By Lynn Venhaus

“You say either and I say either. You say neither and I say neither. Either, either. Neither, neither. Let’s call the whole thing off.” – George and Ira Gershwin

When the Gershwin brothers wrote “Let’s Call the Whole Thing Off” for the 1937 film “Shall We Dance” starring Fred Astaire and Ginger Rogers, gender roles were primarily traditional, as were societal ideals.

The witty ditty is used in The Repertory Theatre of St. Louis’ current show “Private Lives,” exemplifying opposites in Noel Coward’s urbane comedy of manners.

It’s sure indicative of how we can look at things with separate viewpoints. Such is my response to “Private Lives,” which is now playing through Oct. 23 at the Berges Theatre at COCA. The production has been well-received, according to reaction from the audience, my colleagues, and in talking with some theatergoers.

You say silly, I say insufferable.

Once upon a time, this 1930 ‘romantic’ comedy was the height of sophistication and snappy repartee. However, 92 years later, the biting wit has not aged well, despite Coward’s nimble wordplay twisting the battle of the sexes into loggerheads.

The premise of this highly regarded classic is that uppity Amanda Prynne (Amelia Pedlow) and imperious Elyot Chase (Stanton Nash) are enjoying a romantic honeymoon with new spouses, Victor Prynne (Carman Lacivita) and Sibyl Chase (Kerry Warren)– and they just happen to be staying at the same posh hotel on the northern coast of France.

When the divorced duo come face-to-face on adjoining balconies — for the first time in five years — sparks fly. They run off by the end of the first act, but just as passions collide, so do tempers. These two self-important twits remember why they fell in love – and why they split up in the second act.

Does it resonate as a send-up of the British upper-class or has it become a tiresome example of a combustible relationship where two people bicker incessantly? Do people dismiss the violent overtones because it’s a comedy?

“I struck him too. Once I broke four gramophone records over his head. It was very satisfying,” Amanda says to her new husband.

Because the former Mr. and Mrs. Chase bring out the worst in each other, trying to find the best of each other is a chore, not the fizzy fun it purports. (The Rep marketed it as ” fun, laughs, and a fresh take”). I had a tepid and triggering reaction, found it tedious at best and domestic abuse at worst.

In 2022, this work appears to me to be one of the most egregious examples of toxic relationships and white privilege upon examination through a 21st century lens. The melodramatic soap opera quality of this story got very old very fast.

The argument could be made – that was then, this isn’t now. But oh, have you been reading the news?

I don’t find verbal, emotional, or physical abuse of any sort amusing – even if it’s written by a famous closeted gay British snob who had a way with words. It is not OK on any stage, anywhere, and at any time. Period.

Sibyl and Victor go at it while Amanda and Elyot look on, after their fights started it all. Jon Gitchoff photo.

Let’s just refrain from giving any past-its-prime material attention if it involves unacceptable behavior that would not fly today (unless it’s a cautionary tale).

Sure, it remains one of Coward’s most celebrated successes and has been revived several times, but what is the reason for doing this show now or ever after?

Many people laughed – loud guffaws — on opening night Oct. 7 as the angry couple hurled food and broke things while slapping each other around. Fight choreographer Nathan Keepers had much work to do.

I was in a minority of those not chuckling. We were a smattering. In my lifetime, I’ll never understand why audience members were laughing at physical confrontations and destruction of property not their own. OK, people still laugh at The Three Stooges punching and poking each other, and there are Roadrunner and Wile E Coyote cartoons as points of reference.

Anyone thinking that the more acceptable we make of couples battering each other, the harder it is for abuse victims to come forward? Ever see the real physical aftermath or consequences? I doubt if anyone who grew up in an abusive household or is a survivor/victim of domestic abuse would find anything about this show ‘funny ha-ha’.

OK, the luxe set, designed by Lex Liang, was lovely to look at with its stylized Art Deco interiors, though. And expertly lit by lighting designer Colin Bills. The production elements excel in recreating the era’s affluence, including Kathleen Geldard’s glamorous costumes.

Yes, the production is slick and the performers skillful, but are two narcissists hell-bent on getting their way, no matter what cost, fun to watch? A darker truth is apparent on stage, no matter how many quips are delivered.

Amanda: I was brought up to believe it was beyond the pale for a man to strike a woman.

Elyot: A very poor tradition. Certain women should be struck regularly, like gongs.

Now, there were some gasps on that exchange.

Perhaps chemistry figures in to accepting that this once red-hot pair continue to emit white heat when together. Obviously, they can’t live together, for they start acting like ill-tempered children.

And they know it.

Amanda: I think very few people are completely normal really, deep down in their private lives. It all depends on a combination of circumstances. If all the various cosmic thingummys fuse at the same moment, and the right spark is struck, there’s no knowing what one mightn’t do. That was the trouble with Elyot and me, we were like two violent acids bubbling about in a nasty little matrimonial bottle.

In the program, dramaturg Arianne Johnson Quinn, the inaugural Noel Coward fellow in the Billy Rose Theater division at the New York Public Library for the Performing Arts, quotes Coward scholar: “Beneath the sophisticated repartee are two accidental assassins – destined to be destructive of each other and of anyone who comes emotionally close to them (The Letters of Noel Coward, 217).”

Quinn then wrote: “For Coward, affairs of the heart are glamorous excursions into human nature, and the inevitable comedy that follows stems from his ability to create living, breathing characters rather than dramatic archetypes. At the same time, modern audiences cannot escape the undercurrent of domestic abuse that runs as a throughline in the play.”

No, we can’t escape it – especially when they discuss their previous rows:

Elyot: The worst one was in Cannes when your curling irons burnt a hole in my new dressing-gown. [He laughs.]

Amanda: It burnt my comb too, and all the towels in the bathroom.

Elyot: That was a rouser, wasn’t it?

Amanda: That was the first time you ever hit me.

Elyot: I didn’t hit you very hard.

Amanda: The manager came in and found us rolling on the floor, biting and scratching like panthers. Oh dear, oh dear…[She laughs helplessly.]

Certain insensitive stereotypes, words, phrases, and behaviors have fallen out of favor in the name of diversity and inclusion, yet these golden-age chestnuts portray men keeping women in line like they’re property. And seem so cavalier about abuse.

Amanda: You are an unmitigated cad and a bully!

Elyot: And you are an ill-mannered and bad-tempered slattern!

Amanda: Slattern indeed!

Elyot: Yes, slattern and fishwife!

(Fishwife, according to the Macmillan Dictionary, is a slur for “a woman who speaks loudly in a rude voice.”)

Amanda bucks conformity, but her ‘feisty’ nature isn’t an excuse. When she’s confronted by her husband, finally, in her Paris flat, after a huge fight with Elyot, this is an exchange:

Victor: Did he really strike you last night?

Amanda: Repeatedly, I’m bruised beyond recognition.

Making light of a knock-down, drag-out?

Taking a second look at very sexist books in creaky musicals, critics have decried “blackface,” “brownface,” “redface” and “yellowface.” Shouldn’t behaving badly on stage get an adverse reaction too?

You say funny, I say not. You say flippant, I say superficial exercise involving rich gasbags without much substance. You say erudite, I say entitled, pouty, shallow females and self-absorbed condescending males.

The new mates are obsessed with knowing how they rate compared to the wretched former wife or husband – this seems to be interminable interaction.

Coward wrote the play so that he and his actress friend, Gertrude Lawrence, could portray the characters, and he modeled the self-centered Amanda on his histrionic diva pal. Supposedly, their tumultuous friendship was not unlike the roles.

Amanda is an unlikable sharp-tongued, prone to exaggeration and temperamental shrew. She’s a spoiled insipid woman who behaves badly in the name of love. Pedlow’s affected – and hard to decipher sometimes – speech gets in the way. Dialect Coach Jill Walmsley Zager’s work was incomplete.

Stanton Nash, so delightful in St. Louis Shakespeare Festival’s “Much Ado About Nothing” this past summer, has crisp comic timing and lets the fast-paced insults fly. But his character is a pompous ass.

As the jilted partners, Lacivita was debonair and a bit starchy as Victor, a colorless role, and Warren, unfortunately, is shrill in the stereotypical Sibyl role, an attractive but rather uninteresting and somewhat bubbleheaded bride prone to shrieking. As ‘the other two,’ they are stuck in very cookie-cutter parts.

Yvonne Woods has a brief role as Amanda’s French maid Louise, tasked with cleaning up the messes.

The focus, naturally, is on Amanda and Elyot, for they burn bright no matter what the temperature of the room. These would be unlikeable characters in any decade.

Sure, the characters are in a higher income bracket than some who live with domestic violence, but it’s still unhealthy, no matter how cultured the speech pattern or what class ranking they are. (Nicole Brown Simpson, anyone?)

I am reminded of F. Scott Fitzgerald’s description of Tom and Daisy Buchanan in “The Great Gatsby”:

“They were careless people, Tom and Daisy – they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made.”

Fitzgerald viewed them as a tragedy, Coward considers his vain high society characters a comedy.

Kerry Warren and Carman Lacivita. Photo by Jon Gitchoff

If this was a modern play, the entitlement and mistreatment would have everyone outraged, but here, we should accept it because it has the warm glow of nostalgia and it is written by a theater legend?

The Rep producers and director Meredith McDonough obviously think this madcap romp is entertaining, like the good old screwball comedies that run on Turner Classic Movies these days. (For the record, I wanted to be Rosalind Russell in “His Girl Friday.”)

McDonough described the show as a “loving treatise on love” — and then directed it like an irritating high-class shouting match ramped up in volume. Hana S. Sharif, the Augustin Family artistic director, called it a “great escape.”

The tone-deafness is mind-boggling. In what language, country, time or universe is this second act fight funny after Amanda puts on a record that Elyot doesn’t want to listen to?

Elyot: Turn it off.

Amanda: I won’t. [Elyot rushes at the gramophone. Amanda tries to ward him off. They struggle silently for a moment, then the needle screeches across the record] There now, you’ve ruined the record.

[She takes it off and scrutinizes it.]

Elyot: Good job, too.

Amanda: Disagreeable pig.

Elyot [suddenly stricken with remorse]: Amanda darling, Sollocks.

Amanda [furiously]: Sollocks yourself.

[She breaks the record over his head.]

Elyot [staggering]: You spiteful little beast.

[He slaps her face. She screams loudly and hurls herself sobbing with rage on to the sofa, with her face buried in the cushions.]

Amanda: [wailing]: Oh, oh, oh-

Elyot: I’m sorry, I didn’t mean it — I’m sorry, darling, I swear I didn’t mean it.

Amanda: Go away, go away, I hate you.

[Elyot kneels on the sofa and tries to pull her round to look at him.]

Elyot: Amanda — listen — listen —

Amanda [turning suddenly, and fetching him a welt across the face]:

Listen indeed; I’m sick and tired of listening to you, you damned sadistic bully.

Elyot with great grandeur]: Thank you. [He stalks towards the door, in stately silence.

Amanda throws a cushion at him, which misses him and knocks down a lamp and a vase on the side table.

Elyot laughs falsely] A pretty display I must say.

Amanda [wildly]: Stop laughing like that.

Elyot [continuing]: Very amusing indeed.

Amanda [losing control]: Stop–stop–stop– [She rushes at him, he grabs her hands and they sway about the room, until he manages to twist her round by the arms so that she faces him, closely, quivering with fury]—I hate you–do you hear? You’re conceited, and overbearing, and utterly impossible!

Elyot [shouting her down]: You’re a vile-tempered, loose-living; wicked little beast, and I never want to see you again so long as I live.

[He flings her away from him, she staggers, and falls against a chair. They stand gasping at one another in silence for a moment.]

Amanda [very quietly]: This is the end, do you understand? The end, finally and forever.

[She goes to the door, which opens on to the landing, and wrenches it open. He rushes after her and clutches her wrist.]

Elyot: You’re not going like this.

Amanda: Oh, yes I am.

Elyot: You’re not.

Amanda: I am; let go of me–[He pulls her away from the door, and once more they struggle. This time a standard lamp crashes to the ground. Amanda, breathlessly, as they fight] You’re a cruel fiend, and I hate and loathe you; thank God I’ve realized in time what you’re really like; marry you again, never, never, never… I’d rather die in torment

Elyot: [at the same time]; Shut up; shut up. I wouldn’t marry you again if you came crawling to me on your bended knees, you’re a mean, evil- minded, little vampire — I hope to God I never set eyes on you again as long as I live.

[At this point in the proceedings they trip over a Victor and Sybil enter quietly, through the open door, and stand staring at them in horror. Finally Amanda breaks free and half gets up, Elyot grabs her leg, and she falls against a table, knocking it completely over.]

Amanda [screaming]: Beast; brute; swine; cad; beast; beast; brute; devil

[She rushes back at Elyot who is just rising to his feet, and gives him a stinging blow, which knocks him over again. She rushes blindly off Left, and slams the door, at the same moment that he jumps up and rushes off Right, also slamming the door.

Victor and Sibyl advance apprehensively into the room, and sink on to the sofa]

In the third act, Sibyl and Victor begin mirroring the battling ex’s.

The Rep has very mixed messages in their line-ups.

Certainly, “Private Lives” is devoid of any teachable moment or enlightenment – or even making a connection.

I say potato, you say ‘po-tah-to.’ You say classic, I say painful. You say lighten up, I say, let’s talk. Know more, support services, be the change: 1 in 4 women and 1 in 7 men are affected, and 1 in 15 children witness domestic abuse.

Photo by Jon Gitchoff

The Repertory Theatre of St. Louis presents “Private Lives” Sept. 30–October 23, in the Catherine B. Berges Theatre at COCA (Creative Center of the Arts), 6880 Washington Avenue, St. Louis, 63130. For tickets or more information, visit:

For more information, the National Domestic Abuse Hotline, visit:

To support local services, check out:
Safe Connections, 2165 Hampton Ave., St. Louis, 63139; email, call 314-646-7500, visit They have a 24-hour crisis helpline: 314-531-2003

Violence Prevention Center of Southwestern Illinois, 618-236-2531, visit: They have a 24-hour crisis helpline: 618-235-0892

By Lynn Venhaus
Managing Editor
When composer and music director Colin Healy first heard the story of wealthy
brothel madam and philanthropist Eliza Haycraft, he was intrigued. On Aug. 16,
“Madam,” the musical about this infamous St. Louisan that he wrote the book,
music and lyrics for, had its world premiere at the Bluff City Theatre in

Bluff City Theater commissioned the musical, where Healy has been the music director for the theater since 2017, and a branch of the Haycraft family is involved with BCT. Healy is artistic director of his own companies, Fly North Music and Fly North Theatricals.

“After one of the shows, they told me Eliza’s story. I was
fascinated ever since,” he said. “I said ‘Wow, that’s a musical.’ About a year
later, Joe Anderson, the artistic director, called me up and said in so many
words ‘Let’s make it a musical.’”

Rosemary Watts and Larissa White

Bluff City Theatre’s executive director wrote in his recent
blog: “Madam the musical is a totally new play we commissioned to end our 2019
season dedicated to the theme of The American Experience,” he said. “We follow
the story of a group of women who, for a variety of reasons found themselves
without the means to support themselves and turned to the only profession open
to women like them — prostitution. Madam Eliza Haycraft rose from obscurity to
become the richest woman in Missouri, much-loved by the general public, and a
major philanthropist with a special emphasis on Civil War widows and orphans. Yet,
despite the fact that her houses were well-frequented by the rich and powerful
men who ran the city, she was shut out of polite society.”   

“Madam introduces other characters who are historically
based on some of the remarkable women who defied the norm to claim their place
in the country at a time when they had few legitimate rights. One, an escaped
slave, disguised herself as a man to fight in the Union Army.  One is sister to Victoria Woodhull, candidate
for president in 1872,” he continued. “In addition to being a lesson in America
history, Healy’s musical is bright and lyrical. The cast is amazing. And you
can be among the first to see what is sure to be a hit.”

Healy’s score features St. Louis style jazz and blues, “Madam” is directed by Sydnie Grosberg -Ronga. The musical stars Rosemary Watts as Madam, Brett Ambler as The Benefactor, and Eileen Engel, Kimmie Kidd, Cameron Pille, Gracie Sartin and Larissa White as the ladies she protected.

There are only nine performances in Hannibal. Five are left
– Wednesday through Saturday. For tickets or more information, visit or call 573-719-3226. The show is sponsored by Harold
and Kathleen Haycraft.

The first-run weekend is over, and seeing it happen has been
something special.

“Realizing work on stage is quite literally turning something practically two-dimensional — many many sheets of paper — into something truly three-dimensional,” Healy said. “In any other aspect of life, suddenly perceiving a whole new dimension would be beyond life-altering. Well, that’s what realizing a work of theatre is and it hasn’t gotten old yet.”

“I couldn’t have asked for a better cast and crew. Sydnie
Grosberg-Ronga, in addition to being an effective and incredible director, has
been an even better mentor, dramaturg, and sometimes-therapist,” he said. “Rosemary,
Lari, Cameron, Kimmie, Gracie, and Eileen have all been amazing to work with—
and as a millennial and member of the meme generation, I’d be remiss if I
didn’t say I’ve been a little starstruck getting to work with the Kazoo Kid — love
ya, Brett!”

Healy considers the musical a work in progress, but the
fact that Bluff City Theater encourages new and emerging work is music to his ears.

“What Joe Anderson is doing in Hannibal is remarkable. Bluff City Theatre is producing new and emerging work every year and filling houses with it. Go support them. They’re doing it right up there,” he said. The journey has been an interesting one, but it won’t end when the show does on Aug. 24. Plans are for his company, Fly North Theatricals, to perform “Madam” in St. Louis in 2020, from Jan. 10 to Feb. 2 at the .Zack Theater, 3224 Locust St.

Brett Ambler, Larissa White

And that is not the only plan, either.

“I’d love for it to someday reach a wider audience — whatever
that means. There are already plans for ‘Madam’ in the near future, so stay
tuned,” he said.

Not much is known about the real Eliza Haycraft, but this
much we do know. Haycraft, born in 1820, arrived in St. Louis from Callaway
County when she was 20, cast out by her parents. She had been seduced by a
lover. Destitute, she sold herself as a courtesan to support herself. When
prostitution was legal, for only a brief time, in St. Louis, she became owner
and manager of a brothel, doing well even though she couldn’t read or write. She
bought commercial and residential property and rented it back out. She was known
for helping the city’s poor, offering them help and financial aid.

In the last year of her life, the richest and most powerful men in St. Louis were hellbent on taking it all away from her, he said. She died in 1871, at age 51, leaving an estate valued at over a quarter million dollars. More than 5,000 people attended her funeral, and she was buried in Bellefontaine Cemetery.

Healy’s musical focuses on a dying Haycraft as the owner of
five brothels and the richest woman in St. Louis. She hates men. She once
empowered her employees by giving them the right to refuse service to anyone. She
had three simple rules: Respect, Consent and Pay Up Front. Then, the passage of
The Social Evils Act of 1870 made her business legitimate, but it also took
away her right to say “no.”

While based loosely on real events, the musical tells the fictionalized
story of her search for an heir to her sex empire while also taking a romp
through first-wave feminism and sexism in America at the time of
Reconstruction. It is told through the lens of Eliza’s courtesans.

“St. Louis had passed the Social Evils Ordinance, which
under the guise of legalizing prostitution actually served to deny the women
affected by it of many of the rights they had previously enjoyed. Eliza
Haycraft was a remarkable woman — a pragmatic feminist who mistrusted men,
especially those who used their positions of power to control the rights of
women, the poor and the marginalized. But she knew how to operate in a
male-dominated world. As she neared death, Eliza sought to purchase a burial
plot in Bellefontaine Cemetery, then the largest and most prestigious in the
city. The trustees of the cemetery, all clients of hers, attempted to block the
purchase until Haycraft countered by suggesting that she would take her case
directly to their wives.  They relented,”
Bluff City Theater blog said.

The poster design

Healy said he likes the show’s message.

“The show at its core is about the vulnerability of aging
and the power of ‘no’ — so for now, I just hope people like it and take away
something from it,” he said.
Bluff City Theater raved: “Audience attendance is already at a record for any
show we’ve produced here at Bluff City Theater…Don’t take our word for it — talk
to anyone who has seen the show so far. ‘Madam’ is one of the most exciting new
musicals to come along this decade.”

Healy has written five original musicals, including “The
Gringo,” which was the local headline act at the St. Louis Fringe Festival last
summer, and was the best-selling show in its history. Like “Madam,” it was
based on a real story.

Riley Dunn in “The Gringo”

He began writing “The Gringo” in 2013 after the wrongful
death of Miami teen Israel Hernandez at the hands of police. Healy had attended
high school with Hernandez, although they were not acquainted. He became
intrigued as details emerged in the fallout surrounding his death, especially
by the stark differences between their lives.

Healy moved to St. Louis during the Ferguson riots in
summer 2014. “The Gringo” then went in a different direction, instead of
confronting privilege but about fighting for your home.

“The Gringo” tells the story of art bringing together a
community facing injustice and rapid gentrification. On the morning of the
biggest art festival in Miami, a beloved local street artist is wrongfully
gunned down by police. Through the lens of a successful painter, her wannabe
lover, a drug dealer, his mule, and the white boy from out of town bearing
witness to it all, “The Gringo” is about what it means to fight for your home
in spite of it all.
Through its workshop and staged reading, a funding campaign raised enough to
record a full-length and fully orchestrated album.

“The Gringo”For the premiere of ‘The Gringo,” he also directed and was the music director. He always seems to be juggling multiple projects at once. For instance, he was contracted as the music director for “Into the Woods” this July at the Center of Creative Arts (COCA). He currently directs the Adagio Music Company at COCA and serves as the resident music director at East Central College in Union, Mo. where he has done five mainstream shows, plus his original musical “Forgottonia” last year.

Colin Healy

While living in his native South Florida, he composed
“Anthem,” which was presented in Fort Lauderdale in 2009 and 2011, and “Translation,”
which was part of the Florida Theatre Conference in 2015.

After graduating from South Broward High School in
Hollywood, Fla., he became the music director for the theater department.

Beginning at age 15, he was a touring singer/songwriter and
his work as a recording artist in the South Florida-based rock band, The
Republik, was recognized by Billboard and College Music Journal. He recorded
three full-length studio albums as a performer – Last Chance Planet, 2006; The
Unexpected Answer, 2010; and We Are the Wild Things, 2012, with the last one
recorded at the legendary Stratosphere Studios in New York and produced by
Brian Viglione of The Dresden Dolls. They received radio play nationwide.

In 2017, he established Fly North Music as a St.
Louis-based creative company that serves as the production house for his compositions.
He now has three components: Fly North Music, Fly North Studios, and Fly North

In early 2018, his private vocal studio had grown,
therefore Fly North Studios was born.

Then, after “The Gringo” was successful, he and his friend Bradley Rohlf decided to establish a new theater company, Fly North Theatricals this year.

They plan to promote education through performance by utilizing both their students and a local community of actors to create new, local, accessible, high-quality works of musical theatre, Healy said. “Neat, huh?”

His five original musicals have seen production at the
educational, community, and professional levels.

“Assassins” announcementFly North Theatricals is planning to present “Assassins”
next summer, July 4 – July 26, at the .Zack Theatre, 3224 Locust St., St. Louis,
with auditions set for Sept.16 and 17.

Fly North Theatricals said it will be a new take on Sondheim and Weidman’s classic where our nations’ most notorious assassins gather on stage to violently pursue a twisted American Dream.

“While many characters represent historical figures, our
vision for this cast requires performers that visually represent our local
community, not necessarily the real people being portrayed,” the audition
notice states.

Their website states: “A multiple Tony Award-winning theatrical tour-de-force, Assassins combines Sondheim’s signature blend of intelligently stunning lyrics and beautiful music with a panoramic story of our nation’s culture of celebrity and the violent means some will use to obtain it, embodied by America’s four successful and five would-be presidential assassins. Bold, original, disturbing and alarmingly funny, “Assassins” is perhaps the most controversial musical ever written.”

For more information, visit www.flynorthmusic.comOur Questions with Colin Healy

Colin Healy on drums1. Why did you choose your profession/pursue the arts? “I’ve never really done much else. I’ve played music since I was 5 and went to performing arts schools my whole life — not really a great background to go into medicine or finance.”

2. How would your friends describe you? “I don’t know. I annoy myself a lot but at least they don’t have to around me all the time. So, there’s that.”

3. How do you like to spend your spare time? “I don’t understand the premise of this question.”

4. What is your current obsession? “I’m answering these questions from rehearsals for my new musical, ‘Madam!’ — so I guess that.”

5. What would people be surprised to find out about you? “People are always surprised to hear that I played baseball for 10 years, which I guess is playfully insulting? Like, why are you surprised?! Do I not strike you as the model of athleticism?! (OK, I get it.)”

6. Can you share one of your most defining moments in life? “My father passed away last month (July) so… that. That will certainly be informing a lot of my writing and teaching in the future (not that he didn’t when he was alive).”

7. Who do you admire most? “Angela Brandow and Bradley Rohlf and Stephen Sondheim and William Finn.”

8. What is at the top of on your bucket list? “Probably a bucket.”

9. What is your favorite thing to do in St. Louis? “Eating all the food, drinking all the beer, and riding my bike (because you have to burn the calories somehow).”

10. What’s next? Shameless plug: My new theatre company, Fly North Theatricals, kicks off its inaugural season this January at the .ZACK. Stay tuned to our social media (@flynorththeatricals) for more information.

More about Colin Healy

Colin Healy, circa 2015

Age: 29
Birthplace: Hollywood, Fla.
Current location: St. Louis
Education: Studied acting and music education, with a focus in voice, at
Florida International University.
Day job: I’m a full-time music director, composer, and voice teacher.
First job: Waiter
First role: Pharaoh in “Joseph and the Amazing Technicolor Dreamcoat”
Favorite roles/plays: “Man 1 in “Songs for a New World”
Dream role/play: George in “Sunday in the Park with George”
Awards/Honors/Achievements: Uhhh — I don’t know! I got a dog. He’s pretty
cool. Getting featured on the cover of RFT for “The Gringo” last year was
pretty neat. I make a pretty mean egg sandwich.
Favorite quote/words to live by: “Fail better.”
A song that makes you happy: Paul Simon’s “You Can Call Me Al”