Posts Tagged ‘fly north theatricals’

Creatively Staged “Fiddler” from FNT Has a Small Cast and a Big Heart

Posted in St Louis Theatre, tagged , , , , , , , , on April 29, 2026| Leave a Comment »

Fiddler on the Roof
Music by Jerry Bock, Lyrics by Sheldon Harnick, Book by Joseph Stein
Directed and Choreographed by Caleb D. Long
Original Broadway Choreography by Jerome Robbins
Fly North Theatricals
April 24, 2026

Ryan Cooper
Photo by Katie Orr
Fly North Theatricals

Fiddler on the Roof is a musical theatre classic–there’s no question about that. Still, it’s been performed so many times and by so many different companies, that it’s fairly easy to think about as “been there, seen that”. It takes a great cast and lots of creative energy to do justice to this show’s message and timeless characters and songs, as well as standing out a bit from all the other productions of the show a given audience member may have seen (I have seen at least 10, including the 1971 film). The cast size and production values can also be a challenge to smaller companies, although Fly North Theatricals has met that challenge with enthusiasm, style, and lots of heart with their latest production at Greenfinch Theater & Dive. 

I’ve seen “scaled down” productions of usually larger-cast shows in the past that have worked, including The Music Man and Something Rotten, and what those productions have taught me is that, when done well, scaling down can often highlight or emphasize themes and messages in the show that have always been there, but are brought into more crystalized focus through the staging and characterization. That is certainly the case with this production, which is led by Ryan Cooper in a fantastically likable and energetic performance as Tevye, the Jewish milkman who narrates the story while also being its main focus. Tevye, his wife Golde (Rachel Bailey), and his five daughters live in a small village in what is now Ukraine at the turn of the 20th Century, when tensions between Russian authorities and Jewish residents have been growing rapidly, along with a rise in political upheaval and resistance movements. While Tevye educates the audience about their cultural and religious traditions, there is also this increasing sense that those traditions are going to be challenged in various ways, first in the marriage choices of his three eldest daughters Tzeitel (Jade Cash), Hodel (Danielle Singleton), and Chava (Zoe Klevorn); and soon increasingly in other areas like pogroms that have been effecting other villages, but are threatening to spread to Anatevka as well. 

The plot and the script are the same as always. If you’ve seen this show before, you know how it’s going to play out, but what happens in this show is that it’s in a small space, with a smaller cast than usual, and with a few players playing multiple roles, so the intimacy and immediacy of the story is heightened in a noticeable way. This is also a production that has professional actors performing alongside students from FNT’s educational programs, and the mixture is effective for the most part. One notable effect of this casting is that the youth of the daughters and their suitors is especially obvious here. The younger daughters Bielke (Lacie Irby) and Shprintze (Annie Miller) blend in well with their older counterparts, and the older daughters’ challenging their parents’ insistent traditions becomes even more pronounced. There is a bit of awkwardness at times in the casting of the non-Jewish “Russians”, in that most of these roles aside from the Constable (Scott MacDonald) are only played by two actors, Kieran Thompson–who also plays Chava’s suitor, Fyedka–and Callum Thompson–who also plays Mendel, the Rabbi’s son. Although both actors are excellent–and Callum Thompson is especially adept at comedy–the doubling, tripling, and quadrupling of roles, especially with these roles, can occasionally seem awkward, as when you see the actor playing the sympathetic Fyedka also playing decidedly non-sympathetic roles. 

Still, for the most part, the casting is spot-on, with Cooper and the also excellent Bailey making an ideal Teyve and Golde, with their good-natured bickering and sweet duet on “You Love Me” as true highlights. There’s also a memorable turn by Lantsberger showing excellent comic timing as well as an impressive level of depth as Yente the Matchmaker, as well as a dominant turn as Fruma-Sarah in the “Tevye’s Dream” sequence, which also features the clever doubling of Cash–who plays daughter Tzeitel–also playing Grandma Tzeitel with verve and precise timing. The strongest vocals come from Cooper and also Singleton as Hodel, whose “Far From the Home I Love” is heartfelt and powerful. The three suitors, Motel (Milo Garlich), Perchik (Henry Schumacher), and the aforementioned Fyedka are well-matched with their romantic partners, and Klevorn’s Chava is especially strong in her plotline. Their are also memorable supporting performances from Ken Haller as butcher Lazar Wolf, Bradley Rohlf as the Rabbi and others, Colin Healy as Mordcha and others, Josh Baumgartner as Nachum and others, Maggie Nold as Motel’s mother Shaindel and others, and Fiona Brickey, who is a continuing presence and excellent musician as the titular Fiddler. 

The musicianship is a particular star of this production. It’s one of those “actor-as-musician” stagings, and most of the  performers play an instrument at least to some degree in the show. Most notably, in an audio and visual sense, are the aforementioned Brickey who is fantastic on violin, as well as music director Healy on piano, accordion and guitar; Baumgartner, whose hauntingly proficient clarinet is ubiquitous; and Rohlf on various percussion instruments. Cooper also plays percussion at key moments, and his drumming is especially powerful on some of his solo vocal numbers. There are also memorable turns from Bailey on guitar, MacDonald on keyboards, Lantsberger on percussion, Nold on flute, and Klevorn on piano, particularly in the “Chava Sequence” in Act 2, which adds an extra degree of poignancy to this scene. The blend of music, acting, and vocals is such a vital part of this production, bringing much power to the story and helping to emphasize the themes and Jewish musical traditions along with the story.

In addition to the performances, the production values are stunning, bringing truth to the phrase “less is more”. Greenfinch is a small space, so an elaborate set would be difficult, but what the creative team has accomplished here is a set that fits the space and also emphasizes the transitory nature of Jewish people throughout history, as is noted in the final scenes. The set, designed by director Caleb D. Long, along with Rohf and Healy, consists of several movable pieces as well as trunks and luggage, along with having the piano fit into the set as the bar at Mordcha’s tavern. There’s also fantastic work from scenic painter Katie Orr, as well as lighting designer Ryan Thorp and sound designer LP Guterman, who contribute much to the eye-catching and seemingly magical storytelling in “Tevye’s Dream”, the wedding scene, and much more. Long’s props design and Jen Blum-Tatara’s inventive costumes also contribute to the overall “traditional with a twist” vibe of the show. 

Overall, this is a Fiddler that’s clearly Fiddler, but with a few especially well thought-out staging elements that make it like nothing you may have seen before. It’s a pleasant surprise, with all the energy, humor, and poignancy that is to be expected from this show, but with a strong emphasis on the music, and an unmistakably obvious sense of heart. It’s an astonishingly well-realized production. 

Sarah Lantsberger, Rachel Bailey
Photo by Katie Orr
Fly North Theatricals

Fly North Theatricals is presenting Fiddler on the Roof at the Greenfinch Theater & Dive until May 3, 2026

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FNT’s Revised “Madam” Makes a Memorable Impression at the Greenfinch

Posted in St Louis Theatre, tagged , , , , , , on August 9, 2025| Leave a Comment »

Madam
Music, Lyrics, and Book by Colin Healy
Directed by Sam Hayes
Choreographed by Cady Bailey
Fly North Theatricals
August 2, 2025

Avery Lux, Adrienne Spann, Liallian Cooper
Photo by Cady Bailey
Fly North Theatricals

Madam, an original musical from Fly North Theatricals penned by the company’s artistic director Colin Healy, has been in process for a few years, having begun with a production in Hannibal, MO and its last iteration having been staged here in St. Louis in 2020. I remember it making a strong impression when I saw that production five years ago, led by a dynamic performance by leading lady Kimmie Kidd, who still headlines the new version now being staged at FNT’s current home base, Greenfinch Theater & Dive. Now, with a new cast surrounding Kidd and a revised script and score, and now directed by Sam Hayes, the show still stands out as a strong character piece, with a lively score and tighter plotting than before. It also fits into its new space especially well.

The story is a highly fictionalized, almost mythologized tale set in St. Louis in the 19th Century and featuring some characters loosely based on real people. The intro, narrated by “working girls” Billie (Adrienne Spann), Tennie (Lillian Cooper), and Ripley (Avery Lux), tells the story of Madam Eliza Haycraft (Kidd), who operates a highly successful brothel in the city, and how she built her “Empire”. Eliza has strict rules for her house, including respect, consent, and paying up front, but most of the employees are not there to stay, as they have other goals–Ripley to go to medical school, Tennie to join her activist sister, and Billie (who has often disguised herself as a man to serve in the army and to play baseball) to make her fortune out West. There’s also Callista (Rachel Bailey), who is seen by the rest of the girls as Eliza’s heir apparent, and who has become essentially the regular client of a greedy, narcissistic local man known only as The Benefactor (Dustin Petrillo). Soon, a new young woman is brought into the picture, as the ailing, down-on-her-luck Mercy Jones (Jade Cash) shows up one night and is taken in by Eliza, whom Mercy in gratitude offers to help in managing her finances and organizing her will. Unknown to Eliza and most of the other girls, though, Mercy has a secret which ties her to the Benefactor, and which Callista–who was once an aspiring actress like Mercy–has little trouble figuring out at least partially. Meanwhile, the hard-drinking Eliza is in poor health, and isn’t expected to live much longer, while the Benefactor is scheming to get her to sell her house to him, since it’s on extremely valuable property.

The story is an intriguing one, and the characters are well defined, with a memorable score and catching songs like the notable “Empire” as well as Billie’s baseball song “Another Fence”, Mercy’s hopeful ballad “Star” and Eliza’s tour-de-force solo “Dinner For One”. Also, the tweaks to the plot–and especially the nature of the relationship between Mercy and the Benefactor–work well and add energy and coherency.

It’s an entertaining show overall, and an excellent showcase for its superb cast, although I can’t help but see it as ultimately a sad story, even though it means to be empowering. I don’t want to go too much into why since that would spoil some plot elements, but I do think it’s well worth seeing, and I think others may view the story differently. I also think the show still needs to figure out who its main protagonist is–Eliza or Mercy. It’s called Madam but despite Kidd’s powerhouse performance, the story often plays out like Mercy is at the center, with Mercy being the one who has the main dilemma and whose story drives the plot most, although she is also missing for large stretches of the story. Also, as important as Callista seems sometimes, and as excellent as Bailey is in the role, Callista’s role isn’t as well-defined as it could be, and the Benefactor is essentially a cartoon villain even though the talented Petrillo makes the most of the role.

The cast is fantastic, with Kidd and Cash both excellent as the ailing Eliza and conflicted Mercy. Spann, Cooper, and Lux are also terrific as Billie, Tennie, and Ripley, with Spann leading two of the more memorable songs (“Another Fence” and “Joy”). It’s a strong cast all around, both acting and singing, and bringing much energy to the atmosphere and period tone of the show. There’s also a great band led by music director Healy and energetic choreography by Cady Bailey.

The show also looks great, with the set–designed by Bradley Rohlf and Healy, and painted by Katie Orr–being probably the most elaborate set I’ve seen in a show in this venue. The creative team and technical crew have put their all into fitting the show into the Greenfinch, and it works especially well. The 19th Century look and atmosphere is well maintained, also by means of Hayes’s colorful and detailed costumes, Rohlf’s atmospheric lighting, and Kel Rohlf’s props. 

Ultimately, I think Madam is an entertaining show that’s still a bit of a work in progress but works even better now than the last time I saw it, when I also enjoyed it and thought it deserved the several St. Louis Theater Circle nominations it received. This is a fine showcase for an excellent cast, and an intriguing look at a side of St. Louis history that isn’t talked about a lot. Its run has recently been extended as well, so there’s still plenty of time to check it out. 

Kimmie Kidd
Photo by Cady Bailey
Fly North Theatricals

Fly North Theatricals is presenting Madam at Greenfinch Theater & Dive until August 17, 2025f

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Energetic “Sunshine” from FNT Features Clever Staging, Memorable Performances

Posted in St Louis Theatre, tagged , , , , , , , on May 2, 2025| Leave a Comment »

Little Miss Sunshine
Music and Lyrics by William Finn, Book by James Lapine
Directed by Colin Healy
Fly North Theatricals
April 25, 2025

Ken Haller, Connor Becker, Eileen Engel, Zoe Klevorn, Dareis Lambert, Brian McKinley
Photo by Colin Healy
Fly North Theatricals

The trend for making popular films into stage musicals continues, on and off Broadway and around the world. While some of these shows turn out to be great, others make me wonder why the movie even needed to be made into a musical. Little Miss Sunshine, currently being staged by Fly North Theatricals at the Greenfinch Theater and Dive under the direction of Colin Healy, is a bit hit-or-miss for me as a show, despite its excellent team of celebrated creators William Finn and James Lapine. It has its moments, but I’m not sure it adds anything for viewers who have already seen the film. Still, FNT has taken the opportunity to assemble an enthusiastic cast and employ some inventive staging to fill their small space at the Greenfinch with a lively, entertaining show that makes the most of its resources. 

Essentially, if you’ve seen the film of Little Miss Sunshine, you know the plot of the musical. The focus is on the quirky, dysfunctional Hoover family from Albuquerque, NM, and particularly the determined young Olive (Zoe Klevorn). Olive, encouraged by her eccentric, hedonistic Grandpa (Ken Haller), has entered a child beauty pageant in California and has made it to the finals, so for various reasons, the whole family decides to drive her there in Grandpa’s old, unreliable VW Bus. Along for the ride with Olive and Grandpa are Olive’s parents Sheryl (Eileen Engel) and Richard (Brian McKinley), as well as their moody older son Dwayne (Connor Becker) and Sheryl’s depressed brother Frank (Dareis Lambert), who has just gone through a painful breakup. As the family makes their eventful trip, they deal with personality conflicts, relationship issues, and overarching hopes, fears, and regrets, culminating in the big contest finale that brings its own share of surprises. The cast is also supported by Parker Collier, who plays a variety of supporting adult roles, along with young Zy Beckley, Brynja Murphy, and Callum Thompson who play a chorus of Olive’s “Mean Girl” classmates as well as the other pageant contestants. 

While there isn’t really anything new here, and the songs aren’t as memorable as they could be–as well as many of them seeming more like snippets of musical dialogue rather than full songs–the staging here is fun and adds much in the way of drama. In fact, the collection of yellow rolling chairs that make up the “bus” can almost be considered characters in their own right, and they add  much in the way of energy and humor to the emotionally fraught road trip that is the centerpiece of this story. The detailed projection design by Healy along with the vivid set painting by Katie Orr also contribute vibrancy to the atmosphere, along with Bradley Rohlf’s lighting design, Kel Rolf’s excellent costumes and props, and Angela Healy’s energetic choreography of the “Shake My Badankadonk” beauty pageant finale sequence. The whole production is adapted to fit the Greenfinch space especially well.

As for the cast, the young performers especially shine, led by Klevorn in a dynamic, highly likable performance as the determinedly upbeat Olive. Becker is also strong in an emotional turn as Dwayne, who seems embarrassed by his family but is also clearly devoted to his little sister. Haller makes the most of his role as the quintessential “dirty old man”, Grandpa, as well as a few other memorable roles. Engel is in excellent voice and relatable as Sheryl, and McKinley is fine as Richard as well. Lambert, as Uncle Frank, also turns in a fine performance, and the rest of the ensemble is also memorable, especially Collier, who has fantastic comic timing and makes an especially strong impression in a variety of quirky roles. 

Overall, Little Miss Sunshine is an entertaining show that makes the most of its unconventional performance space. While I’m not sure this musical adaptation really needs to exist, this production from FNT justifies its existence with an enthusiastic cast and especially clever staging. It’s a fun experience, for the most part, and a showcase for some excellent local performers. 

Eileen Engel, Brian McKinley
Photo by Colin Healy
Fly North Theatricals

Fly North Theatricals is presenting Little Miss Sunshine at Greenfinch Theater & Dive until May 4, 2025

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Fly North’s “Big Machine” is an Entertaining, Somewhat Cluttered Lesson in Industrial History

Posted in St Louis Theatre, tagged , , , , , , , on August 10, 2024| Leave a Comment »

Big Machine
Music, Lyrics, and Book by Colin Healy
Directed by Bradley Rohlf
Choreographed by Jordan Woods
Fly North Theatricals
August 4, 2024

Al Bastin and Cast
Photo by Ian Gilbert
Fly North Theatricals

The latest original musical from Colin Healy and Fly North Theatricals, Big Machine, is trying to be a lot of things–a history lesson, a depiction of corporate greed in the auto industry in the 2oth century, an examination of labor-management struggles, and more. What it most succeeds at is being an entertaining showcase for a catchy score and some memorable performances. It could use a bit more in terms of focus and editing of stories, but for the most part, it’s intriguing, and entertaining, with a cohesive look and branding if not an entirely cohesive story.

This show, which also is serving as the local headliner for the St. Lou Fringe Fest, is largely narrated by Thomas Midgely, Jr. (Al Bastin), a chemical engineer who also served as Vice President of the General Motors Chemical Company and has now developed an infamous reputation. The play tells Midgley’s story as he tries to market a product that “works” for its stated purpose but causes a variety of health issues. Midgely is portrayed as something of a an old-time hucksterish figure, or a slick car salesman, trying to cover obvious problems with a glossy veneer. The show also features one of GMCC’s factories and its employees, including manager Methuselah (Christopher Plotts) and new worker Ernest Olsen (Parker). Ernest was mysteriously transferred from another plant due to undisclosed issues, and he and his inventive young daughter, Grace (Maliah Strawbridge) are trying to start a new life in a new place. There’s also Rosie (Lili Sheley) and Gilda (Corrinna Redford), who are trying to organize the workers at the factory and exploring the ideas of communism. And then there’s  the mysterious Ethyl (Mack Holtman), who appears in various situations throughout the story, sharing songs with Midgley, making friends with Ernest, and offering advice to Grace.  All of these stories are supposed to tie together to tell a story of greed, workers’ rights, environmental issues in industry, as well as a bit of a hopeful slant in the character of Grace, although her story isn’t given as much time as it could.

The stories are a bit cluttered, and it’s not always clear where the main focus is supposed to be–on Midgley or on the factory workers, and specifically Ernest. There are many good ideas here and an especially memorable musical score featuring some catchy songs, although writer Healy seems to want to tell a lot of stories at once, with the result of creating some confusion about what the play is trying to say. Some of the characters aren’t given enough time to develop, either, and although the fantastical elements are intriguing, it’s not also clear what’s supposed to be “real” and what’s supposed to be fantasy. There’s a good story in here, but it needs some editing and there are too many unclear endings for the subplots. 

As for the performances, there are some excellent players here. Bastin commands the stage as Midgely, with a strong voice and youthful, persistent personality, while also managing to credibly portray a degree of desperation as the story goes on. Holtman as Ethyl is also memorable, with a versatile, engaging but slyly sinister edge. Strawbridge is a find as the energetic, optimistic Grace, although her role in the story could use some more time. Sheley and Redford are also strong as Rosie and Gilda, although their story is especially truncated, and Plotts makes the most of a difficult role as Methuselah, who isn’t given a lot to do either. The rest of the cast is strong, as well, with excellent singing and energetic dancing choreographed by Jordan Woods. 

The set by Caleb Long is effective, with it’s big, nebulous industrial machine the main backdrop with its brick wall covered with pipes and valves. Eileen Engel’s costumes are memorable and period-appropriate, as well, and there’s striking mood lighting by Tony Anselmo. The sound is a bit uneven in places, but the mixing is excellent for the first-rate band led by music director Healy. The music and look of this show are its strongest points, and they work well to tell this intriguing but somewhat cluttered story.

Even though it does have some obvious issues, especially with plotting, Big Machine is a highly promising new work. With its original story and subject matter, as well as Colin Healy’s excellent score, there’s a lot to like about this show from Fly North Theatricals. It works well as a headliner for the Fringe, and with some more workshopping and editing, it has the potential for even more success and notoriety. 

Cast of Big Machine
Photo by Ian Gilbert
Fly North Theatricals

Fly North Theatricals is presenting Big Machine at the Marcelle Theatre until August 18, 2024

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Fly North’s “Caroline” is a Thoughtful, Profound Work of Art

Posted in St Louis Theatre, tagged , , , , , , , on August 3, 2023| Leave a Comment »

Caroline, or Change
Music by Jeanine Tesori, Lyrics by Tony Kushner
Directed by Brian McKinley
Choreographed by Caleb Long
Fly North Theatricals
August 30, 2023

De-Rance Blaylock, Kimmie Kidd, Kanisha Kellum
Photo by Julie A. Merkle
Fly North Theatricals

Caroline, or Change is a show I’ve known about for a long time, but had never seen. Now, Fly North Theatricals has given me, and the rest of St. Louis, the opportunity to take in this profoundly thoughtful, intensely musical show that depicts a historical reality as well as blends of fantasy and timeless messages. It’s also a remarkable showcase for its supremely talented cast. 

There is a lot going on in this story, which takes place in Lake Charles, Louisiana in 1963. Widowed mother Caroline Thibodeaux (De-Rance Blaylock), who is Black, is working as a maid for the Jewish Gellman family, doing laundry in their basement while 8-year-old Noah Gellman (Zoe Klevorn) hovers around trying to get her attention. Noah’s mother has died and his father, Stuart (Jordan Wolk) has recently remarried his late wife’s friend Rose (Avery Lux), who feels neglected by her still-grieving husband and struggles to gain the affection of the resentful Noah, who would rather spend time with Caroline. Caroline, for her part, struggles to support her children on her small salary, while imagining the appliances and other objects coming to life while she works. The Washing Machine (Kanisha Kellum) is seen as an ally, but the Dryer (Duane Foster) is more of a nemesis, while the Radio (Kimmie Kidd, Adrienne Spann, and Ebony Easter) offers Greek Chorus-like commentary, and the Moon (Kidd) is a mystical, comforting presence. As Caroline reflects on her past and on the changing world around her, her daughter Emmie (Kenya Nash) is responding to the world events in a different way, supporting the Civil Rights Movement and efforts for positive change in society. Speaking of change, that becomes an issue in a more literal sense, as Rose wants to teach Noah a lesson about leaving coins in his pockets when sent to be washed, and when Rose tells Caroline she can keep what she finds, this is a source of much reflection, tension, and drama. 

There’s too much happening here to explain everything, and it’s better to be seen, and heard, than simply described in a review, anyway. Other characters like Stuart’s parents, Grandpa and Grandma Gellman (Ken Haller and Mara Bollini), and Rose’s father, Mr. Stopnick (Kent Coffel) also figure into the story; along with Caroline’s sons Jackie (Cameron Hadley) and Joe (Malachi Borum); and her friend Dotty (Kellum), who is attending night school at a local college. The show is mostly sung-through, with a variety of musical styles represented, including classical, gospel, folk, Jewish Klezmer music, and 1960’s Motown styles. The memorable and sometimes haunting score is a highlight, and the issues dealt with–of personal trauma, grief, the tension between the desire for change and the fear of it–set against the tumultuous backdrop of the South in the 1960s, makes for a challenging, thought-provoking musical that comes across as more of an opera at times, and makes me want to see it more than once (as well as reading the script), since the complexities and intricacies of the plot and characters are intensely fascinating and challenging. 

The superlative score and complex story are brought to life in this production by Director Brian McKinley and a truly stellar cast, led by Blaylock in a multi-layered, expertly sung performance as Caroline, whose struggles are made achingly credible. Nash is also impressive as the ambitious Emmie. There are also impressive performances from young Klevorn in a difficult role as Noah, Lux as the conflicted Rose, Wolk as the grieving Stuart; Kellum as the Washing Machine and as the determined Dotty; and Kidd, Spann, and Easter in excellent harmony as the Radio; as well as Foster, in excellent voice as the Dryer and the Bus. Everyone is strong here, with great vocals and strong, cohesive ensemble chemistry, making the most of the emotion and tension of the piece as well as its musicality. 

There are also strong production values, with the minimalist set by Caleb Long and Colin Healy, aided by Bradley Rohlf’s stunning lighting design, providing the appropriate period-specific atmosphere with a touch of fantasy. Vanessa Tabourne’s costume design and the band led by music director Healy also contribute impressively to the overall tone of the production. 

There’s a lot to say, and think, about Caroline, or Change, but the easiest thing to say about Fly North’s production is that it has to be seen. It’s a remarkable theatrical feat, with heart and emotion, as well as intense drama. It’s a strong example of the best of what theatre can do.

Cameron Hadley, Kenya Nash, Zoe Klevorn, Malachi Borum
Photo by Julie A. Merkle
Fly North Theatricals

Fly North Theatricals is presenting Caroline, or Change at the Marcelle Theatre until August 12, 2023

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Fly North Theatricals’ “Assassins” is Incisive, Well-Cast, Chilling

Posted in St Louis Theatre, tagged , , , , , , on July 4, 2022| Leave a Comment »

Assassins
Music and Lyrics by Stephen Sondheim
Book by John Weidman
Directed by Bradley Rohlf
FlyNorth Theatricals
July 1, 2022

Eli Borwick, Sarah Lantzberger, Eileen Engel, Jaymeson Hintz
Photo by John Gramlich
Fly North Theatricals

It’s Assassins, but (mostly) immersive! That’s essentially the idea of Fly North Theatricals’ latest production of the Stephen Sondheim/John Weidman musical study of various individuals who have sought out to assassinate Presidents of the United States, with varying degrees of “success”. I put that word in quotes because of the inherently problematic and disturbing nature of the goal, which is pointed out in chilling fashion in this cleverly staged production, which features a contextualization that adds a degree of immediacy to the show that contributes much to the overall dramatic effect. 

Assassins is a show that blends sharp satire with social commentary and moments of intense drama. It profiles various would-be presidential assassins, some well-known and some more obscure, but they are not glorified here, although there is criticism of the societal and cultural values and situations that influenced them. The tone is satirical for the most part, but this production in particular brings out a degree of immediacy in the sense of how the show is framed. While most productions of this show have the backdrop of a carnival/fair shooting gallery attraction, this production is set up as a panel discussion at a convention called “PresCon 2022”. Each audience member is given a lanyard with a badge, identifying each attendee as “President”. The pre-show activities are a combination of hilarious and disturbing, such as autograph sessions with John Wilkes Booth (Jordan Wolk), a projected schedule of events that includes some clever topical and historical references, and more. Then the show starts and all the “presidents” settle down to watch the “panel”.  For a closer look at the pre-show activities and a lists of the various “schedules of events”, you can check out Fly North’s Facebook page. 

Although the show is advertised as “fully immersive”, it’s most immersive elements are before the actual play begins, and then it plays out as written, only with a different set than usual, and with the Proprietor (Eileen Engel) outfitted in professional attire and serving essentially as the host of the panel. The assassins and aspiring assassins are presented and begin to tell their tales. In addition to Booth, we meet Leon Czolgosz (Eli Borwick), Charles Guiteau (Bradford Rolen), Sarah Jane Moore (Kimmie Kidd-Booker), Lynette “Squeaky” Fromme (Avery Lux), John Hinckley (Jaymeson Hintz), Giuseppe Zangara (Ryan P. Townsend), Sam Byck (Sarah Lantsberger), and Lee Harvey Oswald (Stephen Henley).  The characters and their motives are varied, but the ultimate goal is the same–to kill a president. There’s also social commentary in the form of a figure called The Balladeer (also Henley), who–aided by clever projections–clicks through his cell phone to show us background on the various figures and their situations. The stories are sometimes linked in ways they didn’t in real life–like with Fromme and Moore, who both tried to assassinate President Ford, but not together as shown here, and Fromme and Hinckley, whose disturbingly dissonant duet “Unworthy of Your Love” is one the show’s most memorable tunes. Of course, these characters are all from different times and places, but having them interact adds to the theme, drama, and satire of the piece. This particular production adds another layer to that drama, as well, casting the audience as “presidents”, which makes everyone a potential victim if you think about it. Also, the sharp dramatic turn the show takes toward the end adds even more tension and impact to the story, making it a lot more personal than I had seen before. I won’t spoil it, but I’ll give a clue–the guns used in the show are all obviously fake (mostly toys). There’s a rather jarring moment when that changes, which affects the whole tone of the show in a powerfully effecting way. 

The theming here is excellent and consistent, working well with this production, as the “PresCon” setting is played out especially well in the build up to the show itself, and Lauren Perry’s simple but effective set and clever media design adds to the overall effect. The colorful, character-appropriate costumes by Engel are also excellent, as is Tony Anselmo’s evocative lighting. Music Director Colin Healy leads a top-notch band that accompanies the show with style, as well, although the band’s placing and the acoustics in the .ZACK theatre sometimes work to make the music drown out the singers.

Aside from occasional sound issues, though, this is a strong production all around, led by a superb cast with no weak links. Engel has an oddly effective air of detached menace as the Proprietor, and Wolk’s prideful, vengeful Booth is also a standout, as is Lantsberger (who also briefly plays anarchist Emma Goldman) as the attention-seeking Byck, whose goal was to assassinate President Nixon. Lux and Kidd-Booker are memorable in their scenes together as Fromme and Moore, and Hintz is effective as the single-minded and disturbed Hinckley, as is Borwick as aspiring anarchist Czolgosz, who shot President McKinley. Rolen, as the gleefully self-promoting Guiteau (Garfield’s assassin), is a stand-out, as well, and Henley is in excellent voice as the Balladeer, and also makes a convincing Oswald. The whole cast is excellent here, with strong ensemble chemistry and strong stage presence, energy, and vocals. 

If you’ve seen Assassins before, you essentially know what to expect, but there are some surprises in this version, in terms of direction and focus, with a powerful turn toward the end that makes the story more personal than I’ve seen before. Fly North Theatricals has presented some memorable productions in the past, but I think this is their best yet. It’s a profoundly affecting theatrical experience. 

Jordan Wolk, Eli Borwick, Kimmie Kidd-Booker, Bradford Rolen
Photo by John Gramlich
FlyNorth Theatricals

Fly North Theatricals is presenting Assassins at the .ZACK Theatre until July 23, 2022

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Bold, Character-Driven “Madam” is a Promising New Show from Fly North Theatricals

Posted in St Louis Theatre, tagged , , , , , , on January 18, 2020| Leave a Comment »

Madam
Music, Lyrics, Book, and Orchestrations by Colin Healy
Directed by Sydnie Grosberg Ronga
Choreographed by Carly Niehaus
Fly North Theatricals
January 11, 2020

Abigail Becker, Gracie Sartin, Kimmie Kidd-Booker, Marta Bady, Eileen Engel
Photo by Caroline Guffey
Fly North Theatricals

It’s especially enjoyable to get to see new shows being developed locally, especially when they are as promising as the latest production from Colin Healy’s Fly North Theatricals. Madam takes a look at a once-prominent but now more obscure figure in St. Louis history, fashioning a story around her that proves to be a vehicle for a memorable score and strong performances. Even though some of the plot elements are predictable, it proves to be a thoroughly entertaining theatrical experience.

The show is somewhat deceptively titled, in that, while 19th Century St. Louis madam Eliza Haycraft (Kimmie Kidd-Booker) is a prominent figure in the play, the story more often focuses on her “girls”, the employees at the high-class brothel she runs that is also greedily eyed by a well-connected man listed in the program only as “The Benefactor” (Phil Leveling). It’s the brothel’s residents and employees who start off the show and mostly serve as narrators, each one with her own signature color. Each of the girls also has her own hopes and goals for life beyond the brothel, or (in one case) not. There’s the adventurous but insecure Calista (Cameron Pille); the brash Billie (Marta Bady)–who once disguised herself as a man to serve in the Civil War; the caring Ripley (Gracie Sartin), who’s saving money to go to medical school; and Tennie (Eileen Engel), who wants to find and reconnect with her sister, a noted activist. At least some of these characters are loosely based on real people, as well. The action starts when the mysterious Mercy Jones (Abigail Becker) appears asking for help, and is taken in, eventually befriending the girls and gaining the confidence of Eliza. At least, that’s how it starts. There is a twist, and it’s not hard to guess, although the lack of suspense in that area doesn’t take away from the story, because the real drama here is in the characters, and especially in their relationships. Although the Benefactor is somewhat of a cartoonish villain, even that’s not a problem, as the memorable score heavily influenced by classic musical theatre traditions, and the compelling script make the show work. The strong performances, both in acting and in singing, also help immensely.

Those strong performances are turned in by an especially cohesive ensemble cast, led by the four “working girls” with Bady and Sartin especially standing out for their presence and the strength of their voices. Kidd-Booker is also a standout as the ailing but determined Eliza, and Becker is also strong as the enigmatic Mercy, and Leveling makes a suitably oily vilain, as well. Healy’s score is catchy, as well, providing a lot of excellent material for the strong voices of the cast, from the driving “Empire” at the beginning to ballads like Mercy’s “I Want to Be a Star” to Billie’s especially memorable “Another Fence (the Baseball Song)”.

A lot of the credit for this show’s success should go to Healy, who not only wrote the book, music, and lyrics, but also serves as the show’s musical director, plays piano, and conducts the excellent band. The shows other technical merits include a colorful set by George Shea and detailed period costumes by Eileen Engel. Kevin Bowman’s evocative lighting and Tazu Marshall’s sound also ably contribute to the overall mood and 19th Century atmosphere of the show.

There’s a message of empowerment here along with the memorable characterizations, as well, and although the setting is in a brothel, it’s not quite as raunchy as I had been expecting–though it has its moments in that department. It’s an especially strong showing for such a new show that’s only had one full-scale production before this one. Mostly, it’s a show full of memorable characters, strong relationships, and a catchy score, and although there are a few places where the script could be smoothed out a bit, Madam has made a strong showing in this highly entertaining production from Fly North Theatricals.

Kimmie Kidd-Booker
Photo by Caroline Guffey
Fly North Theatricals

Fly North Theatricals is presenting Madam at the .Zack Theatre until February 2, 2020

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