‘Head Over Heels,’ ‘Cry-Baby,’ ‘Urinetown,’ Film Series and More Ahead for New Line Theatre’s 29th Season

‘Head Over Heels,’ ‘Cry-Baby,’ ‘Urinetown,’ Film Series and More Ahead for New Line Theatre’s 29th Season

New Line Theatre, “the bad boy of musical theatre,” has announced its 29th season of adult, alternative musical theatre, including the return of the wild, comic rock musical CRY-BABY,  which New Line first produced in 2012 in its American regional premiere, based on the John Waters film, running Sept. 26-Oct. 19, 2019; followed by the electrifying new rock musical fresh from Broadway, in its regional premiere, HEAD OVER HEELS, a high-energy, adult romp about gender and sexuality, based on a 16th century novel and using the songs of the pop group The Go-Go’s, running March 5-28, 2020; and the season closes with the return of one of New Line’s biggest hits, which the New Liners first presented in 2007, the pitch dark satire URINETOWN, the hilarious, outrageous fable of greed, corruption, love, revolution, and urination, running June 4-27, 2020.

PLUS… New Line’s season will also include the NEW LINE FILM SERIES, curated by longtime New Liner Brian Claussen, showing a companion film at the Marcelle one Weds. night during the run of each mainstage show. This season’s films include John Waters’ original CRY-BABY during the run of Cry-Baby; ABSOLUTE BEGINNERS during the run of Head Over Heels; and MACK THE KNIFE, a film version of Threepenny Opera, during the run of Urinetown. These films are not part of the season subscription.

BUT WAIT, THERE’S MORE… New Line will present a free, public reading of Gilbert & Sullivan’s BLOODY KING OEDIPUS for one night only, Monday, January 6, at the Marcelle, yet another “long-lost” horror opera from the famous team, “discovered” and “reassembled” by New Line artistic director Scott Miller and St. Louis composer John Gerdes, the team responsible for this past season’s The Zombies of Penzance. The reading is also not part of the season subscription.

And save the dates for The Second Annual New Line Trivia Night, on Friday, Sept. 13, at the Richmond Heights Community Center; and The 19th Annual New Line Holiday Dinner, on Weds. Dec. 4, at Favazza’s Restaurant on The Hill. Reservations for the dinner are required.

SEASON TICKETS

Season tickets go on sale in mid-May, and single tickets go on sale in August. New Line’s mainstage shows and the new film series will be in the company’s home, the Marcelle Theater, in Grand Center, St. Louis’ arts district.

To order season tickets for the three mainstage shows, Cry-Baby, Head Over Heels, and Urinetown, go to http://www.newlinetheatre.com/purchase/index.php starting in mid-May.

There are three kinds of subscriptions. The First Look Subscription contains tickets for only the Thursday preview for each show. These tickets cannot be exchanged for other dates. Each Regular Subscription includes one ticket for each show in the season. You can use each ticket for any performance date during the run of that show. Each Flex Subscription includes three Flex tickets that you can use at any time for any show during the entire season — use all three tickets for one show or spread them out over the season, however you want! The deadline for ordering season tickets is Sept. 2, 2019.

THE 2019-2020 SEASON

CRY-BABYSept. 26-Oct. 19, 2019

It’s 1954. Everyone likes Ike, nobody likes communism, and Wade “Cry-Baby” Walker is the coolest boy in Baltimore. He’s a bad boy with a good cause — truth, justice, and the pursuit of rock and roll. 

Wayward youth, juvenile delinquents, sexual repression, cool music, dirty lyrics, social rejects, it’s all here, as New Line opens its 29th season in October 2019 with the hilarious rockabilly musical CRY-BABY, based on the classic John Waters film. 

Cry-Baby premiered at the La Jolla Playhouse in San Diego in November 2007 and opened on Broadway in April 2008. New Line produced the show’s critically acclaimed American regional premiere in March 2012, after negotiating the first regional production rights in the country. The original creative team revised the show for New Line’s production and commissioned new orchestrations, to make it a smaller, more intimate musical, with a 6-piece rock band. 

At the center of our story are the star-crossed lovers, Cry-Baby and the square rich girl Allison, just a good girl who yearns to be bad in Cry-Baby’s arms. Fueled by hormones and the new rhythms of rock and roll, she turns her back on her squeaky clean boyfriend Baldwin to become a “drape” (a Baltimore juvenile delinquent) and Cry-Baby’s moll. At the other end of the topsy-turvy moral meritocracy of 1954 America, Baldwin as the king of the squares leads his close-harmony pals against the juvenile delinquents, who are ultimately arrested for arson, sending the drapes all off to prison. 

It’s Romeo and Juliet meets High School Hellcats. 

Cry-Baby has a score by David Javerbaum (The Daily Show) and Adam Schlesinger (Fountains of Wayne), and a book by Mark O’Donnell and Thomas Meehan, based on John Waters’ classic indie film. O’Donnell and Meehan also adapted John Waters’ Hairspray for the musical stage. 

Cry-Baby was nominated for four Tony Awards, including Best Musical, Best Book of a Musical, Best Original Score, and Best Choreography. It was also nominated for Best Musical by the Drama League and the Outer Critics Circle Awards. Terry Teachout wrote in the Wall Street Journal, “You want funny? I’ll give you funny, or at least tell you where to find it: Cry-Baby, the new John Waters musical, is campy, cynical, totally insincere and fabulously well crafted. And funny. Madly, outrageously funny. It is, in fact, the funniest new musical since Avenue Q. If laughter is the best medicine, then Cry-Baby is the whole damn drugstore.” Newsday called the show “pleasantly demented and — deep in the sweet darkness of its loopy heart — more true to the cheerful subversion of a John Waters movie than its sentimental big sister Hairspray.” The New Jersey Star-Ledger called it, “candy for adults who like their musicals nutty — and not so nice.” 

The New Line production will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer, scenic design by Rob Lippert, costume design by Sarah Porter, lighting design by Kenneth Zinkl, and sound design by Ryan Day. 

Cry-Baby contains adult language and content. Produced by arrangement with Music Theatre International, New York.

The New Line Film Series presents John Waters’ original musical film CRY-BABY on Weds., Oct. 9 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Cry-Baby.

Gilbert & Sullivan’s BLOODY KING OEDIPUSA Free Public ReadingMonday, Jan. 6, 2020

King Oedipus is already having a bad day, and here comes some REALLY bad news…! 

After shocking the music and theatre worlds by rediscovering Gilbert & Sullivan’s lost masterpiece The Zombies of Penzance in 2013, and then staging and publishing the controversial original opera in 2018; now New Line Theatre artistic director Scott Miller has done it once again. This time, Miller has unearthed Gilbert & Sullivan’s even darker and funnier BLOODY KING OEDIPUS, a comic opera no one even knew existed until now, based on Sophocles’ iconic Greek tragedy of murder, incest, disfigurement, suicide, and lots of prophecies, which first debuted in 429 BC. 

The legendary British team of librettist W.S. Gilbert and composer Arthur Sullivan together wrote fourteen comic operas between 1871 and 1896. Or is it sixteen? After rewriting their original Zombies of Penzance at the insistence of producer Richard D’Oyly Carte, the team premiered The Pirates of Penzance in 1879. Until now, scholars believed that their next project was the pastoral satire Patience. We now know that isn’t true. After the huge success of HMS Pinafore and Pirates, the team decided to tackle something a bit weightier. According to personal papers found with the manuscript, it was Gilbert who suggested two unlikely possibilities, Dante’s Inferno, and the classic Greek tragedy Oedipus the King, set in Thebes, a Greek city-state in the 13th century BC. 

They both agreed Inferno would make a less than satisfying comic opera. 

Gilbert stayed curiously faithful to the plot and characters of Sophocles’ ancient tragedy for his opera – until the end of the show, when Gilbert evidently couldn’t restrain himself from adding a comic, Gilbertian twist, upending everything that’s come before, as usual. It’s safe to say Sophocles would not have sanctioned Gilbert’s much more comic ending. The score included songs like “We’ve Been Very, Very Sick,” “I Can See Now I Was Blind,” “Now This is Quite Awkward,” “So Our King Just Might Have Murdered Our Last King,” and “He Hasn’t Taken It Too Well.” 

And now, at long last, King Oedipus, Queen Jocasta, General Creon, Tiresias the Blind Seer, Milo the Herald, and all of Thebes will make their comic opera debut. Miller has painstakingly reassembled these rediscovered materials into their original form; and St. Louis composer and orchestrator John Gerdes is reconstructing Sullivan’s music, after doing the same with The Zombies of Penzance. 

New Line Theatre will present a public reading of the rediscovered show Monday, Jan. 6, 2020. The company has not yet announced a full production. 

Dominic Dowdy-Windsor will play King Oedipus; with Kimi Short as Queen Jocasta; Kent Coffel as Gen. Creon; Lindsey Jones as Manto; and Zachary Allen Farmer as the Royal Messenger and Tiresias the Blind Seer and Milo the Herald and also Phorbus the Shepherd. The rest of the cast will be announced later. The reading will be directed by Scott Miller and music directed by Nicolas Valdez.

Bloody King Oedipus contains very adult language and content.

HEAD OVER HEELSMarch 5-28, 2020

The wild new modern musical fairy tale where Once Upon a Time is NOW! 

HEAD OVER HEELS is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening. Conceived by Jeff Whitty, with an original book by Whitty, adapted by James Magruder, originally directed by Michael Mayer, and set to the music of the iconic 1980s all-girl rock band The Go-Go’s, this high-octane, laugh-out-loud love story includes hit songs like, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Heaven is a Place on Earth” and “Mad About You.” 

The wild story follows the escapades of a royal family who set out on a journey to save their beloved kingdom from extinction, only to discover the key to their realm’s survival lies within each of their own hearts — though not always in the way they expect — and in their willingness to let go of rigid tradition and change with the times. 

Head Over Heels originally premiered at the Oregon Shakespeare Festival in 2015, then opened on Broadway in 2018. The show was nominated for Best Musical by the Drama League and the Outer Critics Circle Awards. 

The Daily Beast said, “Head Over Heels is a raucously choreographed joy — intelligent, winningly comic, and surprisingly-for-Broadway radical when it comes to its presentation of gender and sexuality, with its central love story a lesbian one.” Entertainment Weekly said, “The show is an ode to female independence with the winking spirit of a Shakespearean fairy and the neon edge of a rebellious ‘80s teenager, teaming up to beckon people into the woods. Forty years after The Go-Go’s’ formation, Head Over Heels does more than preserve the band’s iconic hits in amber. For two hours and 15 minutes, it’s enough to pull the world back into sync.” 

TimeOut NY said, “To enjoy Head Over Heels, which offers quite a lot to enjoy, it is probably best to kick up your heels and put your head on hold. That’s not to say that this saucy, boisterous musical doesn’t have a brainy side, starting with its ambitious crossbreeding of four time periods: It grafts a 2010s queer sensibility onto songs from the 1980s—by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career)—and fits them into a 16th-century story that is set in ancient Greece. . . Head Over Heels is a fantasy and celebration of nonconformity, and it puts its casting where its mouth is with an ensemble that is diverse in race, gender and size. Honoring the beat, in this merry Arcadia, means making room for different drummers.” 

The New Line production will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer and Sara Rae Womack, scenic design by Rob Lippert, costume design by Sarah Porter, lighting design by Kenneth Zinkl, and sound design by Ryan Day. 

Head Over Heels contains adult language and content. Produced by arrangement with Broadway Licensing, New York.

The New Line Film Series presents the movie musical ABSOLUTE BEGINNERS on Weds, March 18 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Head Over Heels.

URINETOWNJune 4-27, 2020

It’s 2027, the toilets have all been privatized, and you have to pay to pee. Do you follow the rules or join the rebellion? 

Mark Hollmann and Greg Kotis’ URINETOWN is the outrageous fable of greed, corruption, love, revolution, and urination, in a time when water is worth its weight in gold and there’s no such thing as a free pee. Set in a near-future dystopian Gotham, a severe 20-year drought has led to a government-enforced ban on private toilets. The citizens are forced to use public “amenities” now, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. In this nightmare world, the punishment for an unauthorized pee is a trip to the dreaded Urinetown. 

But from the ruins of Democracy and courtesy flushes, there rises an unlikely hero who decides he’s held it long enough, and he launches a People’s Revolution to lead them all to urinary freedom! 

Inspired by the outrageous political theatre of Bertolt Brecht and Kurt Weill, and (very) loosely based on the writings of late eighteenth-century political and economic theorist Thomas Malthus, Urinetown is a gloriously silly, irreverently truthful satire from which no target is safe. This is a show that catapults musical comedy into the new millennium with its rule-shattering tear through the traditions and conventions of musical theatre, leaving nothing but uncontrollable laughter and a great big puddle in its wake. 

And that’s just Act I. 

When it opened in New York, the official slogan on the Urinetown T-shirts was “An appalling idea, fully realized.” Actor Daniel Marcus, who played Officer Barrel, said in an interview, “I call it a love letter to the American musical in the form of a grenade.” 

Bruce Weber in The New York Times said, “There simply is no show I’ve seen that gives such a sense that the creators and performers are always on the same page of an elaborate, high-spirited joke, that they are the proud members of a cabal that knows what it takes to make the world a better place and that they are thrilled to share what they know.” He also called the show “a sensational piece of performance art, one that acknowledges theater tradition and pushes it forward as well.” The show was nominated for 9 Tony Awards (winning Best Book and Best Score), 9 Drama Desk Awards, 7 Obie Awards (winning Best Musical), 5 Outer Critics Circle Awards (winning Best Musical), and a Drama League Award for Best Musical. 

New Line produced Urinetown in 2007. Kotis and Hollmann also wrote the rock musical Yeast Nation, which New Line produced in 2018.

The New Line production of Urinetown will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer and Sara Rae Womack, costume design by Sarah Porter, scenic design by Todd Schaefer, and sound design by Ryan Day. 

Produced by arrangement with Music Theatre International, New York.

The New Line Film Series presents MACK THE KNIFE, a film version of The Threepenny Opera, on Weds., June 17 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Urinetown.

THE 2019-2020 NEW LINE SEASON AT A GLANCE

Sept. 13, 2019 – Second Annual New Line Trivia Night

Sept. 26-Oct. 19, 2019 – Cry-Baby

Oct. 9, 2019 – Film Series: Cry-Baby

Dec. 4, 2019 – 19th Annual New Line Holiday Dinner

Jan. 6, 2020 – Free Public Reading of Bloody King Oedipus

Mar. 5-28, 2020 – Head Over Heels

Mar. 18, 2020 – Film Series: Absolute Beginners

June 4-27, 2020 Urinetown

June 15, 2020 – Auditions for 30th Season

June 17, 2020 – Film Series: Mack the Knife

June 22, 2020 – Auditions for 30th Season

ABOUT NEW LINE THEATRENew Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country. New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions. Altogether, New Line has produced 87 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives support from the Regional Arts Commission, the Missouri Arts Council, a state agency, the Kranzberg Arts Foundation, and the Grand Center Arts District.

New Line also continues its partnership with the Webster University Department of Music and their Bachelor of Music in Music Direction for Musical Theatre degree program.

New Line’s current season closes with the regional premiere of the rock musical BE MORE CHILL, even as it’s running and breaking records on Broadway, running here in St. Louis May 30-June 22. For more information, visit www.newlinetheatre.com.

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The Black Rep Announces 2019-2020 Season of Civil Rights, Identity and Soul

The Black Rep Announces 2019-2020 Season of Civil Rights, Identity and Soul

The season begins with the soulful musical revue, Don’t Bother Me, I Can’t Cope, then August Wilson’s masterpiece, Two Trains Running. The season then moves into Ntozake Shange’s choreopoem Spell #7 ending with Marie and Rosetta. 

Don’t Bother Me, I Can’t Cope September 4-22

Garnering a Grammy and Outer Critics Circle Award for Best Musical, Don’t Bother Me, I Can’t Cope was the first musical revue in the history of Broadway to be written and directed by African-American women, namely Micki Grant and Vinette Carol.

First performed in 1971, the show’s themes of economic and racial injustice still ring clear today. With little dialogue in between performances, its poignant social commentary is weaved into an unbroken cycle of high-energy feel-good song and dance numbers that fuse gospel with jazz, soul and calypso. Its ability to shine a light on important issues whilst staying upbeat saw the show run for over 1000 performances during its run on the Great White Way.

Two Trains Running January 8-26

In August Wilson’s masterpiece, history unfolds around everyday lives against the backdrop of the civil rights movement. Long-time regulars gather at the local diner in Pittsburgh’s Hill District to gossip, flirt and play the numbers. The owner must decide whether to let the city take over his building or sell it to a shrewd, local businessman. Part of Wilson’s trailblazing American Century Cycle, Two Trains Running paints a compassionate & unforgettable portrait of ordinary people in the midst of transformation.

Spell #7 February 19-March 8

This striking choreopoem by the author of For Colored Girls, Ntozake Shange is set in St. Louis in a bar frequented by Black artists and musicians, actors, and performers. In a series of dreamlike vignettes and poetic monologues, they commiserate about the difficulties they face as black artists. The piece is framed by the narrator, Lou, a magician who wants to use his magic to help the characters come to terms with their blackness and rejoice in their identities.

Marie and Rosetta May 6-24

A huge influence on Elvis Presley, Johnny Cash, Ray Charles and Jimi Hendrix, Sister Rosetta Tharpe was a legend in her time, bringing fierce guitar playing and swing to gospel music. “Marie and Rosetta” chronicles her first rehearsal with a young protégée, Marie Knight, as they prepare to embark on a tour that would establish them as one of the great duos in musical history.

Tickets for the 2019-2020 Season are currently available by season subscription and group sales only. For information or to purchase a subscription by phone call (314) 534-3807. To purchase season subscriptions online, visit www.theblackrep.org. General ticket on-sale dates for each show will be announced in the future.

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We (Heart) Immigrant Project Launches Inaugural Production

We (Heart) Immigrant Project Launches Inaugural Production

The favorable response to the inaugural production of “Your Immigration Stories, Mine and Ours,” means that more will be planned, said Joan Lipkin of That Uppity Theatre Company.

“W had a wonderful response to the We Immigrants project,” Lipkin said. It took place April 28 at the Missouri History Museum.Lipkin, who is the producing artistic director, said Playback NOW! St. Louis, a project of That Uppity Theatre Company, shared facts about immigration and profiles of famous immigrants, and re-enacted the stories of several immigrants living in St. Louis to a sold out and diverse crowd.

Lipkin said they were excited about what audience members and storytellers said:

“Thanks so much for the wonderful experience! It was amazing!” –Shreya Ahuja, storyteller

“Joan, I had a good time, and enjoyed the show so much. You and the actors are doing a fantastic job! I love that they’re so approachable and friendly.”–Margarita Sanchez, storyteller

“Honestly, the best part is seeing the actors and how they seamlessly flow between the different parts! Too too cool!!! :-)” — Junior Lara, storyteller

“I laughed, I cried, I thought– it was memorable. Loved the cast, the songs, the topic, and especially the stories from the immigrants. I learned a lot and you opened more of my heart. Thank you!!!” — Lori Schmoll, audience

“So glad I made it today. It was an excellent event with such talented people. The story from the young student from China brought me to tears. The strength, fortitude and sacrifice these immigrants make to seek freedom and make a better life was astonishing to hear.” –Jan Brodsky, audience

“Wonderful show. Bringing to life, with humor, stories about the immigrant experience. Next time there’s a showing ….go….” –Peter Barg, audience

“That Uppity Theatre [Company] presented an inspiring storytelling Playback Theatre production, with St. Louisans from India, China, Mexico and the Dominican Republic sharing their personal immigration stories. Now, more than ever before, each immigrant’s story of searching for freedom and striving for opportunity keeps us grounded in what makes us a great nation. Thanks to Joan Lipkin, for her vision and creative voice!” — Anne Taussig, volunteerSt. Louis Public Radio also featured a very nice story about the event: https://news.stlpublicradio.org/post/st-louis-theater-troupe-uses-improv-bring-immigration-stories-life#stream/0

“We want to continue to uplift and support the voices and presence of our immigrant sisters and brothers with We Immigrants and productions like “Your Immigration Stories, Mine and Ours,” she said.

The Sunday audience at production.

—

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Shimmy and Shake Into History at the World’s Largest Dance Class

Shimmy and Shake Into History at the World’s Largest Dance Class

Missouri History Museum Kicks Off Closing Month of Muny Memories Exhibit with a World Record AttemptSt. Louis — The Missouri History Museum’s current special exhibit Muny Memories: 100 Seasons Onstage closes on Sunday, June 2, 2019 and to commemorate the occasion, the Museum is inviting the public to participate in an attempt to set the record for the World’s Largest Modern Jazz Dance Class.On Saturday, May 4, 2019, more than 600 people will gather to shimmy, shake, and chasse their way into history during a dance lesson taught by Muny Artistic Associate and choreographer, Michael Baxter.“For the past 9 months our Muny Memories exhibit has taken visitors “backstage” to discover the history of the nation’s largest outdoor musical theatre,” said Tami Goldman, tourism and special projects manager for the Missouri Historical Society. “This is an exhibit closing like never before. We wanted to do something big to kick off the last month of the exhibit run and before the start of The Muny’s 101st season. What could be bigger than the World’s Largest Dance Class?”Dancers of all ages and abilities are invited to register for the class, which will be about 45 minutes in length and take place, rain or shine, on the lawn in front of the Missouri History Museum. Tickets are $7 per person and include a commemorative T-shirt. Participants must register in advance. Interested parties are encouraged to “bust a move” as the event is expected to sell out quickly.Event check-in begins at 7:30 am that day with the lesson starting at 9 am. Between check-in and the start of class, participants will have exclusive access to the Muny Memories exhibit.The World-Record Attempt at the Largest Dance Class is being held in partnership with The Muny. For more information or for event registration visit: mohistory.org/world-record.Muny Memories: 100 Seasons Onstage is open June 9, 2018, through June 2, 2019, at the Missouri History Museum. Admission is free.The Muny’s 101st season begins June 10, 2019. For more information visit muny.org.

The Muny Memories: 100 Seasons Onstage Exhibit now through June 2About Muny Memories: 100 Seasons Onstage: The Muny celebrated its centennial season in 2018. To commemorate this milestone, another Forest Park Landmark is recreating 100 seasons of Muny magic. The Missouri History Museum shines a spotlight on the oldest and largest continuously operating outdoor-theatre in the United States in Muny Memories: 100 Seasons Onstage. This 6,000-square-foot exhibit examines the history of The Muny through approximately 130 artifacts, including 10 costumes and 87 props from favorite Muny shows. Muny memories come to life through interactive media, oral histories from Muny stars and staff, and opportunities to learn a dance step or two

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Go See a Play This Weekend!

Go See a Play This Weekend!

By Lynn VenhausManaging EditorSpring has sprung, with many to-dos on your list. So, what play are you going to see this weekend/week?

From college theater productions to intimate dramas to touring musicals, you have a variety of offerings. Celebrate art in any season! Go See a Play!“Are U R?” Southern Illinois University at Edwardsville April 24-28 Metcalf Theatrewww.siue.edu 618- 650-2774 What It’s About: Based on the 1920 Czech play, “R.U.R.” by Karel Cepak, this original SIUE adaptation is an irreverent and provocative mash-up of humor and horror, philosophy and presents From Metropolis to The Matrix, from Brave New World to Westworld, humans are obsessed with the possibility of intelligent machines and the all the questions that they inspire – What is the mind? What is consciousness? And what will it look like when smart technology turns against its creators? and science/fiction, pop culture and faith that explores the nature of artificial intelligence and human consciousness.

“From Jimmy, to America: An Ode to James Baldwin” University of Missouri at St. Louis April 27 and 28 Saturday at 7 p.m. and Sunday at 2 p.m. Touhill Performing Arts Center www.touhill.org

What It’s About: Through the words of James Baldwin, this
production explores race, identity, and America. In collaboration with Nu-World
Contemporary Danse Theatre, actors and dancers explore our racial identity
through the works, words, and musicality of James Baldwin.

“Godspell” University Theatre at Saint Louis University April 25-28 8 p.m. Thursday through Saturday, 2 p.m. Sunday The Grandel Theatre, 3610 Grandel Square MetroTix: 314-534-1111 Tickets available at the door

What It’s About: This is the 2012 retelling of the Stephen Schwartz musical, which is based on the gospel of St. Matthew, that features new arrangements and contemporary references as it takes us on a rousing journey through the parables of Jesus. Director: Stephanie Tennill

‘The Laramie Project’ at St. Charles Community College“The Laramie Project” St. Charles Community College April 24-28 SCC Center Stage Theatre in the Donald D. Shook Fine Arts Building 4601 Mid Rivers Mall Drive in Cottleville, Mo.www.stchas.edu 636-922-8050

What It’s About: This gripping play concerns Americans’
reaction to the hate-crime murder of a young gay man, Matthew Shepard. In
October of 1998, Shepard was kidnapped, severely beaten, and left to die in
Laramie, Wyoming. Moisés Kaufman and the Tectonic Theater went to Laramie and
conducted more than 200 interviews about the event, from which they wrote this
play.

Director: Samantha Stavely

Cast: David Amrhein, Rachel Bohn, Jim Dishian, Jordan
Dennis, Johnny Dishian, Andrew Edmonston, Dane Harris, Jasminn Jones, Jacob
Krznar, Kat Leffler, Amanda May, Travis McIntyre, Angela McNeil, Mia Millican,
Joshua David Neighbors, Mia Politte, Gabby Rivera, Braden Stille, Graham
Woodward and Peggy Woodward.

“A Midsummer Night’s Dream” April 26-28 R-S Theatrics and Three Blind Pigs Friday and Saturday at 7 p.m. and Sunday at 5 p.m. William Kerr Foundation 21 O’Fallon Street, North St. Louis www.r-stheatrics.com

What It’s About: One of Shakespeare’s most beloved
comedies, you’ll see lovers’ spats, clueless actors, and a fairy queen.

Of Note: Shake38 may be gone, but Blind Pigs’ partnership
with R-S Theatrics lives on

“Miss Saigon” Fox Theatre April 23-May 5 www.fabulousfox.com

What It’s About: National tour of acclaimed revival, from the creators of “Les Miserables.”  Based on the Puccini opera “Madame Butterfly,” this is the story of a young Vietnamese woman named Kim who is orphaned by war and forced to work in a bar run by a notorious character known as the Engineer. There she meets and falls in love with an American G.I. named Chris, but they are torn apart by the fall of Saigon. For 3 years, Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son. Featuring stunning spectacle and a sensational cast of 42 performing the soaring score, including Broadway hits like “The Heat is On in Saigon,” “The Movie in My Mind,” “Last Night of the World” and “American Dream.”

“Never Let Go: A One-Woman TitanicERA TheatreApril 18-20 at The Monocle, Emerald Room, 8 p.m.April 26-27 at The Improv Shop, 3960 Chouteau, 10 p.m.www.eratheatre.org

What It’s About: Twenty-four years ago, Rose ‘Dawson’ miraculously survived the sinking of the Titanic. But her lover, Jack Dawson, did not, and she is not over it. Despite her grief, she’s pursuing her dream of becoming an Academy Award nominated actress. In this production, Rose pitches the idea of turning her story into a work of theatre, or even a motion picture, to an audience of potential producers and investors. She shifts seamlessly from past and present, often without warning, and artistically, and maybe somewhat insanely, blurs the distinction between reality and imagination. Join us for the maiden voyage of your life and never let go!

Starring: Rachel Tibbetts

Playwrights: Will Bonfiglio and Lucy Cashion

Stage Manager and Dramaturg: Miranda Jagels-Felix

Designers: Morgan Fisher and Bess Moynihan

Eric Dean White and Amy Loui i “Salt, Root and Roe”“Salt, Root and Roe” Upstream Theatre April 26 – May 12 Shows at 8 p.m. except Sundays at 7 p.m. but May 12 at 2 p.m. Kranzberg Arts Centerwww.upstreamtheater.org What It’s About: Tim Price’s play is about the nature of change, the comfort of home and the eternal bond of love, set against the mythical backdrop of the Pembrokeshire coast in western Wales. Identical twins Iola and Anest, who are devoted to age other and aging fast. Anest’s daughter, Menna, rushes to her long-abandoned childhood home where her own ideas of love and compromise are tested to the limit. Director: Kenn McLaughlin Cast: Donna Weinsting, Sally Edmundson, Eric Dean White, Amy Loui

Of Note: A U.S. premiere in co-production with Stages Repertory Theatre of Houston. New at Upstream is “Bohemian Thursday” – all tickets $10 May 2 only.

“Spamalot” Clinton County Showcase April 26-28 & May 3-5 Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Avon Theater, 525 N. Second St., Breese, Ill.www.ccshowcase.com What It’s About: Adaptation of classic comedy film, “Monty Python and the Holy Grail,” the Tony-Award winning musical retells the legend of King Arthur and the Knights of the Round Table.

“Translations” The Black Mirror Theatre April 25 – May 4 Thursday – Saturday at 7:30 p.m., Sunday at 2 p.m. .Zack, 3224 Locust www.blackmirrortheatre.com What It’s About: Brien Friel’s “Translations” is an intimate look into a world at odds with itself. It could have been set in one of any number of eras and lands – anywhere in which an alien force imposes its culture on a conquered people through the suppression of all that which gave and gives that culture cohesion, especially its language. One needs to look no farther than America, where indigenous peoples still struggle to maintain and transmit their values, beliefs, their souls thru their native tongues.

Paul James and Rich Loughbridge. Photo by Lori Biehl“Tuesdays with Morrie” April 24-May 5 Act Two Theatre St. Peters Cultural Arts Centre www.act2theatre.com What It’s About:  The autobiographical story of Mitch Albom, an accomplished journalist driven solely by his career, and Morrie Schwartz, his former college professor. Sixteen years after graduation, Mitch happens to catch Morrie’s appearance on a television news program and learns that his old professor is battling Lou Gehrig’s Disease. Mitch is reunited with Morrie, and what starts as a simple visit turns into a weekly pilgrimage and a last class in the meaning of life.

Director: Nancy Crouse
Cast: Paul James as Morrie Schwartz, Rich Loughridge as Mitch Albom

William Humphrey, William Roth in “True West.” Photo by Patrick Huber.“True West” April 4 – 28 St. Louis Actors’ Studio Thursdays through Saturdays at 8 p.m. and Sundays at 3 p.m. The Gaslight Theatre, 358 N. Boyle 314-458-2978 www.stlas.org

What It’s About: This American classic by Sam Shepard explores
alternatives that might spring from the demented terrain of the California
landscape. Sons of a desert-dwelling alcoholic and a suburban wanderer clash
over a film script. Austin, the achiever, is working on a script he has sold to
producer Sal Kimmer when Lee, a demented petty thief, drops in. He pitches his
own idea for a movie to Kimmer, who then wants Austin to junk his bleak, modern
love story and write Lee’s trashy Western tale.
Director: William Whitaker
Cast: Isaiah Di Lorenzo, William Humphrey, William Roth, Susan Kopp

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Cirque du Soleil Breathes Inspired Life into ‘Corteo’ for Arenas

Cirque du Soleil Breathes Inspired Life into ‘Corteo’ for Arenas

By Lynn Venhaus Managing Editor Ethereal, graceful and beautiful – those were my initial impressions of Cirque du Soleil’s latest arena tour, “Corteo,” which is actually a 2015 show they have resurrected and reformatted.

Not ever having seen them live before, I was struck by both
their artistry and their athleticism in a carnival atmosphere. Super-fit
acrobats inside rings, on the bars, tumbling on bed trampolines and all sorts
of physical feats were quite entertaining to watch.

But the troupe’s palpable joy in performing, and how
accomplished they were at creating magic shined through.

In one stunning segment, the tiny clowness floated through
the air of Chaifetz Arena holding four gigantic helium balloons – the largest I
had ever seen. She involved the audience in propelling her through the air, her
sweet little giggle infectious.

All the elements to create a crowd-pleasing experience came together – lush music, pulsating drum rhythms, energetic flights of fancy – three women hanging from chandeliers to start it off! – and funny characters.

The tight technical design enhanced the show and created an intimate setting in the arena.

The set design looked more like the opulent Parisian opera
house in “The Phantom of the Opera” and the accents created a 19th
century European feel. The lighting design enhance the elegant feel of the
show, and the costumes were both beautiful and functional period-appropriate.

Corteo means “cortege” in Italian, a procession, and
this show is a festive parade imagined by a clown, Mauro, who has passed. His
spirit was still with us, so the dream-like fantasy was meant to capture the
mysterious space between heaven and earth.

The funeral cortege celebrates with exuberance, rather than
mourn. He wanted to show that he had a life well-lived.

While I didn’t necessarily follow the story literally, its
inspired earthly and fantasy segments were merry moments to enjoy for their
exquisite beauty and talented detour into pure imagination.

I would recommend this for older children, as wee ones,
used to bombastic action, may not be familiar with such old-fashioned
storytelling and can get squirmy and bored easily.

Cirque du Soleil, in all endeavors, is indeed a work of
art.

Cirque du Soleil presents “Corteo” at the Chaifetz Arena in St. Louis April 24-28. For more information, visit www.cirquedusoleil.com.

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Shakespeare Festival St. Louis Announces Free Fall Programming

Shakespeare Festival St. Louis Announces Free Fall Programming

New Urban-Rural Settings for Shakespeare in the Streets

Rehearsals Begin for ‘Love’s Labors Lost’ – Opens May 31 in Forest Park

The nationally-recognized Shakespeare in the Streets program will highlight the stories of not just one community, but two – Normandy, Missouri and Brussels, Illinois — for Shakespeare Festival St. Louis’ first urban-rural exchange Sept. 12-14. The performances will be inspired by the Bard’s play, “As You Like It.”

Audiences will choose whether to start in Normandy or Brussels — 45 minutes from one another — where Act One will begin at the same time in both locations. Act Two will take place on busses that transport the audience members to the banks of the Mississippi River. The final act will occur on the water between Missouri and Illinois where the actors will unite to share not only the same space but also the same story. Partners include Beyond Housing, the Normandy Schools Collaborative and Brussels High School. Event locations, casting and creative information will be released in July. 

In October, the Festival will unveil Duke Ellington and Billy Strayhorn’s 1957 12-part suite titled, “Such Sweet Thunder,” an extraordinary but long-forgotten piece of work inspired by different Shakespearean characters. In 1960, French choreographer Maurice Béjart used it as the score for an avant-garde ballet. The work will be revived in partnership with Jazz St. Louis to reconstruct the score, Big Muddy Dance Company to create new choreography, and the Festival, which will weave the pieces together with Shakespearean scenes and sonnets. A fourth partner, Nine Network, will host the resulting three free performances Oct. 3-5 in its Public Media Commons. Additional details will be released in late summer.

‘Love’s Labors Lost’ – May 31 through June 23

The Bard’s comedic take on love and courtship will resonate throughout Shakespeare Glen when the Princess of France (Kea Trevett) and her ladies arrive in the King of Navarre’s (Sky Smith) royal forest during Shakespeare Festival St. Louis’ production of “Love’s Labors Lost,” May 31 through June 23, in Forest Park. Performances are nightly, excluding Tuesdays, and begin at 8 p.m. Preview performances are scheduled May 29-30. 

Highlights of this lyrical comedic production include original music composed by St. Louis-based Rats & People Motion Picture Orchestra, a diverse cast under the direction of the festival’s Executive Producer Tom Ridgely, and a forested set that blurs that line between stage and park. 

“Love’s Labors Lost” features Shakespeare’s largest cast of comic characters, including four sets of lovers, and is the only one of his plays set in a park. The story revolves around the princess and her ladies who arrive on a diplomatic mission to Navarre, only to be met by the young king and his lords who have taken a vow not to see women. Affairs of state give way to affairs of the heart as Shakespeare reveals with great humor and compassion the way our culture sometimes doesn’t fully prepare us for the realities of love and intimacy. 

“I think Love’s Labors Lost asks the question of what happens when the ideas of love that young people absorb from their culture have totally unprepared them for what it’s like to actually be in a relationship with another human being,” Ridgely said. “The Bard’s advice to young lovers, I think, is how grand gestures don’t always pan out. Nor do disguises. He’s asking them to be curious, to get to know the actual person.” 

         The nightly Green Show will begin at 6:30 p.m. and feature local musicians, family art activities and roving performers. Free backstage tours will begin at 6:30 p.m. in front of the main stage. A 20-minute mini-play of “Love’s Labors Lost” will be performed Friday through Sunday by the Festival’s advanced teen ensemble, the Shakespeare Squadron. 

         Open lawn seating is available on a first-come, first-served basis. Premium seating, priced at $10 and $20, can be reserved online beginning Wed., May 1, at www.sfstl.com until noon the day of the show, or purchased after 5:30 p.m. in the Glen. Festival souvenir picnic blankets, comfortable for two and pre-set in the blanket seating area, are also available for $40. 

         Picnic fare, including sandwiches, snacks, beer, wine, soda, and water are available for purchase, provided by the Saint Louis Zoo. Audiences will be able to purchase Schlafly’s signature craft beer, available exclusively at the production in Forest Park. Cash, debit, and credit cards are accepted in Shakespeare Glen. 

         Four performances – June 4, 6, 13 and 20 – will be American Sign Language interpreted, thanks to support from Barnes-Jewish Hospital. Mind’s Eye Radio will also audio describe a performance for the visually impaired. 

         For a full cast and creative team list, please visit www.sfstl.com.  

About Shakespeare Festival St. Louis

Shakespeare Festival St. Louis presents Shakespeare and works inspired by his legacy of storytelling. Since 2001, the festival has grown from producing a single production of Shakespeare in the Park to a year-round season of impactful theater in exciting and accessible venues throughout the St. Louis community. The festival’s artistic and education programs reached over 50,000 patrons and students during the 2018 season and have reached over one million since 2001. In 2019, the Festival was recognized as a “What’s Right with the Region” finalist by Focus St. Louis. Leadership support for Shakespeare Festival St. Louis’ 2019 season is provided by the Whitaker Foundation. The festival is also funded in part by the National Endowment for the Arts, the Missouri Arts Council, the Regional Arts Commission, and the Arts & Education Council of Greater St. Louis. For more information, please visit www.sfstl.com, or call 314-531-9800. Facebook:  https://www.facebook.com/shakesfestSTL Twitter: @shakesfestSTL Instagram: ShakesfestSTL Snapchat: shakesfestSTL

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‘Miss Saigon’ Revival Breathtaking and Heartbreaking

‘Miss Saigon’ Revival Breathtaking and Heartbreaking

New production on national tour now at the Fox Theatre

By Joe GfallerContributing Writer“Miss Saigon” holds a powerful mirror up both to its own complicated history and to the dangers of the American Dream in a newly resonant production, the current national tour now playing at the Fox Theatre through May 5. It’s been 30 years since this musical by Alain Boubil and Claude-Michel Schönberg (best known for “Les Misérables”) first opened in the West End in London.

Based on Puccini’s iconic opera “Madame Butterfly,” it played for nearly ten years on Broadway, creating the very definition of the “mega-musical.” That reputation of success looms large for anyone seeing it today, as does the musical’s deeply problematic reputation around race, identity, and victimization.

The current tour, based on the show’s recent West End and Broadway revivals, faces many of the story’s complex and devastating issues head on. Even with its powerful, nuanced performances and dazzling effects, it cannot fully escape the problems inherent in the story itself. However, in the many moments when it does, it is both breathtaking and heartbreaking.

In this new version, one message is clear: the myth of the
American dream is toxic. It damns each of the characters it touches.

For the Engineer, played with equal parts giddy enthusiasm and depraved desperation by Red Concepción, it is a canker that only grows more obsessive and pathetic as the musical unfolds. By the time he reaches his show-stopping reflection on his American dream, his obsession with America has transformed into sinister self-hatred.

Emily Bautista and Anthony Festa as Kim and ChrisKim, given a heartfelt performance from Emily Bautista, is first surrounded by the promise of America in the aptly-named Dreamland club. There, each of her fellow dancers hope that the G.I.s who bed them will ultimately free them from what looks to be an unending cycle of human trafficking and violence.

However, from the moment Gigi is slapped by a G.I. for even speaking of marriage, it is clear that these dreams are nothing more than an unattainable fairy tale, told to give the women a reason to continue selling their bodies to the highest bidder.

Chris, an American G.I., thinks he embodies the American dream, and watching that “white savior” belief system crumble throughout Anthony Festa’s performance is devastating.

Unlike Madame Butterfly’s B.F. Pinkerton (upon whom Chris’s character is based), this is a man who starts off as neither callous nor selfish. In sharp contrast to the other men at Dreamland, he isn’t a leering, oversexed predator. He only takes Kim — still virginal and visibly uncomfortable on her first night there after escaping the destruction of her village — because his friend John has paid for her already.

He reflects later in the show, “I wanted to save and protect her. Christ, I’m an American, how could I fail to do good?” In Festa’s performance, the man we see years later in America is haunted by his PTSD, by the memories of what he saw, and by all the good he failed to do. It is a transformation that is chilling and deeply humane.

Discovering the lethal consequences of his own fear, internalized bias, and white fragility, Festa echoes a cry of anguish to close this production that cuts like a knife through the audience – severing us, for a moment, from the myth of the American dream as well.

Part of the reason that Bautista and Festa’s final reunion has such an impact is the electric sincerity of their initial love. In “Sun and Moon,” the two fall from full-throated harmony directly into a passionate embrace with a palpable chemistry.

As Saigon falls to the Communists and Kim and Chris desperately search for one another in a sequence of stunning cinematic scope, that chemistry seems to draw them inexorably together – making us believe against all reason that, yes, they will find one another.

It is in Kim’s journey which follows without Chris, however, that Bautista truly shines. Whereas the shadow of Vietnam seems to have slowly emasculated Chris after Saigon falls, for Kim, living with the consequences of those days together only makes her stronger. Her transformation from a vulnerable girl in a whirlwind romance to a steadfast mother is sensitive, nuanced, and riveting.

In the moment when Bautista pulls the trigger to prevent a man from killing her son for not being pure-blooded Vietnamese, we see a drive and iron will that is as tangible as the longing we feel in hearing her sing Miss Saigon’s signature anthem “I Still Believe.” By the time she has become a refugee in Thailand, there is not a choice she makes that does not feel deeply grounded in that drive, that love, and that longing.

The rest of the cast shines throughout. As John, J. Daughtry transforms wartime cynicism into peacetime sincerity. He pleads for the children left behind in “Bui Doi” with a simple clarion tone that stands apart from the otherwise intense and ballad-heavy score.

As Thuy, the man Kim had been promised to in her village, Jimwoo Jung is a powerful force – both in the flesh and as a ghost – with the strident moral rectitude of the post-war “re-educated” that reminds one of Les Misérables’s Javert. One imagines he would give an extraordinary turn in that role as well.

If Kim is Miss Saigon’s Fantine, Gigi is the show’s Eponine. (Les Misérables comparisons are rife and unfortunately unavoidable). Christine Bunuan gives Gigi a veneer of earthy stoicism, which buries most glimmers of hope, which is beautifully articulated in “The Movie in My Mind.” Given her performance, it’s hard not to wish Gigi’s story continued after the first few scenes.

In one of this production’s most engaging surprises, thanks to Stacie Bono’s controlled performance, Ellen, the woman Chris married in America, truly comes into her own.

Thanks to Bono’s confrontation with Bautista’s Kim in a Bangkok hotel room — and the addition of her new song “Maybe” in this revival, we see a complex portrait of a woman who can be at times harsh or vulnerable, but who is open to discovering her own capacity to love and forgive.

Whether in sharply choreographed sequences or more intentionally chaotic crowd scenes, the entire ensemble creates a dynamic world against which this deeply personal story plays out.

Bob Avian (musical staging) and Geoffrey Garratt (additional choreography) should both be applauded for one of the production’s most stunning numbers, “The Morning of the Dragon,” in which the three-year anniversary of Vietnamese unification under Ho Chi Minh is celebrated. The back flips, tumbles, and other high flying acrobatics of Daniel Gold, Noah Gouldsmith, McKinley Knuckle, and Kevin Murakami are simply stellar.

The design elements knit together coherently as well. Bruno Poet’s lighting design jumps from garish neon to narrow slivers peeking through broken wooden slats in a shanty town, all to create an atmosphere that transports us. Andreane Neofitou’s costumes do not shy from the grime of Kim’s poverty but also explode in lush opulence for The Engineer’s fantasy production number. The set, designed presumably by production designers Totie Driver and Matt Kinley, uses several of the same simple units that are almost unrecognizable scene-by-scene as the action moves across time and space.

And yes, there is a helicopter. From sound (by Mick Potter), to projections (by Luke Halls), to lighting, to moving set elements, this production handles Miss Saigon’s defining moment in a way that is surprising and riveting, leaving Wednesday night’s audience in a state of on-going rolling applause. 

The creators of the musical are also to be applauded for the work they’ve done to update the material from the original version millions have seen since 1989. I am not expert in that version, but it is clear efforts have been made to address some of the script’s most problematic elements.

Purists may be troubled by the alterations, but at least no longer is a night with a Vietnamese woman compared to the price of a Big Mac – a lyric that was unarguably degrading.

Just as the recent “South Pacific” revival was revised to examine Nellie Forbush’s received racism in a more honest way and the current “Kiss Me, Kate” revival replaces some of its period misogyny and sexism with a more complex look at power in human relationships, so too does “Miss Saigon” need these revisions for the 21st century. One could argue that it could benefit from even more.

So, yes, this production deserves a great deal of justified praise. However, the material still suffers from the very orientalism that created its predecessor opera, “Madame Butterfly.”

However noble Miss Saigon’s Kim is (and however much agency she attempts to stake for herself), she still spends most of the show suffering the consequences of decisions made by men: be it the Engineer, Chris, or Thuy. As much as one can blame the canker of self-hatred infecting the Engineer when he sings “Why was I born of a race that thinks only of rice,” destructive stereotypes still fill the show.

This production earnestly attempts to address those stereotypes when it can, but to eliminate them completely would require starting from scratch with a new musical. One could only imagine that this same material could have been written with a higher level of nuance had the writing and producing team consisted entirely, or even partly, of Asian artists back in 1989.

The cast itself features an ensemble that balances artists who are of Asian descent with those who are Latinx, African-American, and white. To produce the show without two entirely separate ensembles (one Asian, to play ensemble characters from Vietnam and Thailand, and one largely non-Asian for the American ensemble), white actors and dancers appear in the Vietnamese army after the fall of Saigon. No “complexion enhancing make up” (the polite term now for “yellowface”) is applied to these white performers for those scenes. However, make up or not, white performers in Asian roles is still considered yellowface to many. Absent exploding the cost of producing the musical by hiring an even larger cast, there may be few practical ways to address this issue.

Nonetheless, I can appreciate the discomfort that many may feel when looking at representation in casting in the production. (These and other questions recently became a flashpoint for controversy when this tour of Miss Saigon played in Madison, Wisc.)

That said, the “Miss Saigon” that exists is the “Miss Saigon” we have.

As this production begins, we see Saigon’s streets through the haze of a scrim. That hazy vision becomes a metaphor for the very nature of the musical’s storytelling. The people who wrote “Miss Saigon” could only see it through their own, perhaps biased, lens. They did their best to create a powerful evening of theater despite the limitations of their own experience. This production has clearly worked hard to mitigate those limitations.

We can embrace director Laurence Connor’s storytelling for allowing
the staging and nuanced characterizations to help us sympathize with all of the characters, even when they
are far from likeable people. We can applaud music director Will Curry’s strong
work with the orchestra and his cast to let the music soar and transport us.
And we can look to the talents of this remarkable ensemble and appreciate the
power, beauty, and heartbreak of the journey they take us on.

At the top of the second act, the production shows documentary footage of the half-Vietnamese, half-American children left behind after the war. When it is at its best, the production gives us moments like these that do not rely on the musical’s lyrics to point to the musical’s underlying story. For despite the fantasy and romance at the surface of “Miss Saigon,” it remains grounded in the harsh reality of our very recent history.

As refugees continue to cross borders to find a better life for their children, as sex trafficking continues among the most vulnerable of us, and as toxic masculinity threatens the welfare of women worldwide, that history continues today – sometimes in our own backyards. Despite its flaws, for that reason (and for the talents of the artists involved), I say that this “Miss Saigon” is a production that should be seen – and discussed for a long time to come.

The Fox Theatre in St. Louis is presenting “Miss Saigon” now through May 5. For tickets or more information, visit www.fabulousfox.com or call MetroTix at 314-534-1111.

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The Rep Names Amelia Acosta Powell as New Associate Artistic Director

The Rep Names Amelia Acosta Powell as New Associate Artistic Director

The Repertory Theatre of St. Louis is excited to introduce Amelia Acosta Powell as its new associate artistic director.Beginning on June 17, Acosta Powell will join The Rep’s new artistic leadership team headed by Augustin Family Artistic Director Hana S. Sharif.Acosta Powell most recently served as line producer at Oregon Shakespeare Festival, a Tony Award-winning organization that stands as one of the preeminent destinations for American regional theatre. Before that, she worked as the casting director and artistic associate at Arena Stage in Washington, D.C. A graduate of Georgetown University (where she dual-majored in theatre and Spanish), Acosta Powell’s wide-ranging artistic career includes producing and directing plays throughout the D.C. area.In 2017, American Theatre magazine named her as a rising star in the industry as part of its “Theatre Workers You Should Know” series.“Amelia is an extraordinary producer and a talented director that is a joyful addition to the artistic team,” Sharif said. “I look forward to collaborating with her in creating captivating theatre that captures the indomitable spirit of St. Louis.”“I’m very humbled and honored,” Acosta Powell said. “Hana is an inspiring and galvanizing leader who is both compassionate and persistent. It was an easy ‘yes’ when she offered me this role. The more that I’ve learned about the work at The Rep, the more excited I am to be a part of this organization and the city of St. Louis. It’s ripe with opportunity.” Acosta Powell will succeed Seth Gordon, The Rep’s associate artistic director of nine years, as he moves on to pursue new opportunities outside the organization.Acosta Powell says that she expects to spend much of her first year in St. Louis on a “listening tour,” learning more about the theatre and the city as she focuses on building The Rep’s outreach into the community. Her day-to-day work will include serving as a facilitator and liaison between The Rep’s artistic leadership, guest artists and staff.She’s most excited about the work that will happen on The Rep’s intimate stages.“What I love about theatre is being live in the room together,” Acosta Powell said. “I love to engage in the dialogue that happens when you’re at a play that doesn’t necessarily happen at a movie or other entertainment events. I love when the story that’s being told on stage is impacting the people in the room. Whether it’s loud laughter or groans of recognition at something cringeworthy, that kind of really visceral response is unique and thrilling.”One of Acosta Powell’s Oregon colleagues can’t wait to see what happens next in her career.“Amelia is a sophisticated artist, intrepid producer, and an exemplary leader who has had an extraordinary impact on the evolution of the Oregon Shakespeare Festival,” said Mica Cole, repertory producer at Oregon Shakespeare Festival. “Her appointment as associate artistic director of The Repertory Theatre of St. Louis makes me not only ecstatic for the future of The Rep, but for the seismic shift Hana and Amelia will undoubtedly bring to the field at large.”

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Kirkwood High Singer-Guitarist Wins St. Louis Teen Talent Competition

Kirkwood High Singer-Guitarist Wins St. Louis Teen Talent Competition

On Saturday, April 13, fifteen metro area high school acts brought the crowd to their feet when they performed on stage at The Fabulous Fox Theatre in the St. Louis Teen Talent Competition Finals. 

Students competed for more than $40,000 in college scholarships, cash awards and special prizes. A full list of prizes and winners along with official event information can be found on the Fox Performing Arts Charitable Foundation’s (FPACF) website. 

The distinguished panel of judges, performing arts professionals with careers spanning film, TV and Broadway, had the difficult job of judging the acts on interpretation, stage presence, technical ability, and originality.

1st place was awarded to 17-year-old singer and guitarist Joanna Serenko from Kirkwood High School who performed “Valerie.”  Joanna received an $8,000 college scholarship, which is underwritten by Ameren Corporation Charitable Trust.  2nd place and a $6,000 college scholarship went to Samanvita Kasthuri, a 16-year-old from Parkway South High School, for her original Bharatnatyam dance performance “Equal.”  K.O. Duo, 18-year-old seniors Oliver Layher (St. John Vianney) and Kryan Walton (Metro Academic & Classical High School) took the $4,000 scholarship for 3rd place for their hand-to-hand partner acrobatic performance. 

The $1,000 cash Audience Choice Award went to modern/contemporary dancers and seniors Arielle Adams, DessaRae Lampkins, Brooke Reese, and De’Jai Walker from Hazelwood Central High School.

Numerous additional special awards and prizes went to finalists and semi-finalists.  A list of all prize winners can be found at the FPACF website.  The group of 24 finalists will also have the opportunity to perform at a variety of events around the metro area.  2019 public appearances scheduled to date include the The Muny, National Dance Week, Taste of Maplewood, Gateway Grizzlies, Shakespeare Festival, and the Rising Stars Showcase.

Now in its 9th year, the professionally produced show was written and directed by Tony Parise (Broadway actor, dancer, director, choreographer and St. Louis native), with musical direction by Stephen Neale (composer, conductor, pianist), and choreographed by Yvonne Meyer Hare (Professional Dance Center).  The 2018 first place winner, Nicaya Wiley, returned to perform a contemporary dance to “Feeling Good” with a male ensemble from COCA.  

The Finals were recorded by The Nine Network for a special St. Louis Teen Talent Competition program to be aired on Tuesday, May 21, 2019 at 7 p.m. (with rebroadcasts on May 24 at 2 a.m. and May 26 at 11 a.m.).  This special presentation is supported by Mary Strauss and Webster University, which will provide the opportunity for a broader audience to experience the joy and magic that these aspiring artists bring to the Fox stage.

The 10th Annual St. Louis Teen Talent Competition at The Fabulous Fox will be held on Saturday, April 4, 2020. 

Fox Performing Arts Charitable Foundation fosters, promotes, and encourages young people in the St. Louis region to discover and participate in the joy and wonder of live performances.

In addition to the St. Louis Teen Talent Competition, the Fox Performing Arts Charitable Foundation also produces a variety of other performing arts programs that focus on youth including Kids’ Night at the Fabulous Fox, Broadway Master Classes, Educational Encores, and is a producing partner of the 2nd Annual St. LouisHigh School Musical Theatre Awards.

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