Local Activists Team Up with Climate Change Theatre Action St. Louis

Local Activists Team Up with Climate Change Theatre Action St. Louis

On Dec. 13, 2019 at the Mark Wilson Theatre on the campus of St. Louis University, Playhouse Emissions: Climate Change Theatre Action St. Louis 2019 was presented as part of the international Climate Change Theatre Action 2019.

The St. Louis event follows the growing tradition of rapid response from theatre artists for collective action on some of the most pressing issues of our time, including gun violence and extrajudicial violence against people of color. 

There is a growing movement within the global theatre community: a succession of artwork-cum-advocacy events, collections of short plays, crafted with an urgent deadline and for immediate performance, in an effort to address some of the most critical sociopolitical issues of our time. After an initial production, these play collections often circulate for years, becoming part of the theatrical and activist zeitgeist, and often a movement unto itself. Climate Change Theatre Action (CCTA) is one such movement.

CCTA is a worldwide series of readings and performances of short plays on climate change, primarily presented to coincide with the United Nations COP 25 meeting. 

Produced by Joan Lipkin, and directed by Thomas Martin, Anna Blair, Alex Knapp, Playhouse Emissions featured a sampling of the CCTA international collection of short plays inspired by climate change and the science surrounding it. In 2019, close to 250 events were hosted in 25 countries, reaching an audience of 10,000 through live performance and an additional 10,000 via live streams and radio broadcasts.

“Climate change is one of the greatest challenges facing us as a global community,” said Joan Lipkin, Producing Artistic Director of That Uppity Theatre Company, and one of 2019’s commissioned playwrights. “Scientists estimate that we have 15 years to decarbonize the economy if we want to stave off the worst impacts of climate change that will affect all of us.”

The plays were selected from two anthologies that were commissioned by the CCTA organization. 50 playwrights were chosen from over 25 countries, from industrialized and developing countries and urban and rural areas. These perspectives include low-lying nations threatened by sea level change and countries facing severe heat waves, floods, droughts, deforestation and/or biodiversity collapse. 

Lipkin and Knapp co-hosted the event, which featured performances from leading actors in St. Louis, including Dan Kelly, Michelle Dillard, Don McClendon, and Anna Blair, as well as students from St. Louis University and Washington University in St. Louis. The performance opened with a drum performance by World Vibrations, led by Lisa Frumhoff and concluded with a question and answer segment with David Brotherton, the Program Director for Business and the Environment at the University of California – Berkley.

Plays selected for Playhouse Emissions included Single Use by Marcia Johnson, Brackendale by Elaine Ávila, About That Chocolate Bar by Joan Lipkin, Six Polar Bears Fell from the Sky This Morning by Alister Emerson, El Toro Sagrado In the Car Repair Shop by Mindi Dickstein, and Homo Sapiens by Chantal Bilodeau.

“Among the short plays was a dramatic, interpretive reading of Greta Thunberg’s UN address on Climate Change. I was deeply moved by the re-enactment and inspired by how theatre arts keep the most compelling issues of our time alive,” said audience member Anne Taussig. Thunberg’s remarks were adapted by Lipkin and Knapp, a second-year master’s student in Theatre and Performance at Washington University in St. Louis, with music by Mitchell Manar. “The most important thing we can do is inform ourselves and understand the situation,” according to Greta Thunberg, the 16-year old climate activist. 

“As a scholar and artist, I care deeply about education and access, especially regarding the most pressing concerns to life on this earth. I find performance to be an excellent venue for bringing these issues to the fore, sparking a dialogue within communities, and providing equitable access to education on these topics,” says Knapp.

“Saint Louis University is dedicated to providing the vehicle through which students and the general public can learn the facts about climate change using a variety of platforms including academics, public programs, and the arts. We are pleased to support this creative use of the arts in the service of both the humanities and climate change awareness,” said Dr. Jack Fishman, a Professor of Meteorology in the Department of Earth & Atmospheric Sciences and director of their Center for Environmental Sciences.

About Climate Change Theatre Action:

A collaboration between the Center for Sustainable Practice in the Arts, NoPassport Theatre Alliance, The Arctic Cycle, Theatre Without Borders, and York University, CCTA is a worldwide series of readings and performances of short climate change plays presented to coincide with the United Nations COP25.

Following the model pioneered by NoPassport, the organizers asked fifty writers from around the world to write short plays about an aspect of climate change. These plays were made available to producing collaborators who have presented over 100 events so far this season. Collaborators can choose as few or as many of the plays as they want.

Events range from readings in classrooms to fully staged performances and will take place in theatres, high schools, universities, eco-centers, community centers, on radio, and outdoors.

For the full list of events and participating playwrights:  

www.climatechangetheatreaction.com

Events can also be followed via their Facebook Page.                                                

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Opera Theatre of St. Louis Expands Audience and Increases Fundraising in FY2019

Opera Theatre of St. Louis Expands Audience and Increases Fundraising in FY2019

Following the conclusion of the 2019 fiscal year on Sept. 30 — the first under the leadership of General Director Andrew Jorgensen — Opera Theatre of Saint Louis announced preliminary results that demonstrate a growing audience, positive national attention, and vibrant philanthropic support for the company.

A comprehensive audit will be completed and published in February 2020. Opera Theatre’s contributed operating support exceeded $6.49 million, or 109% of the company’s fundraising goal, and the endowment totaled more than $33 million at fiscal yearend. New donor households grew by 53%, bringing total donor households to 1,156 in 2019.

Philanthropic investment from the St. Louis community represented 75% of contributed revenue; Opera Theatre also continued to attract strong national support from funding partners including the National Endowment for the Arts and The Andrew W. Mellon Foundation.

This year, OTSL completed its five-year partnership with The Wallace Foundation, collaborating with 25 other leading performing arts organizations across the country to design, implement, and evaluate programming as participants in the Building Audiences for Sustainability initiative.

A key component of OTSL’s 2019 fundraising success was its annual spring gala in May, chaired by Kim and Tim Eberlein with Host Presenting Sponsor Centene Charitable Foundation. The event grossed more than $1 million to support the artists who bring Opera Theatre’s season to life on stage. Response to the 2019 Festival Season from audiences and press was overwhelmingly positive, driven in part by OTSL’s 28th world premiere, Fire Shut Up in My Bones, commissioned by Opera Theatre and co-commissioned by Jazz St. Louis.

Composed by six-time Grammy Award winner and Oscar nominee Terence Blanchard with libretto by acclaimed film director Kasi Lemmons, the opera was based on the memoir of renowned author Charles Blow. Directed by OTSL Artistic Director James Robinson, this world premiere was hailed by The New York Times as “a bold and affecting adaptation” that sold out four of its six performances at OTSL.

In September 2019, the Metropolitan Opera announced it would produce Fire Shut Up in My Bones in a future season — the first production by an African American composer in the Met’s 136- year history, and the first OTSL commission to be re-mounted there. Total audience households attending Opera Theatre’s festival season increased by 6% over 2018, with ticket buyers from 46 states and 17 countries. Younger and more diverse audiences were an important component of that progress; audiences of color grew by 13% and Millennial households were up 50% over the prior year.

Ticket sales for Opera Theatre’s successful Young Friends program for audiences 45 years and younger increased by 25% and philanthropic dollars from Young Friends members grew by 19%. The national media roundly praised Opera Theatre’s 2019 Festival Season, with 5 separate features in The New York Times and more than 45 reviews in publications including The Wall Street Journal, Opera News, The St. Louis Post-Dispatch, and Chicago Classical Review.

“It’s one of the loveliest opera-going experiences anywhere, and quite unlike any other,” wrote Scott Cantrell of The Dallas Morning News. “It has been enormously gratifying to collaborate with Andrew Jorgensen during his first year as Opera Theatre’s General Director, and to see how warmly the St. Louis community has embraced him,” said Opera Theatre’s Chairman, Noémi Neidorff. “Andrew’s vision, his creativity, and his thoughtful approach are both refreshing and essential, as he leads Opera Theatre towards greater successes.”

“As I reflect on my first year at Opera Theatre, I am deeply grateful to the board, staff, volunteers, and artists who made the 2019 Festival Season possible,” said General Director Andrew Jorgensen. “Our company’s long record of artistic success and fiscal responsibility is rooted in the generosity of our St. Louis community, which has provided steadfast support for all of our work including world premieres, classic repertoire, and the development of future artists and audiences alike. I am so excited to build upon this year’s achievements and look forward to what lies ahead.”

As Opera Theatre celebrates its 45th season in 2020, the company will continue to build on its strengths, shaping the future of opera through innovative new productions and the training of talented young artists. The company’s artistic team, including newly appointed Artistic Director of Young Artist Programs Patricia Racette and Director of Artistic Administration Damon Bristo, recently completed OTSL’s seven-city young artist audition tour.

A total of 1,091 singers across the country applied for the prestigious Gerdine Young Artist and Richard Gaddes Festival Artist programs; only 35 will be selected to appear in the 2020 Festival Season.

Opera Theatre’s 2020 Festival Season runs May 23 – June 28 and features Bizet’s Carmen, Strauss’ Die Fledermaus, the world premiere of Awakenings by Tobias Picker and Aryeh Lev Stollman, Floyd’s Susannah, and the annual Center Stage concert showcasing OTSL’s young artists.

Tickets for the 2020 Festival Season start at just $25 and can be purchased online, via phone, or in person at the OTSL Box Office at the Loretto-Hilton Center. For more information about the season, visit ExperienceOpera.org or call (314) 961-0644. ### About Opera Theatre of Saint Louis Opera Theatre of Saint Louis is a spring festival featuring casts of the opera world’s most exciting singers accompanied by members of the Grammy Award-winning St. Louis Symphony Orchestra.

Each season, OTSL presents four inventive new productions in English during the months of May and June. In addition to presenting innovative interpretations of classics, OTSL is also committed to premiering new and relevant operas by prominent composers; since its inaugural season in 1976, 28 operas have received their world premieres at Opera Theatre. T

he company’s competitive young artist programs foster the next generation of emerging American singers; these programs have been a springboard for countless artists to launch international careers.

OTSL is led by General Director Andrew Jorgensen and Artistic Director James Robinson. Opera Theatre of Saint Louis is funded in part by the Regional Arts Commission, Arts and Education Council, National Endowment for the Arts, and the Missouri Arts Council. Opera Theatre gratefully acknowledges Webster University for its sustaining partnership

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New Places and Faces for Tennessee Williams Festival St. Louis

New Places and Faces for Tennessee Williams Festival St. Louis

The Tennessee Williams Festival St. Louis has announced a move to The High Low in the Grand Center Arts District.

Helene Estes

The High Low is a new venue from the Kranzberg Arts Foundation which focuses on the spoken and written word.

“We are thrilled to house the Tennessee Williams Festival St. Louis in such a creative establishment and cannot wait for the partnerships that will come from this relocation,” said Carrie Houk, executive artistic director.

Helene Estes has been hired as the new Director of Operations. A St. Louis native, Helene holds a B.F.A in Drama from New York University’s Tisch School of the Arts. She has maintained a varied artistic career that includes theatre and screen acting, film producing, and new play development in New York City and the St. Louis area.

“She is extremely honored to to be joining this amazing team of creatives and eager to support such an incredible organization,” Houk said.

“We are excited to announce more new faces with the addition of several members to our TWStL board. We’re pleased to have Jane Robert, Rayme Cornell, Peter Shank, Carlos Zamora, Melodee DuBois, Donna Beck, KC Carroll, and Kyle Crocker join our governance,” she said.

The 5th annual festival will be held May 7-17, located in the Grand Center Arts District. 2020 programming will be announced in the weeks to come.

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Alex Prakken Added to Muny Magic with Mikaela Bennett

Alex Prakken Added to Muny Magic with Mikaela Bennett

By Lynn Venhaus
Managing Editor

A longtime Muny performer, Alex Prakken left his native St. Louis to grow his musical theater aspirations, but his heart is at home on the local stages that have meant so much to him.

Prakken will star alongside Mikaela Bennett in the eighth
installment of its off-season concert series, Muny Magic at The Sheldon, on
Tuesday and Wednesday, Nov. 5 and 6, at 7:30 p.m.

“The Muny is such a special place, not just for me, but for
many,” he said. “I always wanted to go to New York. And The Muny definitely
helped me to get to where I needed to be in singing, acting and dancing. And I
got to watch these phenomenal actors on that stage, work with them, and learn
from them.”
Prakken replaces Jason Gotay, who was cast as Che in the upcoming New York City
Encores! Production of “Evita” and had to withdraw. Gotay appeared as Prince
Topher in “Rodgers and Hammerstein’s Cinderella,” as Prince Eric in “Disney’s
The Little Mermaid” and Jack in “Into the Woods” at The Muny.

“We’re so grateful to Alex for joining this always
joyous and magical night,” said Muny Artistic Director and Executive
Producer Mike Isaacson. “Alex thrilled audiences last season in 1776 and
his performance as Marius in Les Misérables remains a Muny favorite. I’m sure
he and Mikaela will make serious magic.”  

A former Muny Kid and Muny Teen, Prakken said he was
thrilled to return to the Muny as the Courier in “1776,” singing the signature
solo “Momma Look Sharp,” after an absence of six years.

“It was nice to be back for ‘1776,’” he said. “It’s such a
special song, such a special show. It really sticks with you.”

Alex Prakken as The Courier in “1776” at The Muny last season. Photo by Phillip Hamer. He had participated as the Courier in a concert version at
54 Below in New York City, which takes place every Fourth of July.

Prakken, a graduate of The John Burroughs School and
University of Michigan, was previously in a much heralded “Les Miserables” as
Maurius at the Muny in 2013.

“I’ll never forget that. I had never seen an audience so enamored
with a show,” he said. The audience leapt to its feet after “One Day More.”

“It was the perfect show for the Muny – on that big stage
with a big cast,” he said.

After that, he went on to the first national tour of
“Newsies” as Oscar Delancey and as Jack Kelly’s understudy as well as Davey’s,  stopping at the Fox Theatre in St. Louis.

“Playing the Fox was crazy. We spent a year playing in
really big houses, 2500-3000, but the Fox is practically double in size. It’s
the biggest one we played,” he said.

While growing up, The Fox was where he saw his first
touring shows.

“It was a shining beacon of theater, but I took it for
granted. It is a stunning theater, so freaking beautiful, big and cavernous.
Performing there, it really did feel majestic, very special,” he said.

He played Jack Kelly at La Mirada Playhouse in California,
and at the Paramount Theatre in Chicago. He has toured as Jesus in “Jesus
Christ Superstar” and as Roger in “Grease.”

Alex Prakken as Jack Kelly in “Newsies” at La Mirada PlayhouseNow living in New York City, Prakken said he’s been
fortunate to be working steadily, but enjoys returning home for a break around
the holidays. Since early May, “I’ve been going non-stop.”

His agent sends him out on auditions for things he may be
right for – “it’s about who they happen to be looking for,” he said. “It’s
often being at the right place at the right time. I’m starting to get noticed
by casting directors. It’s about knowing who they can trust.”

He and Bennett, who had never met before, were rehearsing
the week before the shows.

“She has a lovely voice, it gave me chills – really
spectacular,” he said.

Bennett played the title character in Rodger and
Hammerstein’s “Cinderella” last summer and is a graduate of The Juilliard
School, known for her work on stage and concert halls. She won a Lincoln Center
Award for Emerging Artists this year.

Her credits include Maria in “West Side Story” at the Lyric
Opera of Chicago and in concert performances at the BBC Proms, New York
Philharmonic, Philadelphia Orchestra, and the Los Angeles Philharmonic
Orchestra. She has appeared at the Kennedy Center and Carnegie Hall.

She originated both the role of Norma in the off-Broadway
production of “Renascence” and the title role of Acquanetta at the Prototype
Festival.

Michael Baxter is directing the show and frequent Muny
music director Charlie Alterman is directing the music.
Prakken said they have come up with solos and duets to reflect their strengths,
the new season, Muny classics and shows they have been in around the country.

“What felt best for us,” he said. The timeless music of Leonard Bernstein, Harold Arlen, Jason Robert Brown and Rodgers and Hammerstein is among the selections. Bennett and Prakken will be accompanied by a trio: Charlie Alterman (music director and piano), Nick Savage (drums) and Vince Clark (bass).

The concert will feature Broadway hits including “If I Loved You” (“Carousel”), “How Could I Ever Know” (“The Secret Garden”), “One Second and A Million Miles” (“The Bridges of Madison County”) and a medley from “West Side Story.”

In addition to the performances, Isaacson will reveal the
line-up for the much-anticipated 2020 summer season, its 102nd.

“It’s a very exciting season next year,” Prakken said — while
not revealing anything.

“Mike is so supportive. There is a whole other level of
care at the Muny,” he said, noting that Isaacson comes to rehearsals, making
sure people have what they need to put on a good show.

“It’s just such a great place,” he said. “In St. Louis, it’s a cultural event. People come two and a half hours early to listen to music, watch the young people perform. I hope we can make a little bit of Muny Magic at the Sheldon. It’s really a knockout place.”

He has sung at the Sheldon before, too, for a senior recital.

“It was an awesome night,” he said. Muny Magic at The Sheldon is sponsored by The Kranzberg Arts Foundation.  The Sheldon is located at 3648 Washington Boulevard in St. Louis.

Tickets are available now and range from $25 to $50. For
more information and to purchase tickets, visit www.muny.org/munymagic or call
314-534-1111.

For more information about The Muny, visit muny.org

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Take Ten with Dixie Longate, the Tupperware Lady on Stage

Take Ten with Dixie Longate, the Tupperware Lady on Stage

Dixie Longate, the fast-talking Tupperware Lady, packed up her catalogues, left her children in an Alabama trailer park and took Broadway, the UK & Australia by storm!  

Emery Entertainment welcomes her back to the Playhouse @ Westport Plaza for a multi-week engagement filled with outrageously funny tales, heartfelt accounts, free giveaways, audience participation and the most fabulous assortment of Tupperware ever sold on a theater stage.

The show opened Oct. 29 and runs through Nov. 24. Tickets are $50 for performances on Tuesdays, Wednesdays and Thursdays. Tickets are $60 for performances on Fridays, Saturdays and Sundays.

All seats are on sale now and may be purchased through MetroTix at www.metrotix.com or by calling 314/534-1111. Additionally, tickets will be available at the Playhouse @ Westport Plaza box office one hour prior to show time. Groups of ten or more should call 314/402-2430 for special rates. Please note this show contains adult content.

The performances are Tuesday, Wednesday and Thursday at 7:30 p.m.; Friday at 8 p.m.; Saturday at 4 p.m. and 8 p.m.; and Sunday at 2 p.m.

Loaded with the most up-to-date products available for purchase, audience members will learn how Dixie became a member of the illustrious #1 Tupperware Seller in the World Club, as she educates her guests on the many alternative uses she has discovered for her plastic products.

 “Not your grandmother’s Tupperware Party!” said NBC’s Today Show. The LA Times raved, “I was laughing too hard to breathe!” and NYTheatre.com called her show “Pure theatrical bliss!”

Audiences howl with laughter from her outrageously funny tales, homespun wisdom, audience participation and uses for Tupperware that you never thought possible.  The vivacious gum-chewing, ginger-haired Alabama gal will leave your heart a little bigger and your food a little fresher. For more information about Dixie Longate, visit www.dixiestupperwareparty.com.

Playhouse @ Westport Plaza is located at 635 Westport Plaza in Maryland Heights. For more information, please visit www.playhouseatwestport.com.

Here is our Q&A with Dixie.

1. Why did you choose your profession? “I got out of prison and my parole officer said I needed a job to get my kids back.  So it was sort of thrust upon me. I have had quite a few things thrust upon me in my day and a fair amount of them have been worth it but this was definitely the best by far.”

2. How would your friends describe you? “Kind, funny, good at holding my liquor and one heck of a Mechanical bull rider.”

3. How do you like to spend your spare time? “Either at my best friend’s honky tonk or sipping sweet tea on the back porch at dusk looking at fireflies. “

4. What is your current obsession?  “I am a huge knitter and I have started making lots of sweaters for Fall.  I am also determined to make myself a 70’s Farrah Fawcett-Inspired poncho.”

5. What would people be surprised to find out about you?  “I’m double jointed but only on even-numbers months.”

6. Can you share one of your most defining moments in life?  “Making 2,500 people in a theater in Melbourne, Australia burst into fits of laughter while it was being televised all over the country.  Also when a lady recently gave me the biggest hug I’ve ever gotten, while telling me she had laughed during my show and it had been the first time laughing since her husband had passed away eight months prior.”

7. Who do you admire most?  “Brownie Wise. She created the Tupperware party.  If it wasn’t for her, millions of women would never have realized their potential, myself included.”

8. What is at the top of on your bucket list?  “I’d love to be making people chuckle on TV. Hopefully someday. “

9. What is your favorite thing to do in St. Louis?” Going to the Fuzzy Taco because they always make a drink in my honor!”

10. What’s next for Dixie? ” I have so many irons in the fire.  I’m working on a funny book with a bunch of stories about my life and friends in my trailer park in Mobile, Alabama.  I’ve started to write another show that I hope to be performing at some point early next year.  And I hope by Christmas that I can do the front splits!”

More about Dixie:

Name: Dixie LongateAge: (optional) Late 20’s to mid-30’s to early 40’sBirthplace: Mobile, AlabamaCurrent location: As I’m scribbling this down, I’m in Palm Springs, CaliforniaFamily: I have three kids that I know about: Wynona, Dwayne and little Absorbine Jr.  He’s sweeter than poop.  He can’t talk or walk or open a bottle of wine, but he’s young still, so I’ll let it go this time. Education: Grade 1-4: Book Smart, The rest of the grades: Street Smart!Day job: Tupperware ladyFirst job: Legally, it was working at the Golden Corral.  I was in charge of the chocolate fountain.  It set me up for all sort things later in life. Awards/Honors/Achievements: Drama Desk Nomination for Outstanding Solo Performance (I lost to Laurence Fishburne. Really.)  The Michigan State Theater Award (Wilde Award – Best Actress.)  Highest Fund Raiser at my church’s Christmas Strip car wash. (I Dressed as Mrs Klaus.)Favorite quote/words to live by: “Stop picking at it.  You’ll only make it worse.”

1. Why did you choose your profession? I got out of prison and my parole officer said I needed a job to get my kids back.  So it was sort of thrust upon me. I have had quite a few things thrust upon me in my day and a fair amount of them have been worth it but this was definitely the best by far. 2. How would your friends describe you? Kind, funny, good at holding my liquor and one heck of a Mechanical bull rider. 3. How do you like to spend your spare time? Either at my best friend’s honky tonk or sipping sweet tea on the back porch at dusk looking at fireflies. 4. What is your current obsession?  I am a huge knitter and I have started making lots of sweaters for Fall.  I am also determined to make myself a 70’s Farrah Fawcett-Inspired poncho. 5. What would people be surprised to find out about you?  I’m double jointed but only on even-numbers months.6. Can you share one of your most defining moments in life?  Making 2,500 people in a theater in Melbourne, Australia burst into fits of laughter while it was being televised all over the country.  Also when a lady recently gave me the biggest hug I’ve ever gotten, while telling me she had laughed during my show and it had been the first time laughing since her husband had passed away eight months prior.7. Who do you admire most?  Brownie Wise.  She created the Tupperware party.  If it wasn’t for her, millions of women would never have realized their potential, myself included. 8. What is at the top of on your bucket list?  I’d love to be making people chuckle on TV. Hopefully someday. 9. What is your favorite thing to do in St. Louis? Going to the Fuzzy Taco because they always make a drink in my honor!10. What’s next for Dixie?  I have so many irons in the fire.  I’m working on a funny book with a bunch of stories about my life and friends in my trailer park in Mobile, Alabama.  I’ve started to write another show that I hope to be performing at some point early next year.  And I hope by Christmas that I can do the front splits!HERE ARE THE THINGS WE WANT TO KNOW FOR THE INFORMATION GRID:(More About — Dixie)Name: Dixie LongateAge: (optional) Late 20’s to mid-30’s to early 40’sBirthplace: Mobile, AlabamaCurrent location: As I’m scribbling this down, I’m in Palm Springs, CaliforniaFamily: I have three kids that I know about: Wynona, Dwayne and little Absorbine Jr.  He’s sweeter than poop.  He can’t talk or walk or open a bottle of wine, but he’s young still, so I’ll let it go this time. Education: Grade 1-4: Book Smart, The rest of the grades: Street Smart!Day job: Tupperware ladyFirst job: Legally, it was working at the Golden Corral.  I was in charge of the chocolate fountain.  It set me up for all sort things later in life. Awards/Honors/Achievements: Drama Desk Nomination for Outstanding Solo Performance (I lost to Laurence Fishburne. Really.)  The Michigan State Theater Award (Wilde Award – Best Actress.)  Highest Fund Raiser at my church’s Christmas Strip car wash. (I Dressed as Mrs Klaus.)Favorite quote/words to live by: “Stop picking at it.  You’ll only make it worse.”

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‘Escape from Margaritaville’ Washes Ashore and Wastes Away

‘Escape from Margaritaville’ Washes Ashore and Wastes Away

Escape From Margaritaville Washes Ashore and Wastes
Away

By CB AdamsContributing Writer

Escape From Margaritaville is not your typical musical theater experience. In fact, one deigns to even dub it a “musical.” It’s more party than performance.

That’s because to receive the full benefit of buying a ticket – and for the show to reach its limited potential – requires the audience to fully engage – that is to actually participate – in its Parrot-headed premise.

Escape From Margaritaville hails from the Jimmy Buffet industrial complex and is an island-flavored entertainment with as much realism as a cheesy travel brochure. The show snorkeled into town at The Fabulous Fox on October 18-20.

Riding in the wake of other successful, so-called jukebox musicals, Margartaville is conspicuously designed to ride in on the high tide of box office success of other productions of this ilk, namely Mama Mia! and Rock of Ages.

These successful shows provided the recipe-cum-template for
Margaritaville, which tosses Buffet’s beguiling country-western-in-a-Hawaiian-shirt
tunage and Will Rogers-ish, aw-shucks humor into a blender with a tropish,
silly “boy meets then loses girl” plot, trying to render a frozen concoction
that hopes to help the audience hang onto their ticket stubs for a breezy couple
of hours.

But instead of landing an expected sharknado of sing-along
shenanigans, Friday night’s performance reeled in gasping guppies. The reason
why was not the bait. Who doesn’t love Buffet’s easy, languid, catchy,
comfortable-as-your-favorite flip-flops songs such as “Volcano,” “Fins,” “Come
Monday,” “Son of a Son of a Sailor” and the title song? It’s nearly impossible
not to like these fan faves, just ask thousands – if not millions – of Parrot
Heads the world over.

Nor was the show’s failure to launch due to the
aforementioned plot, which surely does not require one to suspend very much
disbelief. After all, the show’s tagline says it all: “Set Your Mind on Island
Time.” That should be easy to do, given Buffet promotion of a fiddle-dee-dee,
“Why Don’t We Get Drunk and Screw?” mindset.

But the dialogue was predictable, flavorless and seemed like it was borrowed from a second-rate sitcom, which is a shame since it came from Emmy-winner Greg Garcia (My Name is Earl, Family Matters and Family Guy) and Mike O’Malley (the award-winning Survivor’s Remorse).

The plot tortuously bends to accommodate the story of two
women from Cincinnati on a bachelorette binge. Rachel, the lead, played by
Sarah Hinrichsen, is a type A scientist whose friend, Rachel, played by Shelly
Lynn Walsh, is soon to be married to the bro-y, doltish Chadd, broadly played
by Noah Bridgestock with thankfully short stage time.

The women predictably become entwined with islanders Tully,
the other lead played by Chris Clark, and Brick, played by Peter Michael
Jordan. Of all the performances on Friday night, Jordan’s was the only lively
stand-out – and that’s not damning the performance with faint praise. He
practically carried the show, especially during the campy tap number in the
second act. Even the horny ole codger, J.D., played by Patrick Cogan, needed an
extra shot of Ron Rico (or another “little blue pill”) at this performance.

All of the shortcomings of Escape From Margaritaville
could have been overcome with a more enthusiastic and fully engaged audience.
The producers tried to turn the show into an event with free leis at the
entrance, a precious few moments when the actors broke the fourth wall, and a
boatload of beachballs released during the final number. But the audience
response was lackluster. It needed more die-hard, fully plumed Parrot Heads or
at least more attendees who were willing to abandon their self-reserve in favor
of the show’s charms for a couple of hours.

That, and unlike Rock of Ages, which packed a
decade’s worth of 80s big-haired rockers, Escape to Margaritaville
needed more – much more – of Buffet’s appealing, easy-on-the-ears-and-mind
tunes. Good times need good tunes, and these felt in short supply in this show,
leaving some at the exits, escaping from Margartaville.

The Fabulous Fox Theatre presented “Escape from Margaritaville” October 18-20.

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Singing! Dancing! Paper! Off-Broadway Sensation ‘The Office! A Musical Parody’ Coming to St. Louis

Singing! Dancing! Paper! Off-Broadway Sensation ‘The Office! A Musical Parody’ Coming to St. Louis

Dunder Mifflin is opening an office near you! Producers of the sold-out, unauthorized Off-Broadway sensation The Office! A Musical Parody and Emery Entertainment has announced the North American tour will make a stop in St. Louis at The Grandel Theatre March 4-8, 2020.

Show times are Wednesday-Friday at 8 p.m., Saturday at 4 p.m. & 8 p.m., and Sunday at 2 p.m.  Tickets range from $39-$69 and go on sale Wednesday, October 16 at 9 a.m., just in time for National Bosses Day! Tickets can be purchased via MetroTix.com or by calling MetroTix at 314-534-1111. Tickets will also be available at The Grandel Theatre box office one hour prior to show time.

It’s a typical morning at Scranton’s third largest paper company until, for no logical reason, a documentary crew begins filming the lives of the employees of Dunder Mifflin. Don’t miss this hilarious, unauthorized parody of your favorite TV show, now coming to a city near you. Mashable calls the show “the world’s most elaborate inside joke, created with a whole lot of love, just for fans.” Original Off-Broadway cast member, Madeline Glenn Thomas, joins the tour cast as everyone’s favorite receptionist, Pam. 

Writers Bob and Tobly McSmith are ecstatic about their third national tour. “The Office! A Musical Parody is on track to be our most successful New York production in 10 years,” says Tobly McSmith. “The Office! A Musical Parody is now one of the most successful Off-Broadway shows in history. As Michael might say, ‘It’s been a dream come thru.’” 

For more information, visit theofficemusicalparody.com/tour. In addition to the national tour,     The Office! A Musical Parody is currently running at the Jerry Orbach Theatre at 210 West 50th Street in New York City. For more information about the show, visit the website at theofficemusicalparody.com or follow the show on Facebook, Instagram and Twitter for exclusive behind-the-scenes content. 

The Office! A Musical Parody is produced by Right Angle Entertainment, written by Bob and Tobly McSmith and composed by Assaf Gleizner.

Bob and Tobly McSmith (Writers) are distinguished gentlemen who met while applying for jobs at the Dippin’ Dots in the mall. They did not get the job but went on to create the following masterpieces: FRIENDS! The Musical Parody, Bayside! The Saved by the Bell Musical, Full! House! The Musical (Starring Perez Hilton), Katdashians! The Musical, Showgirls! The Musical and JonBenet! Murder Mystery Theater. They are hard at work on their next musical: The Passion of the Teletubbies. 

Right Angle Entertainment (Producer) specializes in the production, marketing, management and distribution of live theatrical, digital and concert events. RAE’s proud roster includes: The Office! A Musical Parody (New York City and National Tour), FRIENDS! The Musical Parody North American Tour, Love Actually!? The Unauthorized Musical Parody (NYC), One Woman Sex and the City, Rudolph the Red Nosed Reindeer (Nashville and National Tour), Heather McMahan: The Farewell Tour, Cat & Nat #MomTruths Tour, Sasha Velour’s Smoke & Mirrors Tour, Elvis and Me: An Evening with Priscilla Presley, Family Feud: Celebrity Edition Tour, and The Price is Right LIVE! among others.  Emery Entertainment, Inc.St. Louis-based Emery Entertainment, Inc. has produced and promoted thousands of events around the globe, including superstar attractions such as Blue Man Group, Bono, David Copperfield, James Taylor and Men Are From Mars, Women Are From Venus – LIVE!  With a proven track record for venues of various sizes – from intimate 200-seat theaters to 20,000-seat arenas – Emery Entertainment, Inc. took over the management, programming and marketing of the 240-seat Playhouse @ Westport Plaza in the Fall of 2016.  The venue is filling a niche for a variety of Broadway and Off-Broadway entertainment that would otherwise not find its way to the St. Louis area.  Emery Entertainment, Inc. is pleased to bring additional Off-Broadway programming to The Grandel.

The Grandel TheatreLocated at 3610 Grandel Square, in the heart of the Grand Center Arts District, the historic Grandel Theatre hosts a multitude of artistic endeavors, including main stage productions, visual art exhibits, educational programs, and live jazz as the home of The Dark Room. In cooperation with Grand Center Inc., the Kranzberg Arts Foundation operates and manages The Grandel Theatre, creating significant partnerships to bring exciting new theatre, dance, and concert programming to The Grandel Theatre’s stage

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New Moonstone Theatre Company Announces First Show

New Moonstone Theatre Company Announces First Show

St. Louis’ vibrant theater community just got a little brighter with the addition of new performing arts organization Moonstone Theatre Company.

Moonstone was founded by St. Louis native Sharon Hunter, who serves as the company’s artistic director and producer. Hunter has made a name for herself nationally as a professional actor, singer, director and producer. Most recently Hunter was performing and producing in New York City, but decided to move back home to start Moonstone.  St. Louisans may recognize her as the original host and producer of KEZK’s “Pillow Talk” or her time hosting at Y98.

“Moonstone Theatre Company was founded in response to my vision for creating a cultural theatrical environment in St. Louis to inspire actors and artists to do their best work,” Hunter says. “St. Louis is a great theatre city and I think it’s wonderful to be a part of that cultural conversation. It is essential for the arts to contribute to this conversation particularly during challenging times.”

Hunter says the name Moonstone combines two things close to her heart.

“I have always loved the moon. I gain energy, clarity and inspiration from the moonlight. I knew I wanted the word moon somewhere in the company title,” she says. “I was also committed to finding a way to incorporate my former NYC acting coach, the late Peter Flint, and his name in there as well.  He was like a true father figure to me, and I thought that since “flint” is a stone then I could put that together and create Moonstone.”

Hunter says Moonstone will focus on producing works that challenge and enlighten audiences on important and socially relevant topics including equality, diversity, mental illness, addiction and sexual harassment and assault.

“Theatre truly is a reflection of life,” says Hunter. “I’m happy to be back in my hometown where I began and collaborate with so many talented artists and actors. There is something very special about returning to St. Louis and having the opportunity to bring new ideas and experiences to an art form I dearly love.”

“How exciting for St. Louis that another wonderful Theatre Artist with great entrepreneurial chutzpah is broadening our vibrant theatre community,” enthused Edward Coffield, the artistic director and producer at New Jewish Theatre.  “There is such great legacy here in St. Louis when savvy theatre practitioners are willing to plant roots and continue the tradition of great theatre in St. Louis.”

Moonstone’s debut production, “The House of Blue Leaves” by John Guare, will open at the Wool Studio Theatre at the Jewish Community Center (2 Millstone Campus Drive, Creve Coeur, 63146) on Thursday, July 16, 2020, directed by Annamaria Pileggi. Auditions for the show will be held Saturday, October 26 from 10 a.m. to 6 p.m. at the JCC, and callbacks will be held at the theater on Monday, October 28. Those wanting more information about the audition process can register online here or email moonstonetheatrestl@gmail.com.

Moonstone Theatre Company’s Mission Statement

Moonstone Theatre Company is a new professional performing arts organization which will offer the community a wide range of quality theatrical productions while supporting local arts and education. Moonstone Theatre looks to inspire, entertain and challenge audiences with productions that range from the classics to new works. Moonstone Theatre Company celebrates the power of the theatre to illuminate our diversity and enlighten our shared humanity.

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Fox Announces Digital Lottery for ‘Dear Evan Hansen’

Fox Announces Digital Lottery for ‘Dear Evan Hansen’

Described by the Los Angeles Times as a “cultural phenomenon,” Dear Evan Hansen comes to St. Louis’s Fabulous Fox Theatre Oct. 22 – Nov. 3. In advance of the start of performances, the production announced today that it will host a digital ticket lottery offering fans the chance to purchase a limited number of $25 tickets available per performance.

The digital lottery will begin accepting entries 48 hours prior to the first performance in St. Louis and will be accepted until 9 a.m. local time the day before the performance. Fans who have been selected will be notified daily via email and can then purchase up to two (2) tickets at $25 each. The ticket lottery will continue on a rolling basis for every performance in the engagement. All entrants are encouraged to follow Dear Evan Hansen on Instagram (@dearevanhansen), Twitter (@dearevanhansen) and Facebook (@DearEvanHansen) for additional lottery news and information. 

Entrants must be 18 years or older. A valid, non-expired photo ID that matches the name used to enter is required for pickup. Seat locations awarded by the lottery are subject to availability. Additional details and times will be announced in each tour city by the local theatre box office prior to the engagement. Additional lottery requirements can be found at www.luckyseat.com/dearevanhansen. 

The winner of six 2017 Tony Awards, including Best Musical, Dear Evan Hansen features a book by Tony Award-winner Steven Levenson, a score by Grammy®, Tony® and Academy Award® winners Benj Pasek and Justin Paul (La La Land, The Greatest Showman), and direction by four-time Tony Award nominee Michael Greif (Rent, Next to Normal).

Declared “One of the most remarkable shows in musical theater history” by the Washington Post’s Peter Marks, Dear Evan Hansen opened at the Music Box Theatre to rave reviews on December 4, 2016. There, it has broken all box office records and struck a chord with audiences and critics alike, including New York Times critic Jesse Green, who, in his May 2019 re-review of the show, declared it “more and more ingenious with each viewing. It is more hopeful than ever.”

The Broadway production recently celebrated its two-year anniversary with a special donation to the Smithsonian, where the show’s iconic blue polo and arm cast will now be part of the permanent collection of the National Museum of American History in Washington, DC. A record-breaking US national tour launched in October 2018 and is currently playing across North America, and a limited engagement recently opened at Toronto’s Royal Alexandra Theatre, where it runs through July 21, 2019.  The show’s second international production will open in the West End on November 19, 2019 at London’s Noel Coward Theatre.

The Grammy Award-winning Original Broadway Cast Recording of Dear Evan Hansenproduced by Atlantic Records, was released in February 2017, making an extraordinary debut on the Billboard 200 and entering the chart at #8 – the highest charting debut position for an original cast album since 1961 – and went on to win the 2018 Grammy Award for Best Musical Theatre Album. A deluxe version of the cast recording, including six bonus tracks and a pop cover from Katy Perry of “Waving through a Window” is now available digitally.

A special edition coffee table book authored by Levenson, Pasek and Paul, Dear Evan Hansen: through the window (Grand Central Publishing / Melcher) is now available, offering an in-depth, all-access look at the musical, including never-before-seen production photos and cast portraits, behind-the-scenes stories, and a fully annotated script by the authors.

In addition to winning six 2017 Tony awards and a 2018 Grammy Award, Dear Evan Hansen has won numerous other awards, including the 2017 Drama League Award for Outstanding Musical Production and for the off-Broadway production, two Obie Awards, a Drama Desk Award, and two Outer Critics Circle Awards and two Helen Hayes Awards. Dear Evan Hansenis also the winner of the Broadway.com Audience Choice Awards three years running, and was just proclaimed the Best Long-Running Show and the Best Touring Production in the 2019 Broadway.com Audience Choice Awards.

Dear Evan Hansen, produced by Stacey Mindich, features scenic design by David Korins, projection design by Peter Nigrini, costume design by Emily Rebholz, lighting design by Japhy Weideman, sound design by Nevin Steinberg, and hair design by David Brian Brown.  Music supervision, orchestrations and additional arrangements are by Alex Lacamoire.  Ben Cohn is the Associate Music Supervisor.  Vocal arrangements and additional arrangements are by Justin Paul. Danny Mefford is the choreographer. Casting by Tara Rubin Casting/Xavier Rubiano. Sash Bischoff, Adam Quinn and Danny Sharron are the Associate Directors. Judith Schoenfeld is the Production Supervisor. US General Management 101 Productions.

For more information, please visit DearEvanHansen.com

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When Frederick Met Susan: ‘The Agitators’ at Upstream

When Frederick Met Susan: ‘The Agitators’ at Upstream

By Andrea BraunContributing Writer

The title of the play is based on Frederick Douglass’ exhorting his followers to “Agitate. Agitate. Agitate.” This was later in his life, long after he met and became friends with Susan B. Anthony who was already doing just that in her late 20s.

Their friendship would last 45 years and their goals remain the same, though there are bumps in the road: both supported abolition and women’s rights. But it wasn’t all sweetness and light between them because while their causes meshed, their priorities didn’t always do the same. The Agitators now playing at Upstream Theater is an examination of their near-lifelong connection, allowing both of them time to make their points. Perhaps a bit too much time, however, because much of the play seems rather like a lecture. This is is certainly not to say it isn’t mostly well-done, disturbingly timely, and certainly worth a couple of hours of your time.

Douglass (J. Samuel Davis) is close to Anthony’s (Erin Kelley) father, an outspoken abolitionist, and a Quaker. Because of her religion, she tells Douglass early on, even if she could vote, she wouldn’t because Quakers are supposed to be apolitical. Later, she would leave the Society of Friends and change her mind about voting, but when we meet her, the women’s rights question is her priority, along with abolition. Act I begins at the Anthony residence and covers 1849-1869. Act II picks up in 1870 and takes us through 1895.

Playwright Mat Smart has a tough job here: The time
period covered is so long that even though projections help us with what year
it is and where we are, we still get the impression that these two spend a
great deal of time together expressing their views on civil rights. The fact
is, often they would go years without seeing each other, sometimes because they
were busy, other times, because they were angry.

Their longest disagreement was about Douglass’ support
of the 15th Amendments to the Constitution which proposed enfranchisement
of black men but not any women. Unsurprisingly, Anthony takes umbrage at his
support of what she considers a half-measure. She is also angry that Douglass
is accepting financial support from a man she considers a misogynist. This
quarrel leads to their longest period of non-communication.

 He spoke at her
conferences and she appeared at his. Both of them were among the best known
figures of their time. Anthony was the only leader in the 19th
century women’s movement culminating in the meeting in Seneca Falls, NY in
1848. And one should not think that Douglass didn’t support Anthony fully in
her drive for equality; rather, he thought it was too soon and would come when
the time was right. Of course, women got the vote in 1920, long after these
icons were gone.

Photo by ProPhotoSTLAs for any sense of a love story, the affection between the two is palpable, but Douglass was happily married to his wife, Anna (a free black woman who helped him attain his freedom) and after she died, a much younger woman. He also was attractive to women and there is speculation that he had others, but one of them was NOT Susan B. Anthony.

They both wrote books—he a four-volume autobiography; she, in collaboration with other leaders of the movement, a multi-volume treatise on her own beliefs and the causes the women held dear. One good joke is that neither reads the other’s work.

There are more moments of humor that leaven the
proceedings, my favorite being Douglass explaining baseball to Anthony at his
son’s game. It is amusing, until due to a racist incident, it isn’t. They tell
each other bad jokes and engage in teasing banter. At one point, when he is 76
years old, Anthony gives Douglas a pair of ice skates. He is, of course,
nonplussed. But she was a great believer in physical exercise and the moment
demonstrates both their similarities and their differences.

The atmosphere of the play is enhanced by the musical  compositions of and performance by Syrhea
Conaway, a well-known and versatile St. Louis artist. When we first see
Douglass, he is carrying a violin. At several points in the show, he appears to
play his instrument in duets with her that can run the gamut from ethereal to
anger. She uses percussion to round out the sound, and it works beautifully.
The set itself is simple—beams, planks and boxes which get shifted around
often—perhaps rather too often, as it can become distracting. There is a
connection to the story, however, when Anthony tells a story involving a suitor
who wooed her with a warmed plank.

Stage Manager Patrick Huber is responsible for the
lights, as well is the set, and they provide a proper atmosphere, if too dark
at times. Michele Friedman Siler’s costumes are historically accurate except
for the anachronistic zippers on Anthony’s boots. Lisa Tejero directs, assisted
by Patience Davis. They keep things moving to the extent that it is possible
when there are so very many words for the actors to say, but despite their
efforts, the production still seems static some of the time. The fact that it’s
a running trope that Anthony cannot sit down is, I assume, supposed to give us
the illusion of motion.

If there are better actors than Kelley and Davis to
play these parts, I don’t know who they are. There were a few stumbles at the
beginning, but when the two hit their stride, all was well from a performance
standpoint. I believed them and more important, I think THEY believed them too.

The last public statement Douglass made was at Seneca Falls saying “When I ran away from slavery, it was for myself; when I advocated emancipation, it was for my people, but when I took up for the rights of women, self was out of the question, and I found a little nobility in the act.”

He and Anthony are buried in the same cemetery in Rochester, NY, her home town. Together in death, as in life, one wonders what they might have to say about racism and misogyny in 2019.

“The Agitators” is at Upstream Theater through Oct. 13 at the Kranzberg Arts Center. You may contact upstreamtheater.org

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