Posts Tagged ‘scott miller’

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

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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

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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

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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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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

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New Line’s Thoughtfully Staged “Dracula” Highlights Aesthetics, Strong Singing

Posted in St Louis Theatre, tagged , , , , , , , , , on June 5, 2024| Leave a Comment »

Dracula
Music by Frank Wildhorn
Book and Lyrics by Don Black & Christopher Hampton
Based on the Novel by Bram Stoker
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
June 1, 2024

Kent Coffel, Cole Gutmann
Photo by Jill Ritter Lindberg
New Line Theatre

I need to start out this review with a disclaimer–I am not a vampire fan. Although I grew up surrounded by family and friends who loved horror stories, and particularly vampires, for some reason I have never found these stories especially interesting or resonant to me personally. I’m OK with them in comic situations sometimes, but in general, vampire stories just aren’t my preference. Still, New Line Theatre is presenting Frank Wildhorn’s musical version of Bram Stoker’s classic Dracula, and I was determined to see it with an open mind. My conclusion is that, while vampires are still not my favorite, I can’t deny that this is a well-done show, with excellent production values, a striking aesthetic, a great cast, and the excellent singing I’ve come to associate with New Line. I imagine that anyone who loves classic horror tales, and particularly vampire tales, will love this show.

The show, scored by Wildhorn in a modern pop-rock style, follows the story of Stoker’s novel fairly closely, with a degree of dramatic license to make it fit into something of a “gothic romance” framework. I don’t see a lot of romance, personally, since Dracula (Cole Gutmann) basically decides to stalk Mina (Britanny Kohl) through telepathy upon simply seeing a picture of her, and they don’t physically meet for quite a while. There’s also Jonathan Harker (Ian McCreary) who is engaged to Mina, and also seems to have a loving relationship with her. This “love triangle” of sorts is at the forefront of the plot as Dracula aims to travel to England and feed his hunger for blood, while his minions, the Weird Sisters (Ann Hier Brown, Chelsie Johnston, and Sarah Lueken) continue to haunt his Transylvania castle. Meanwhile, mental patient Renfield (Rafael DaCosta) also appears to have a psychic connection with Dracula, and he announces the impending arrival of his “Master” to the head of the asylum, Dr. Jack Seward (J.D. Pounds). Seward is also one of three suitors who propose marriage to Mina’s friend Lucy Westenra (Vanessa Simpson), along with Texan Quincey Morris (Christopher Strawhun) and her “boring” childhood friend Arthur Holmwood (Alex Vito Fuegner). When Lucy suddenly starts acting strangely after Dracula’s arrival, Seward calls in his former professor, Abraham Van Helsing (Kent Coffel), and the vampire hunt is on! Mina, who struggles between her feelings for Jonathan and her burgeoning desire for Dracula, joins the men in their hunt, but what will happen when she does finally see the Count face-to-face?

The look, sound, and atmosphere of this production is top-notch, especially considering the relatively small space at the Marcelle. Rob Lippert’s set is suitably dark and gothic, as well as versatile, with its most prominent feature being a large cryptlike platform that serves various purposes throughout the story. Matt Stuckel’s lighting is also eye-catching, setting just the right ominous tone as the story unfolds, and the costumes by Zachary Thompson are simply fantastic, with Victorian styling and hints of modern influence, such as Dracula’s shiny black leather-like pants, and the detailed dresses for Mina and Lucy, as well as the more fantastical garb of the Weird Sisters. There’s also an excellent band led by music director Jenna Lee Moore, filling the space with Wildhorn’s memorable score.

Performance-wise, directors Scott Miller and Tony L. Marr Jr. have cast well, with Gutmann making a convincing, brooding Dracula, who has a sense of presence that projects quiet confidence, as well as a strong, resonant voice. As Mina, Kohl is the biggest standout, convincingly portraying her character’s intelligence, compassion, and internal struggle between her established love for Jonathan and her new, initially unwelcome attraction to Dracula (even before she has actually met him in person). McCreary is also impressive as the earnest Harker, and DaCosta is terrific as the Dracula’s frenzied, devoted disciple Renfield. There are also excellent turns from Simpson as the tragic Lucy, Coffel in especially strong voice as the determined Van Helsing, and Pounds, Fuegner, and Strawhun as the three suitors-turned-vampire hunters. Brown, Johnston, and Lueken are also suitably creepy and bloodthirsty as the Weird Sisters. The ensemble is especially cohesive, with particularly impressive singing all around. 

Overall, I’m impressed in an aesthetic, dramatic, and vocal sense. Even if vampires aren’t exactly my cup of tea, I can’t deny that New Line has done a great job with Dracula. This is a well-paced, thoughtfully staged, impressively designed production. I would think that vampire aficionados will love this show.  

Kent Coffel, Ian McCreary, Brittany Kohl, J.D. Pounds
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Dracula at the Marcelle Theatre until June 22, 2024

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“Queens” Entertain with Energy, Southern Humor at New Line

Posted in St Louis Theatre, tagged , , , , , , , , , on March 7, 2024| Leave a Comment »

Sweet Potato Queens
Book by Rupert Holmes, Music by Melissa Manchester, Lyrics by Sharon Vaughn
Based on the Bestselling Books of Jill Conner Browne
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
March 1, 2024

Mara Bollini, Talichia Noah (standing), Ann Hier Brown, Victoria Pines
Photo by Jill Ritter Lindberg
New Line Theatre

Sweet Potato Queens seems at once like an ideal show for New Line Theatre as well as being a bit of a surprise, since it’s focused to a degree on promoting a real organization. The danger with a show like this is that it could come off as a schmaltzy TV movie or commercial. Still, the show doesn’t really come off as a marketing pitch especially as staged by New Line, with its focus on strong characterization and vocals, with vibrant costuming and some over-the-top moments, with an emphasis on Southern style and humor, with particular focus on being a source of encouragement and bonding for women. 

The Sweet Potato Queens are real, with many chapters around the world, but they were begun in 1982 by Jill Conner Browne, played here by Talicia Noah. Browne has written a series of books over the years expounding the SPQ philosophy, and this show is essentially a combination of an origin story and a testimonial, expounding on Browne’s philosophies while explaining how the SPQ movement began, featuring some representative characters that Browne meets and inspires, including three women all named Tammy (Mara Bollini, Ann Hier Brown, and Victoria Pines), along with a waiter named George (Aarin Kamphoefner) who forms a bond with these women, along with other important figures in Browne’s life such as her Mama (Bethany Barr), her Daddy (Kent Coffel), and her husband Tyler (Jeffrey M. Wright). As Jill, who has recently left her stable-but-boring job at Sears, ponders what to do with her life and how to pursue a career as a writer, she deals with her personable but evasive unemployed husband’s efforts to find a job, Mama’s nagging to go back to Sears, and listens to advice from Daddy to “Do What Makes Your Heart Sing”. She also finds herself hanging out at the local Chinese restaurant and encouraging the Tammies and George to do likewise, while Too Much Tammy (Brown) deals with body image issues and her relationship with food, Floozie Tammy (Bollini) tries to find a healthy balance in her relationships with men, and Flower Tammy (Pines) deals with an abusive marriage, while George deals with the struggles of being a gay man in what can be a restrictive and isolating Southern culture. Meanwhile, Tyler continues to be mysterious and secretive, and Jill wonders whether or not the frequent rumors about his apparent philandering ways are true. 

The story features a score of mostly upbeat songs, some of which are contagiously catchy (such as the maybe too-oft-reprised “Do What Makes Your Heart Sing), and others not as memorable. The overall message of “sisterhood” and empowerment is communicated with a Southern flair and bright, colorful costumes by Zachary Phelps that are inspired by the original SPQ outfits, as well as more toned-down but realistic outfits for the “origin story” scenes. There’s also a bright, abstract runway-type set by Rob Lippert that is reminiscent of a 1970’s game show with its bold colors and complimented by Matt Stuckel’s vibrant lighting. The set painting and construction look better in the pictures than in person, though, coming across as kind of rough around the edges up close. Marr’s choreography is energetic and fun, and the band led by music director Dr. Tim Amukele provides a good soundtrack for the story and performers. 

The performances are strong across the board, with Noah making an ideal and personable narrator/protagonist as the determined Jill. Noah has a strong voice, as well, and her co-stars also shine in the vocal department, with the always-great Coffel a standout as Daddy; Bollini, Brown, and Pines all getting their moments to shine as the Tammys; and Wright making the most of his somewhat annoying character as Tyler. Barr also has excellent comic moments as Mama, including the standout song “Sears”, and Kamphoefner gives an amiable performance as George. The group numbers are memorable, as well, for the most part, although it can be difficult to decipher the lyrics sometimes when everyone is singing at once. 

Overall, Sweet Potato Queens at New Line is an entertaining, energetic, in-your-face ode to female empowerment, even though there is a bit of stereotyping where men are concerned. This strikes me as the type of story that some may relate to more than others, but at New Line, the enthusiastic performers put their all into this tale full of over-the-top, occasionally raunchy Southern humor with a few well-placed moments of poignancy along the way. It’s an enjoyable evening with a memorable cast. 

Aarin Kamphoefner (center) and cast of Sweet Potato Queens
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Sweet Potato Queens at the Marcelle Theatre until March 23, 2024

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New Line’s Original “Appleweed” Has Its Holiday Highs and Lows

Posted in St Louis Theatre, tagged , , , , , , on December 6, 2023| Leave a Comment »

Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas
Book, Music, and Lyrics by Scott Miller
Original Orchestrations by John Gerdes
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
December 1, 2023

Kay Love, Terrell Thompson
Photo by Jill Ritter Lindberg
New Line Theatre

New Line is a theatre company that’s not afraid of taking risks. They’ve staged some excellent, smaller-scaled productions of musicals from the well-known to the obscure, and occasionally, like with their latest production, original works. Their latest production, written and co-directed by New Line’s artistic director Scott Miller, is a holiday show with a twist. Jesus & Johnny Appleweed’s Holly Rollin’ Family Christmas is a world premiere musical parody that’s got a lot of potential, even though it’s still a bit rough around the edges.

The show is a sort-of sequel to Miller’s earlier original musical Johnny Appleweed, which was staged by New Line in 2006. I didn’t see that show, so I can only go by what I’ve read about it. This show features some characters from that show, but in the format of kind of an extended adaptation of A Christmas Carol, featuring a seemingly typical white-bread American Family, the Goodsons, led by the stuffy, traditionalist father Harry (Terrell Thompson), who in the first act spends an evening being surprised and shocked by his family members, who all have secrets that they reveal under the influence of some pot-spiked Christmas cookies. Narrated by a group of “Stoner Carolers” (Robert Doyle, Matt Hill, Stephanie Merritt, and Lauren Tenenbaum), the show follows as Harry’s kids Chip (Tony L. Marr Jr.) and Tammy (Marlee Wenski), brother-in-law Hugh (Tawaine Noah), and wife Bess (Kay Love) take turns singing about their lives in ways that increasingly disturb Harry. And then, in the second act, Jesus (also Marr) shows up as the “Jacob Marley” figure, warning Harry–who has passed out on the couch after eating a bunch of the cookies–that he will soon be visited by three ghosts, like Ebenezer Scrooge but with more of an herbal influence. Noah, Wenski, and Love play the ghosts, with Love appearing as the titular Johnny Appleweed, and bringing a great deal of energy to a show that’s a bit overlong, even though it gets better as it goes along.

The show gets off to a slow start, and it could deal with a good bit of trimming, as the first act is all set-up and the plot doesn’t really get moving until Jesus shows up in Act Two. There are some fun songs and some compelling points being made about the clash between the idealization of  1950s America and reality, as well as the encroaching social rebellion of the 1960s. The music is hit-or-miss, with some songs that basically stop the action to tell a long story, and others that are especially clever–especially in the second Act when the weed humor ramps up, which surprised me somewhat, since I’m not usually a huge fan of stoner jokes. Still, this show is at its high point (pun intended) when it leans into the pot jokes, and especially after the energetic Love shows up as Johnny Appleweed, leading the Carolers and the cast in what is probably the show’s most catchy song “That Stick Up Your Ass”. There are also some clever re-writings of traditional Christmas carols, sung with excellent harmonies by the Carolers. 

As for the rest of the cast, Wenksi is also hilariously energetic as Tammy and as movie star Sandra Dee, whose intro song is a fun nod to Grease. Thompson struggled with his lines a bit in the first act, but gained more energy and confidence in the second. Noah, as Hugh and the first of three Christmas ghosts is also fine, and Marr–a last-minute replacement as Chip–moves well and has a good sense of presence, but struggles a bit with the vocals. Marr is also the choreographer and co-director for this production,  providing some fun moments of dancing especially in the show’s livelier moments. 

In terms of technical elements, this show looks great, filling the stage at the Grandel Theatre with a vibrant Mid-Century Modern influenced set by Rob Lippert. The costumes by Lauren Smith Bearden are also colorful and stylish, with the props by Erin Goodenough also adding much to the satirical tone of the show. There’s also excellent lighting by Matt Stuckel and a lively band led by music director/keyboardist Mallory Golden.

Jesus & Johnny Appleweed’s Holly Rollin’ Family Christmas isn’t a perfect show, but it’s new and it has a good deal of potential. The cast members seem to be enjoying themselves a great deal, and there are some memorable moments and an excellent sense of theme. If you like crass humor, and especially stoner jokes, this show should be a fun “alternative” holiday production. 

Marlee Wenski, Terrell Thompson, and Carolers
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas at the Grandel Theatre until December 16, 2023

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New Line’s Fun “Forum” Highlights Humor, Excellent Singing

Posted in St Louis Theatre, tagged , , , , , , , , , on June 7, 2023| Leave a Comment »

A Funny Thing Happened on the Way to the Forum
Music and Lyrics by Stephen Sondheim
Book by Burt Shevelove and Larry Gelbart
Based on the plays of Plautus
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kernan
New Line Theatre
June 3, 2023

Kent Coffel (center) and Cast of A Funny Thing Happened on the Way to the Forum
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s latest production is of a well-known show, featuring a score by a legendary composer and a book by two veteran comedy writers. A Funny Thing Happened on the Way to the Forum, based on the works of ancient Roman playwright Plautus, was a hit in the 1960s and has been performed in various venues since then. It does have its dated elements, but at New Line, as usual, there are some new perspectives that emerge. For the most part, this is a show that revels in its humor, and at New Line, the focus is on the strong singing of Stephen Sondheim’s memorable score.

The story is framed as a performance by a dramatic troupe that decides, for this day’s performance, they will be staging a comedy. What results is a slapstick farce set in Roman times, centering on Pseudolus (Kent Coffel), who is a slave in one of the three houses featured in the story. He serves Hero (Ian McCreary), the son of Senex (Robert Doyle), who is heading out of town with his controlling wife Domina (Ann Hier Brown) to visit her family. While they are away, Pseudolus works on a plan to gain his freedom after he notices that Hero has fallen for a young woman he’s seen in the window of the neighboring house, which is essentially a brothel operated by Marcus Lycus (Jason Blackburn). Soon, they find out that the object of Hero’s ardor, the virginal Philia (Sarah Wilkinson), has been purchased sight unseen by the narcissistic general Miles Gloriosus (Danny Brown), who is due to arrive soon to make her his bride. Pseudolus’s plan gets more complicated as the story goes on, much to the frustration of Senex’s chief slave Hysterium (Chris Moore), who reluctantly gets brought into the scheme. Meanwhile, the elderly Erroneus (Gary Cox), who lives in the other neighboring house, returns to town after a long absence, still looking for his long-lost children who were captured by pirates years previously. How all these stories fit together is the source of much of the comedy, which is portrayed here by an enthusiastic cast who are all in excellent voice. 

I had seen this show once before, at the Muny a few years ago. Obviously, a small company like New Line isn’t going to have the elaborate production values or huge stage of the Muny, but New Line has become adept at scaling shows down for its venue, as well as bringing out nuances in stories that bigger productions can gloss over. You could say that there isn’t much room for nuance in a show like Forum, with its broad, bawdy comedy and plot that relies on old standard devices like mistaken identity and mixed-up romance, but while it’s still a broad farce, I found myself looking differently at some of the characters here, such as Domina, who comes across here much better than her lecherous husband, Senex. The dated features of the story are here, with the women being the focus of the jokes much of the time, but the overall silliness here takes precedence, for the most part.

In terms of performances, the cast is especially strong vocally, as is usual for New Line. As for comic timing, some are better than others, and there are moments when the jokes don’t land as they should, but for the most part, it’s a very funny show. Coffel as Pseudolus is ideally cast, with a strong voice and great stage presence and comic ability. Moore as Hysterium also has some memorable comic moments, as do Danny Brown as the self-admiring Miles Gloriosus, and Ann Hier Brown as the domineering but lovesick Domina. McCreary and Wilkinson are well-matched as the wide-eyed lovers, Hero and Philia. There’s also a trio of “Proteans” for an ensemble (Nathan Hakenwerth, Brittany Kohl Hester, and Aarin Kamphoefner) who all play various roles and seem to be having a great time. 

The look of the production is lively and vibrant, with a brightly painted, cartoonish set by Dr. Rob Lippert, and well-styled, colorful costumes by Eileen Engel that help to set the whimsical Roman tone of the show. There’s also good work on lighting by Matt Stuckel and music direction from Joe Simpson, with a strong onstage band conducted by keyboardist Matt Kauzlarich. 

A Funny Thing Happened on the Way to the Forum is an unapologetic comedy that revels in its silliness. Although it’s based on plays from ancient Rome, the overall tone has a 1960s comedy vibe. New Line’s production is a lot of fun, with its small scale again working in its favor. It’s an enjoyable production especially for fans of Stephen Sondheim, goofy comedy, and great singing. 

Sarah Wilkinson, Ian McCreary
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting A Funny Thing Happened on the Way to the Forum at the Marcelle Theatre until June 24, 2023

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New Line’s “Nine” Is a Remarkable Emotional Journey

Posted in St Louis Theatre, tagged , , , , , , , , , , on March 4, 2023| Leave a Comment »

Nine
Book by Arthur Kopit, Music and Lyrics by Maury Yeston
Based on the Film 8 1/2 Written by Federico Fellini
Adapted from the Italian by Mario Fratti
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kernan
New Line Theatre
March 3, 2023

Cast of Nine
Photo by Gerry Love
New Line Theatre

Nine is a show I’d heard about, and heard songs from, but had never seen. From what I had seen and heard, I wanted to see it, but I just hadn’t had the opportunity, because it doesn’t seem to be performed a lot, at least in St. Louis. Yes, there’s a movie, but I had heard highly mixed reports about it, and I prefer to see shows on stage first if at all possible. I also hadn’t seen the original Fellini movie, 8 1/2, on which Nine is based–although now, I want to. Thankfully, New Line Theatre has now given me and others the chance to see this unusual, fascinating show, which is ideal for this theatre company, known for its bold choices and excellent production quality, and especially great singing. 

The story focuses on self-absorbed movie director Guido Contini (Cole Gutman) and the multitudes of women in his life, from his longsuffering wife, Luisa (Lisa Karpowicz) to his eager mistress Carla (Sarah Wilkinson), to his determined producer, Liliane LeFleur (Kimmie Kidd-Booker), and his elusive favorite film star Claudia (Ann Hier Brown) to various other figures in his life, such as his mother (Stephanie Merritt) and a host of muses, exes, critics, and more. The creative, conflicted Guido is struggling to come up with a script for his next picture, which is due to be filmed imminently. This story has a fantastical element, in that most (if not all) of the action is taking place in Guido’s mind, as he struggles not only with his present dilemma while staying at a spa in Venice, but also deals with the influences of his past, and the continued theme of his relationships with–and attitudes toward–women.

There’s a lot going on here, and I won’t go into too much detail since the journey of discovery is important to see firsthand. It’s Guido’s journey, and although the show explores his relationships with many women, his marriage with Luisa is the most prominent, and the staging reflects her importance, with Luisa often seeming to be a spectator to some of the more elaborate fantasy sequences, so we can see her reactions not only to his attitudes and interactions, but toward Guido himself, and the kind of man he is. There’s obviously love here, but there is also intense conflict, and other figures in Guido’s life also loom large, with impressive performances all around, and some of the best, most intricate ensemble singing I have heard at New Line, and with this company, that’s saying something.

As Guido, Gutmann is charismatic, enigmatic, and dynamic,  conveying all the difficult qualities of Guido’s personality credibly, but also maintaining a strong presence and a degree of sympathy when needed. His voice is strong and versatile, and he has great chemistry with his co-stars. Karpowicz is also excellent in a somewhat subdued performance as Luisa, managing to convey her frustration and her affection for Guido even when in moments when she is mostly reacting to what is happening around her. Karpowicz also has a strong voice on songs like “My Husband Makes Movies” and “Be On Your Own”. There are also strong performances from Wilkinson as the amorous Carla, Brown as the conflicted Claudia, Merritt as Guido’s Mother, and Kay Love as a sort of narrator figure known as Our Lady of the Spa. There are also especially memorable, dynamic performances from Sarah Lueken as Saraghina–and influential figure from Guido’s school days–who leads the memorable “Be Italian”; and especially Kidd-Booker as the brassy, bold, and theatrical LeFleur, with her showstopping “Folies Bergères” number commanding the stage with humor, presence, and style. The rest of the ensemble is also strong, contributing to the first-rate vocals and the overall tone of the story.

This staging is based on the 2003 Broadway revival version, as opposed to the 1982 original. The scaled-down production is ideal for New Line, and the look is strikingly simple, with a black-and-white color scheme predominating, from Rob Lippert’s white- tiled unit set to the stylish black costumes by Sarah Porter. Matt Stuckel’s lighting adds much in the way of mood and atmosphere to the proceedings, as well, including flickering film-like effects at the beginning–and the great New Line band led by music director Dr. Jenna Lee Moore lends power to the memorable Maury Yeston score.

Nine, being essentially an extended fantasy sequence that deals with a lot of deeply personal issues for Guido. Luisa, and the rest of the characters, can be a little hard to follow at times, but it’s staged and sung so well as to make audiences want to pay attention, and to ponder the issues being dealt with here. There’s drama, occasionally raunchy humor, intensity, and reflection. As is frequent for New Line, it’s a production that is simultaneously simple and complex, bringing out the truth of the material through authentic, credible performances and thoughtful staging. It’s a fantastic production.

Cast of Nine
Photo by Gerry Love
New Line Theatre

New Line Theatre is presenting Nine at the Marcelle Theatre until March 25, 2023

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