore, New Line has put a lot of energy into this production, which features striking production elements and a strong, enthusiastic cast of local performers.

I didn’t see the last New Line production of this show, but I’ve seen a production by another local company, so I was familiar with the plot and tone of the piece. The story, inspired by a fictional tabloid story featured in the infamous Weekly World News, focuses on a mysterious “Bat Boy” (Rafael DaCosta), who is encountered by three young siblings–Rick (Zachary Thompson), Ruthie (Chelsie Johnston), and Ron (Bee Mecey)– who are exploring a cave. When the Bat Boy bites Ruthie, the kids are frightened and call in the police, who seek to consult local veterinarian Dr. Thomas Parker (Ian McCreary) about what to do. The Bat Boy is then taken to Thomas’s house, where his wife Meredith (Brittany Kohl) and daughter Shelley (Marlee Wenski) meet the boy first, and while Shelley is creeped out at first, Meredith is more sympathetic, naming him “Edgar” and promising to take care of him and teach him manners. As the townspeople remain suspicious of Edgar, whom they regard as a “monster”, he soon reveals himself to be a quick learner and a sensitive soul under the tutelage of Shelley and Meredith It soon becomes clear, however that Thomas isn’t happy with the attentions Meredith is paying to the boy, and while Edgar seeks to win the town over with his personality, and he and Shelley grow ever closer, long-held secrets are about to be revealed, threatening the hopes, assumptions, and even the lives of the town, the family, and Edgar himself.

The whole tone is heightened and exaggerated, as is fitting for a story based on an over-the-top tabloid. It also calls to mind some of those old “B” grade sci-fi and horror films from the 50s and 60s, and the physical production at New Line helps that vibe along by means of Becca Rose Bessette’s well-crafted costumes, and the alternately humorous and haunting score ably played by a small but excellent band led by music director Jason Eschofen. There’s also a fairly minimalist but practical framework set by Rob Lippert that provides an ideal base for the action, aided by strong work from lighting designer Bradley Rohlf, and sound designer Ryan Day. 

Casting is key in this show, with the role of Edgar the Bat Boy being especially demanding physically, emotionally, and vocally. DaCosta is excellent in the role, with energy and stage presence at the forefront, creating a character who is at once sympathetic and awkwardly charming. His scenes with Kohl’s also strong Meredith and Wenski’s plucky Shelley are especially compelling. There’s also a fine turn from McCreary as Thomas, and a strong ensemble who mostly play various characters–Stephen Thompson, Mecey, Zack Huels, Ronmal Mottley, Zachary Thompson, and Johnston, with Huels a particular standout vocally in the “Children, Children” number in the second act. The overall darkly comic energy is handled with entertaining enthusiasm.

This is a show that has a lot of laughs and a few cringey horror moments, but also a palpable message warning against the dangers of judging people based on appearance and preconceived notions. It’s alternately creepy, haunting, offbeat, and deliberately sensationalist, with some crass humor and suggestive themes. Bat Boy strikes just the right tone for this time of year, and it’s a good start to a new season for New Line.

Cast of Bat Boy
Photo by Chris Moore
New Line Theatre

New Line Theatre is presenting Bat Boy at the Marcelle Theatre until October 25, 2025keth

Read Full Post »

New Line Revisits “Rent” With Energy and Passion

Posted in St Louis Theatre, tagged , , , , , , on June 10, 2025| Leave a Comment »

Rent
Book, Music, and Lyrics by Jonathan Larson
Directed by Scott Miller and Chris Moore
New Line Theatre
May 31, 2025

J. David Brooks, Nathan Mecey and Cast
Photo by Jill Ritter Lindberg
New Line Theatre

Closing out a season of new productions of shows they have previously staged, New Line is now revisiting the modern classic, Pulitzer Prize-winning Rent. A show that essentially revitalized Broadway in the 1990s, this show plays as somewhat of a period piece today, as closely tied as it is with the 1990s New York “Bohemian” scene. Still, there’s a lot of urgency and relatability to be seen here, as evidenced by New Line’s new production directed by Scott Miller and Chris Moore, featuring a strong cast and excellent visuals and musical accompaniment. 

The story, inspired by Puccini’s opera La Bohème, follows a group of struggling artists in New York City’s East Village dealing with illness, homelessness, and encroaching gentrification. Aspiring filmmaker Mark (J. David Brooks) serves as the primary narrator, accompanied by his ever-present camera. Mark shares a loft with struggling musician Roger (Nathan Mecey), whose goal is to write one great song. The owner of their building is their former roommate Benny (Aaron Tucker), who has married into a wealthy family and is now demanding they pay rent or move out. This situation coincides with a situation on the adjoining lot, where the encamped residents are protesting an impending development, and performance artist Maureen (Sarah Lueken)–Mark’s ex–is planning a show in support of their cause. Also in their circle are Maureen’s conflicted new girlfriend, lawyer Joanne (Jazmine Kendela Wade), Mark and Roger’s old friend, out-of-work professor Tom Collins (Chris Moore), and Collins’ new love interest, drag queen and street performer Angel (Aarin Kamphoefner). There’s Mimi (Corrinna Redford), an ailing nightclub dancer who strikes up a halting romance with Roger, but who has secrets she’s hiding from him. Over the course of a year (winter to winter) we follow these characters and their hopes, dreams, struggles, and relationships including dealing with hardship, romance, tragedy, and hopeful second chances in the midst of financial struggles, relationship conflicts, HIV-related illness, and more.

This has become an especially well-known show in the past 30 years, with memorable songs like “Seasons of Love”, “La Vie Bohème”, and more. Here, the time, place, and atmosphere have been well-established by means of Todd Schaefer’s evocative set that somewhat calls to mind the set from New Line’s previous production of this show in 2014, with its prominent round table and moon motif, but with new additions evoking the loft and fire escapes of the city, allowing areas for performers to spread out and for Angel to perch and watch the action at key moments. There’s also striking lighting by Ryan Thorp and excellent sound by Ryan Day, along with memorable costumes by Zachary Thompson that evoke the mid-1990s setting and suit the characters well. The band, led by music director Randon Lane, provides a rocking soundtrack to the proceedings, and there’s also commendable work by tango choreographer Chelsie Johnston in the standout “Tango: Maureen” number ably performed by Brooks and Wade.

Although the cast takes a bit of time in the first act to find their energy, they are well-chosen and build up enthusiasm and momentum to present an ultimately powerful and dynamic production, with standout numbers including the truly stunning  reprise of “I’ll Cover You” in Act 2 led by Moore and supported by the powerful vocal harmonies of the entire ensemble. Brooks and Mecey lead the cast well as Mark and Roger, with strong support from the rest of the cast, with standouts including Kamphoefner as the memorable Angel, Redford as the persistent and ailing Mimi, Lueken as the confrontational Maureen and Wade as her often exasperated partner, Joanne, and the aforementioned Moore as Collins. The rest of the ensemble, playing various roles, includes Rafael DaCosta, Chelsie Johnston, Brittany Kohl, Gabriel Scott Lawrence, Sofia McGrath, Tawaine Noah, Rachel Parker, and Lauren Tenenbaum. It’s a cohesive ensemble featuring the strong singing that I’ve come to expect from New Line. 

If you love Rent, you’ll probably love this production. Even if you haven’t seen the show before, or even had a negative experience, I would recommend checking out this heartfelt, well-cast and especially well-sung staging. It’s a timeless classic with a timely immediacy that brings out the passion and energy for which this show is known and celebrated. 

Chris Moore and Cast
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Rent at the Marcelle Theater until June 21, 2025

Read Full Post »

“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

Read Full Post »

New Line’s “American Idiot” Rocks the Marcelle–Again!

Posted in St Louis Theatre, tagged , , , , , , , , , on September 26, 2024| Leave a Comment »

American Idiot
Music by Green Day
Lyrics by Billie Joe Armstrong
Book by Billie Joe Armstrong and Michael Mayer
Directed by Chris Moore and Scott Miller
Choreographed by Chelsie Johnston
New Line Theatre
September 21, 2024

Cast of American Idiot
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s latest season is all about revisiting their past successes, and hopefully offering a new perspective, introducing these well-known shows to new audiences with fresh eyes. The first offering is American Idiot,  Green Day’s ode to disaffected youth in the first decade of the 21st Century, based on the band’s popular concept album and ringing with their melodic punk hits sung by a strong and memorable cast. The look is a little different than last time, but the message comes across just as well, and maybe even a little more clearly.

The story is a sex-drugs-and-rock ‘n roll–filled journey of self-discovery for three young friends–Johnny (Clayton Humburg), Tunny (Rafael DaCosta), and Will (DeAnté Bryant), who are tired of their aimless suburban existence and want to check out life in the big city. Johnny buys them all bus tickets, but only he and Tunny are able to go, because Will’s girlfriend Heather (Rachel Parker) has a surprise in store. So, Will reluctantly stays home, and Johnny and Tunny each face a different fate in the city. Johnny meets a girl identified only as Whatsername (Lauren Tenenbaum) while also indulging in the more seedy elements of city life under the influence of alter ego St. Jimmy (Bee Mecey). Meanwhile, Tunny is seduced by patriotic propaganda represented by a character known as the Favorite Son (Jordan Ray Duncan), and joins the military, going overseas and experiencing the violence of war, while the disappointed Will sits home drowning his sorrows in alcohol, pot, and video games. The various trials present the young men with challenges that shape their perspective on the world and their place in it, while the show also examines the state of life in America in the post-9/11 era with a critical eye, but also leaves room for hope amidst the chaos and confusion.

Although I enjoyed the show last time New Line staged it in 2016, my biggest issue with that production was in the way the set was laid out, because so much was happening at once and was spread out across the back wall of the space at the Marcelle, making it difficult to follow the action and to hear everything. This time, the staging is similar, but improved, in that one third of the staging area is taken up by the excellent New Line Band, led by music director John Gerdes, assembled behind a chain-link fence to make them part of the scenery as well as providing the driving musical backdrop for the production. Some of the story is performed in front of this fence, but the bulk of the action happens on the rest of Rob Lippert’s simple but striking set, allowing the audience to focus a bit more on what is happening while also showcasing the music and energetic choreography by Chelsie Johnston. The costumes by Lauren Smith Bearden are detailed and striking, helping maintain the overall vibe, augmented by Ryan Thorp’s excellent atmospheric lighting. The staging of the group musical numbers is especially dynamic, with familiar Green Day hits like “Holiday” and “Boulevard of Broken Dreams” adding energy to the overall vibe and storytelling.

The casting is excellent, led by dynamic performances from Humburg as the thrill-seeking Johnny, Bryant as the aimless Will, and especially DaCosta as the initially directionless but eventually profoundly devastated Tunny. All three have strong voices and presence, carrying their numbers with clarity and authenticity. There’s also strong support from Tenenbaum as the determined Whatsername, Duncan as the charismatic Favorite Son, Mecey as the edgy, confrontational St. Jimmy, and Adrienne Spann as Tunny’s army mate and fantasy “dream woman”, the Extraordinary Girl. Parker also does as well as possible with the underwritten role of Heather–the only named woman character in this largely male-focused show. There’s also an enthusiastic ensemble adding to the energy of the story and contributing strong vocals to the driving, crunchy score by Billie Joe Armstrong and Green Day.

If you love Green Day, you’ll probably enjoy American Idiot. Even if you are not as familiar with the band and their music, however, there is a compelling, well thought-out message here, even though it does have its flaws. In terms of the production itself, this is another strong effort from New Line Theatre, proving that revivals can be just as effective as their original productions, and sometimes even more so.

Cast of American Idiot
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting American Idiot at the Marcelle Theatre until October 5, 2024

Read Full Post »