Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

By Lynn Venhaus

A sweet-and-salty nutty mixed bag of brash gal pals and scummy exes who didn’t deserve them, “Sweet Potato Queens” sets a table for women to be proud and live out loud, no matter their lot in life.

With the exalted Boss Queen in the house, and members of the audience adorned with tiaras, sequins and neon pink feather boas, a spirited crowd – including the real inspirations behind some of the colorful characters – was in a feisty Saturday night mood to partake in the sassy and saucy Southern rock musical, “Sweet Potato Queens.”

If you are unfamiliar with the SPQ national movement, founder Jill Conner Browne and her closest friends in Jackson, Miss., have been empowering women since 1982. A New York Times’ bestselling author, she has spawned 6,200 registered Sweet Potato Queens chapters in 37 countries around the world.

New Line Theatre is producing the musical’s regional premiere, which is attracting appearances by Sweet Potato Queens and the creative people behind the musical, which debuted in 2016 in Houston and so far, has only been performed four other times.

The plucky material blends Southern prototype ‘girl power’ settings like “Designing Women” and “Mama’s Family,” and pink-collar components to “Steel Magnolias,” “Sex and the City,” and “The Divine Secrets of the Ya-Ya Sisterhood” for a frothy ‘you go, girl’ energy shot.

Talichia Noah as Jill Conner Browne. Photo by Jill Ritter Lindberg..

These are belles without a cotillion, no sorority sisters in sight, but they’ve bonded in silly and sublime ways, thanks to going through some things. Directors Scott Miller and Tony L. Marr Jr. make a point to bring out the humanity amid a carnival environs.

On March 9, the regal Browne and her entourage made grand entrances in sparkly outfits at The Marcelle, and upon introduction before the show, she regaled the crowd with the origins of her girls’ group in a very funny warm welcome. Their first appearance in a St. Patrick’s Day parade is a hoot (Google it!).

A woman who grabs life with gusto and lives by the tagline, “Be Particular,” Browne is the author of nine books, starting with “Sweet Potato Queens’ Book of Love” in 1999, then “God Save the Sweet Potato Queens” in 2001, followed by “The Sweet Potato Queens’ Big-Ass Cookbook and Financial Planner” in 2003, and including “Sweet Potato Queens’ Field Guide to Men: Every Man I Love Is Either Married, Gay, or Dead” in 2004,  “The Sweet Potato Queens’ Guide to Raising Children for Fun and Profit” in 2008, and “Fat is the New 30: The Sweet Potato Queens’ Guide to Coping with (the crappy parts of) Life” in 2012.

While many fans are primarily middle-aged and middle-class women, many chapters have people from all walks of life, and all promote positive thinking and self-esteem. Browne says the SPQ movement is to inspire “all of us to do what makes our hearts sing,” and that’s the opening number of the show.

While the uninitiated may think the spotlighted women fall into Southern stereotypes, it is wise not to go there, for do not underestimate their wit, smarts, and resilience. These are not tsk-tsk yokels from another branch of the family tree or plucked fresh from the cabbage patch to be laughed at – you will laugh with them because they find out who they are and are OK with that.

Jeffrey M. Wright as Tyler and Talichia Noah. Photo by Jill Ritter Lindberg.

Brown refers to her first husband as the anti-Christ, and if he’s anything resembling Jeffrey M. Wright’s woeful dirtbag Tyler, whoa.

Wright is such a polished, likeable performer that at first, it’s hard to adjust accepting him as a sleazeball, but he oozes unctuousness in his ladies-man encounters and is slick as this low-life liar that’s not smart enough to be convincing in his ruses (and he has a couple dandy ones). Yes, it’s called acting, and he showed his range.

Meanwhile, his long-suffering wife, Jill Conner Browne, played by good-natured Talichia Noah, is at her wit’s end, and finally musters enough dignity and self-determination to break free from the ‘stand by your man’ mantra.

She does so as part of a playful quartet with her three lively BFFS, all named Tammy. Of course! They introduce themselves in the cheeky “It’s Me” and spunky “SPQ-tiful,” and give Jill advice in the ballad “Make a Wish.”

A consummate pro, Ann Hier Brown is a revelation as firecracker “Too Much Tammy,” with heaping helpings of street smarts and in-your-face bravado. She dives into the amusing second act opener “Funeral Food” with abundant zest.

Another veteran, Mara Bollini, sashays with attitude as Floozie Tammy, uninhibited in “One Last Kiss” and spills the sweet tea on her sexual escapades. Brown, Bollini and Noah are a force on “The Only Thing I Know.”

Aarin Kamphoefner leads “Mad Dog Twenty Twenty.” Photo by Jill Ritter Lindberg

Victoria Pines completes the Tammy trio, as Flower Tammy, an abused wife who leans on her friends about her predicament. She displays her terrific vocal skills in the poignant ballad “Cherries in the Snow.”

The show’s standout this performance was Aarin Kamphoefner as George, going beyond the cliches as a beacon of hard-fought self-acceptance, and a caring friend to the girls – no judgment, just reassurance.

He has fun leading “Mad Dog Twenty-Twenty” as a good time song. Comfortable in his skin as a queer in the deep South, George, a good listener, has something to say, and Kamphoefner shines, tugging at our heartstrings reprising “It’s Me.”

Performing on March 9, while the real “TammyGeorge” was sitting in the front row, he deserved a standing ovation for pouring his heart out in an emotionally vulnerable solliloquy while a patron’s cell phone was audible and wasn’t immediately turned off. Kamphoefner held composure and drew everyone into his character’s truth. Bravo!

Portraying the concerned parents dispensing homespun wisdom are Bethany Barr as Mama and Kent Coffel as Daddy. Coffel also has a couple different minor roles, and always shows his versatility as a local MVP. He kindheartedly reprises “Do What Makes Your Heart Sing” several times.

The music is composed by Melissa Manchester, a longtime singer, songwriter and actress, who has been active since the 1970s. She first came to prominence as one of Bette Midler’s back-up singers, “The Harlettes.”

Noah and Kent Coffel. Photo by Jill Ritter Lindberg.

Some of her career highlights include her first smash hit “Midnight Blue” (recently a music video duet with Dolly Parton!), her Grammy-nominated performance of Peter Allen’s “Don’t Cry Out Loud,” and co-writer with Kenny Loggins on his collaboration with Stevie Nicks “Whenever I Call You Friend.” She won a Grammy in 1983 for “You Should Hear How She Talks About You.”

As an actress, she played Maddy Russo on the TV show “Blossom” 1993-95, and last year played Mrs. Brice on the first national tour of “Funny Girl.”

Fun fact: Her solo 1984 concert at the Fabulous Fox Theatre here was my first review assignment from a St Louis Globe-Democrat editor.

Lyrics are by country songwriter Sharon Vaughn, who has penned hits for Randy Travis, Reba McEntire, Patty Loveless, Kenny Rogers and others. Her big breakthrough in 1976 was with the Waylon Jennings hit “My Heroes Have Always Been Cowboys,” which Willie Nelson covered for the 1979 Robert Redford movie “The Electric Horseman.” She was inducted into the Nashville Songwriters Hall of Fame in 2018.

With two women writing the female-forward songs, the numbers flavor the characters’ arc with a range of earnest emotions, what the characters are feeling at the time. The music has a peppy ‘60s girl-group vibe, with a splash of the self-acceptance of Tracy Turnblad in “Hairspray” and the boldness to be who you are of “Kinky Boots.”

“Five” is a showstopper, detailing Brown’s list for five men you must have in your life at all times: 1. Someone who can fix things 2. Someone you can dance with 3. Someone you can talk to 4. Someone who can pay for things (so you’re not paying their share) and 5. Someone to have great sex with. That about covers it, wouldn’t you say?

The Tammys and Jill. Photo by Jill Ritter Lindberg.

The band is tight, with seasoned New Line regulars John Gerdes on electric bass, Clancy Newell on percussion and Adam Rugo on electric guitar, and they are joined by Brandon Thompson on reeds, Nikki Ervin on keyboard, and conductor Dr. Tim Amukele on keyboard as well.

The enormity of the vocal load the lead must carry is daunting, as Jill must sing solo: “Do What Makes Your Heart Sing,” “Southern Side of Jackson,” “All That Matters,” and “To Be Queen,” and duos with Mama in “Sears,” Tyler in “We Had Some Good Times,” and the others in ensemble pieces. With that much to sing, Noah struggled at times, and her voice seemed strained because of the role’s demands the farther the show progressed. Perhaps Amukele’s guidance will help on the rough spots. But even for the most accomplished vocalist, that’s a herculean effort.

The book By Rupert Holmes lovingly spotlights the characters for their strength, grace under pressure, and their willingness to be audacious. Holmes won multiple Tony Awards for the book music and lyrics, all solo acknowledgements, for “The Mystery of Edwin Drood.” He’s known for the pop song “Escape (The Pina Colada Song).”

According to press material, “The team continues to work on the show. The St. Louis production will be the fifth production of the show so far.” While entertaining, it does appear to be a work in progress, and the rough-around-the-edges effort is well-meaning and good-hearted, but some tightening up would make it zing.

Rob Lippert’s minimal set design emphasizes the vibrant spirit of the production, with the iconic pink sunglasses as a major focal point. Matt Stuckel and Ryan Day capably handled the lighting and sound.

Ann Hier Brown and Mara Bollini. Photo by Jill Ritter Lindberg.

Zachary Phelps designed the flashy and curvy baby-doll SPQ anthem costumes as well as the everyday attire of the cast. The shiny pink-and-green outfits look like a vamped-up creation crossing “Amazon Women of the Moon” with “Barbarella” and John Waters’ movies.

For anyone who has experienced dreams-deferred, “Sweet Potato Queens” is a reminder to believe in your potential and stay true to your ideals. It does so with an energetic mindset, a desire to spread goodwill, and a celebratory, humorous spirit. After all, real queens adjust each other’s crowns.

Addendum: To follow in the footsteps of other SPQs across the land, Browne recommends Revlon® “Love That Pink” lipstick, flowing red wigs, and majorette boots. They wore green hand-me-down ball gowns and tiaras for their first St. Patrick’s Day Parade, and said when she discovered she lived near Vardaman, Miss., the self-proclaimed Sweet Potato Capital of the World, that was all it took to offer herself as the queen for the farmers’ annual festival.

Bethany Barr as Mama. Photo by Jill Ritter Lindberg.

New Line Theatre presents “Sweet Potato Queens” from Feb. 29 to March 23, Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theater, 3310 Samuel Shepard Drive.

Tickets are $25 for adults and $20 for students/seniors for the preview; and $30 for adults and $25 for students/seniors for all other performances. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

For more information about discounts, visit the website: www.newlinetheatre.com

The Queen herself, Jill Conner Browne. Lynn Venhaus Photo.
Sweet Potato Queens in the audience March 9. Lynn Venhaus Photo.

New Line’s Irreverent ‘Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas’ Offers Vintage Vibes, Brazen Bits

New Line’s Irreverent ‘Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas’ Offers Vintage Vibes, Brazen Bits

By Lynn Venhaus
At first glance, the daffy “Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas” takes us back to the fuddy duddy ‘50s, with the on-stage stylings of TV sitcom land when dads ruled the roost and moms vacuumed wearing pearls.

But it’s far more subversive than that, and with the book, music and lyrics crafted by New Line Theatre’s Artistic Director and provocateur Scott Miller, would you expect anything different in an original stoner musical comedy with that ripe-for-parody title?

For New Line fans, this is rooted in previous shows — the world premiere of “Johnny Appleweed” in 2006, so it is a 17-years-in-the-making sequel, and the regional premiere of “Reefer Madness the Musical” in 2004.

Only now cannabis is legal in Missouri, and there are dispensaries on many corners of our fair city. Yet, we can recall a time when it wasn’t mainstream – and Cheech Marin and Tommy Chong made a fortune. So, this show is more impish than shocking.

(Although we do live in Missouri, and ‘family values’ legislators have significant agendas, so that leads to a forever “Twilight Zone” feeling. But back to our jolly neighborhood cul-de-sac with shiny, happy people).

Photo by Jill Ritter Lindberg

As a tongue-in-cheek response to the War on Drugs and the Culture Wars, Miller uses clever cultural references to make it clear how the bygone era, complete with hearty laugh-track type guffaws, was a white-bread wonderland where a middle-class suburban family has blinders on regarding diversity, inclusion, and sexual orientation.

For laughs, he’s mashed together the 1936 film “Reefer Madness” that was intended to scare straight those who may be tempted by the evil weed, Charles Dickens’ “A Christmas Carol,” and 1950s musical comedies (with intentional references).

This flip side of “The Donna Reed Show,” “Father Knows Best” and “Leave It to Beaver” has a cardigan-wearing curmudgeon of a dad named Harry Goodson whose family secrets revealed on Christmas Eve 1959 will rock his world – and he’ll be visited by ghosts overnight in the second act.

The family establishes how “Heteronormative” they are in their opening number, setting up the spoof of what passed for a normal, average family 60 years ago.

Terrell Thompson plays Harry as a cross between Archie Bunker, George Jefferson, and Ebeneezer Scrooge. He finds fault with everything, and his dialogue is a series of rants. It’s a hefty, albeit one-note, role for Thompson, a veteran of local musical theater. Musically, he is well-suited for ensemble work, but as the anchor, line delivery wasn’t as polished on opening night. (However, after more performances, I am hoping the cast is just zipping along by now).

Presumably, the brazen material demands an improv troupe feel to the ensemble, with nimble performers who have an affinity for Kids in the Hall and Second City-type sketches necessary to puncture holiday traditions and ramp up the laughs. Daughter Tammy discloses she is pregnant by her black boyfriend Miles, son Chip’s secret is that he’s gay and has a boyfriend named Dick, and brother, Uncle Hugh, is a cross-dresser with an infinity for a blow-up doll.

Kay Love. Photo by Jill Ritter Lindberg

Whew! A National Enquirer panoply of scandalous behavior that could be a laugh riot if everyone’s all-in on an over-the-top satire — but not as effective if the tone is lopsided depending on performer’s slickness. Because the lyrics and lines have enough zingers to elicit plenty of snickers.

It could be that the actor who played Chip was replaced on opening night by Tony L. Marr Jr., the assistant director and choreographer. Marr assumed the role with noteworthy aplomb.

Because this resembles the audacious dark comedy material that John Waters and Charles Busch specialize in, it should not be startling that longtime theatrical sweetheart Kay Love plays typical housewife Bess Goodson as more naughty than nice. She’s infused the Christmas cookies with pot, and lets loose in a defiant, liberating solo.

You know you’re in a bizarro world when you hear Love sing “Hoo-Hoo of Steel” without flinching or blushing. She can shimmy better than your aunt’s Jell-O salad slipping out of a decorative mold.

Love’s poise and classically trained voice, and vivacious Marlee Wenski’s silky, sultry vocals stand out in their numbers. Wenski doubles as teen movie icon Sandra Dee (the original “Gidget”), having a bawdy time in the number “Don’t Look at Me, I’m Sandra Dee,” and parodies a rebellious version of a good saddle-shoe-wearing daughter in “Miles and Miles.”

An unfazed Tawaine Noah leans in as Uncle Hugh, who leads a not-so-secret life, singing “Mary Jane and Mary Jane,” and as unborn twin Jerry, who returns as a ghost.

Can they live in comfort and joy or will their variations from the norm tear apart the family? I was reminded of the classic 1990 “Saturday Night Live” sketch called “Dysfunctional Family Christmas” about a compilation album of songs mocking less than ideal family gatherings.

Cheeky song titles include “Love Doesn’t Suck with My D**k,” “Daddy’s Talking S**t,” and “That Stick Up Your Ass.”

Here, dear old dad might need a comeuppance – his deceased twin brother, Jesus Christ, Sandra Dee and explorer and pot enthusiast Johnny Appleweed are the ghosts who visit. They force him to come to terms with recreational drug use: “Have Another Toke and Have a Merry Christmas.”

The family drama is offset by a quartet of cheery carolers who deliver “The Elves Get Stoned,” “Better Living Through Chemistry” and “Man in the Gray Flannel Life.” Stephanie Merritt, Robert Doyle, Matt Hill, and Lauren Tenenbaum merrily roll along with setting the mid-century tableau.

Mallory Golden’s music direction is breezy, with a fine-tuned machine of John Gerdes on bass, Joseph Hendricks and Alex Macke on reeds, Brad Martin on percussion, and Adam Rugo on guitar (and she’s on keyboard).

Lauren Smith Beardon has outfitted the carolers in festive attire, and the Goodsons in typical suburban family looks, complete with housewife aprons for Love. Lighting designer (and technical director) Matt Stuckel has fun inserting cannabis plant imagery in shadows – I haven’t revisited “Reefer Madness” since my college days, but I believe there was a lot of shadows to signify danger – so touché.

Photo by Jill Ritter Lindberg

As is customary, Rob Lippert’s scenic design is appropriate to the Mid-Century Modern décor of the period – and the height of sophistication with a retro artificial aluminum silver Christmas tree and the reflective color wheel, so tres chic back in the day. He has captured the tone and tenor of the show.

The vintage vibe is one of the most attractive qualities of the production. Miller has managed to include an impressive litany of every pop culture reference significant to the era – and even obscure little nuggets to prod recognition. Commendable wordplay, indeed.

Since founding New Line Theatre in 1991, he has written 11 musicals and two plays, including a rollicking “The Zombies of Penzance” in 2018. His penchant for irreverent theater and socially relevant material has served him well.

This show is basically a fun romp with some jabs on social mores, featuring stand-out performances by several spirited women. In days of yore, when Ladies’ Home Journal arrived in the mail, “The Ed Sullivan Show” was tuned in to every Sunday, and you might have had to make do with a TV dinner if mom was hosting her Bridge Club, everyone would have made a fuss over the “sassy lassies.”

A few nips and tucks, and more collaborative run-throughs, and “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” may be just the antidote to Hallmark movie marathons and wholesome holiday setlists on repeat. With Bess’s special-recipe brownies, it could be one of the hap-hap-happiest Christmas’ since Bing Crosby tap-danced with Danny Kaye.

New Line Theatre presents the world premiere musical “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” from Dec. 1 to Dec. 16, with performances Thursday, Friday, and Saturday at 8 p.m. at The Grandel Theatre, 3610 Grandel Square. For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com.

Tickets are $35 for adults and $30 for students/seniors/To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

Discounts are available. Any high school student with a valid school ID can get a $10 ticket for any performance, with the code word, posted only on New Line’s Facebook page.

Ten free seats for every performance, open to any college student with a valid student ID.

New Line offers all currently employed educators half-price tickets on any Thursday night, with work ID or other proof of employment.

New Line offers all active-duty military personnel half-price tickets on any Thursday night, with ID or other proof of active-duty status.

All offers not valid in connection with other discounts or offers, available only at the door, and subject to availability.

Movement All Around in Stray Dog’s Spry ‘Saturday Night Fever’

Movement All Around in Stray Dog’s Spry ‘Saturday Night Fever’

By Lynn Venhaus

Ah, the rose-colored glasses that we view our youth through can differ, depending on what generation, but one thing we have in common: the nostalgia for the music we came of age listening to, whether it was the Boy Bands of the late ‘90s, the MTV New Wave in the ‘80s, the British Invasion of the ‘60s or the short-lived disco-dance craze of the 1970s.

Today’s electronic dance music has roots in those syncopated rhythms that topped the charts some 45 years ago. If you were ever grooving to up-tempo hits at a nightclub, then the stage musical version of the 1977 cultural phenomenon film, “Saturday Night Fever,” is for you.

The jukebox musical, adapted in 1998 for London’s West End, which made it to Broadway the next year, features the legendary hits from the Bee Gees, plus other classic disco tracks – who can forget The Trammps’ “Disco Inferno” — “burn that mother down.” Most of the time the actors sing the chart-toppers.

Providing many funky sounds of the day is live-wire Chris Moore as the Afro-coiffed DJ Monty, rocking gold platform shoes and a shiny silver shirt, with Jade Anaiis Hillery belting out a few tunes like she was Chaka Khan. As Candy, she leads on the aforementioned “Disco Inferno,” plus sings “Night Fever” and “Nights on Broadway.” The pair duet on “More Than a Woman.”

Side note: I heard Yvonne Elliman’s “If I Can’t Have You” at the grocery store the other evening! To emphasize how this music has endured – have you been to a wedding reception recently? The soundtrack spawned four No. 1 singles, won the Grammy Award for Album of the Year, still ranks among the best-selling soundtrack albums worldwide, and to date, has sales figures of over 40 million copies.

This Stray Dog Theatre production is marked by a larger-than-usual band to bring the sounds alive, inspired choreography by Michael Hodges, and a star-making performance by Drew Mizell as Tony Manero. The man can strut.

Drew Mizell as Tony Manero. Photo by John Lamb.

While the 19-year-old character is forever stamped as the role that earned John Travolta his first of two Oscar nominations and dancing reputation, Mizell has the moves to pull off such an iconic part. His ease on the dance floor is admirable, and his extensive dance training is evident.

Mizell, whose first show at Stray Dog was an impressive performance as both Cinderella’s Prince and Florinda in “Into the Woods,” also nails the Brooklyn accent and the attitude to make the character likable.

Tony, anxious about life after high school and what his future will look like, is not content just to hang out with his goon-like pals, who seem locked in dead ends. He wants more than working at a paint store. At night, at the Odyssey 2001 discotheque, he is king of the dance floor. But at home, yeesh. His mother and father are yellers, and he can’t ever measure up to his older brother, Frank Jr., a priest.

But Frank Jr. has a crisis of faith and returns home. Another standout is Sean Seifert, a natural at portraying the brother as a good man who doesn’t have all the answers. (He also pulls off a dual role as Gus, one of Tony’s inner circle who creates other issues).

When Tony meets Stephanie Mangano, he is taken by her physicality, refinement and her desire to cross that bridge for a better life in Manhattan. With a shot to win $1,000 at a dance contest, Tony and Stephanie team up, their eyes on the prize — and eventually each other.

With sophisticated airs and ambition, Stephanie is more Uptown Girl than the kind Tony hangs out with, including his needy ex Annette, who has fallen hard for him, but it’s unrequited.

Sara Rae Womack brings out the humor in Stephanie’s images of the glamorous world, name-dropping at her entry level job, and has a solo ballad, “What Kind of Fool,” while Lindsey Grojean conveys the desperation of Annette’s lonely and confused young woman in a powerful “If I Can’t Have You,” delivering the show’s best vocals.

Triple-threat Maggie Nold is sympathetic as Pauline, who is caught up in a familiar teen pregnancy scenario. She demonstrates the realities of her situation well – but as the ensemble is handling multiple roles, it’s a tad odd to see her happily dancing and smiling soon after a funeral scene.

Ella Drake as Doreen and Kayla Dressman as Connie get their moment as dancing queens in their spirited competition number,.while Mizell and Womack hit the sweet spot with their “More Than a Woman” big dance number.

Using heavily exaggerated Brooklyn accents, the Manero family, and Tony’s peers, adhere to the stereotypes of that era, staying in those lanes. Oh, those gender caricatures — ‘hoochie mama’s and swinging playboys – were cringy then and certainly now.

Think of it as a period piece – because the best buddies are not that likable, total losers with their off-putting macho bravado, which is why the flimsy broadly-drawn book remains the show’s weakest element. Because their crude talk and bully swagger are mostly foreign in today’s ‘polite’ society, overall, this cast doesn’t seem entirely comfortable playing these roles. Now, dancing is first-rate, clearly polished and well-rehearsed.

The guys playing the deadbeat friends — Justin Bouckaert as the conflicted and struggling Bobby, Jayson Heil as Double-J and Michael Cox as Joey — are caught between a rock and a hard place because they are so immature and misguided, their idea of what manhood is, while not uncommon then, is far from what it should be. But that’s the point – to show how trouble-prone Tony is separating from the pack.

This version has cleaned up some of the more problematic “R-rated” portions of the script, as in gang-rape, violence, and intense sexuality, which is not necessary for this story. The movie’s darker and grittier aspects have been removed, for the most part, just hinted at or briefly alluded to for conflicts.

What director Justin Been does effectively is capture that malaise of the late ‘70s, when economic issues affected blue-collar laborers, and social unrest simmered in “the summer of Sam” (serial killer Son of Sam terrorized the city). The disaffected youth escaped to the discos. (“Feel the city breakin’ and everybody shakin'” — “Stayin’ Alive”).

As the one-note parents Flo and Frank Manero, pros Kay Love and Matt Anderson display their lung power shouting at their family. Nadja Kapetanovich is sincere in the brief role of Linda, the dutiful daughter put in the middle between her cranky parents and defiant brothers.

Sara Rae Womack, Drew Mizell

The home scenes reflect on the misery of marginalized people while the disco and dance studio are where the energy flows. But the story is really secondary to the song-and-dance appeal of the musical.

Scenic Designer Josh Smith crafted a dance floor with colored lights for the stage, with help of lighting designer Tyler Duenow, which may not be visible to all the audience members. He also expanded the Tower Grove Abbey stage with stairs and a bridge doubling for the DJ booth at the club and the Verrazzano-Narrows Bridge, a suspension bridge that connects Brooklyn to Staten Island.

They’ve made room for a large band, led by music director/conductor Leah Schultz on piano, with Marie Brown, Tai Davis, and Beau Lewis on cello for select performances, Mo Carr on trumpet, Steve Frisbee on violin, John Gerdes and Xander Gerdes on bass for select performances, Lea Gerdes and Mary Wiley on reeds for select performances, Adam Levin on trombone, Adam Rugo on guitar and Joe Winters on percussion.

Among their instrumental numbers are the classic Sounds of Philadelphia “A Fifth of Beethoven,” plus “After the Fall,” and “Salsation.”

The costumes collected by Colleen Michelson are a mixed bag – some duplicated the gaudy polyester trends of the ‘70s, while others are ‘kinda, sorta’ representative of the period. The dance floor attire, for working-class kids on weekends, needs to be faux-chic instead of Sunday church dress best. Some of the outfits were more flattering than others, and dresses had nice swirling effects. And the iconic white suit has its moment in the spotlight – always big sentimental crowd reaction.

Those infectious, danceable beats will get you on your feet every time. After all, as the Bee Gees told us – “You should be dancing” — and of course you came for the good beats that you could dance to, and don’t forget your boogie shoes. There is a Disco Mix curtain call. Dance 10, Story 3.

Stray Dog Theatre presents the musical “Saturday Night Fever” Oct. 5-Oct. 28, Thursdays through Saturdays at 8 p.m., with additional performances 2 p.m. Sundays, Oct. 15 and 22, at the Tower Grove Abbey, 2336 Tennessee in Tower Grove East. For more information or tickets, visit: www.straydogtheatre.org. Seating is general admission.

All photos by John Lamb

Midnight Company Adds Encore to ‘You Made Me Love You’ and Sets More Upcoming Shows

Midnight Company Adds Encore to ‘You Made Me Love You’ and Sets More Upcoming Shows

Due to sold-out shows, The Midnight Company will present an encore presentation of YOU MADE ME LOVE YOU at The Blue Strawberry on Thursday, September 14, 7:30pm. Tickets are on sale now and can be reserved at BlueStrawberrySTL.com or by calling 314.256.1745.

YOU MADE ME LOVE YOU, written/directed by Midnight’s Artistic Director Joe Hanrahan,stars Jennelle Gilreath Owens.  In the one woman show, Jennelle pays tribute to Judy Garland, telling her story and singing Judy’s greatest songs. Jennelle also reveals incidents from her own life, illustrating through Judy’s story and her own the challenges a woman faces in life and show business.

Jennelle is backed by a band led by Music Director John Gerdes (on bass), with Lea Gerdes on woodwinds, Paul Cereghino on piano, and Clarence Newell on drums.  Featured guest singers,collaborating with Jennelle on some of Judy Garland’s historic duets, are Kimmie Kidd and Jeffrey Wright.

The Midnight Company continues its string of Cabaret Theatre presentations at The Blue Strawberry with two extended performances of JUST ONE LOOK on Wednesdays,  August 16 and 30, 7:30.  JUST ONE LOOK stars Kelly Howe as Linda Ronstadt in a rousing  rendition of the life and times and spectacular music career of the singer.  Also in the show is Hanrahan (who wrote/directed the show) as a veteran music industry reporter who finally gets his chance to interview his long unrequited love.  The JUST ONE LOOK band is led by Music Director Curt Landes on piano, with Mark Rogers on drums/vocals and Tom Maloney on guitar/bass.

And Midnight will be introducing a new show, PROFESSOR SUNSHINE’S Traveling Post-Apocalyptic ROCK ’N ROLL REVIVAL at The Blue Strawberry, with performances on Wednesday September 20 at 7:30pm and Saturday September 23 at 8:30pm.  The ROCK ’N ROLL REVIVAL is a modern version of the touring shows that roamed the Wild West.  This show travels the new Wild West in a dark, burnt out world, as crumbling towns await the appearance of the show bringing with them a bit of song and temporary salvation.
Hanrahan (who wrote/directed the show) will be your host, Professor Sunshine, and Kelly Howe will be Cheyenne, the show’s sultry, savory chanteuse, singing her patented version of savage, classic rock ’n roll.  The House Divided Band will feature the same players as JUST ONE LOOK – Curt Landes, Mark Rogers and Tom Maloney.

Tickets for the extended JUST ONE LOOK shows and for the ROCK ’N ROLL REVIVAL are on sale now at BlueStrawberrySTL.com or by calling 314.256.1745.

Owens Fervently Presents Heartfelt Tribute to Judy Garland in Solo Show

Owens Fervently Presents Heartfelt Tribute to Judy Garland in Solo Show

By Lynn Venhaus

Singer-actress Jennelle Gilreath Owens is an old soul. And we are fortunate to experience it in her labors of love.

For a cabaret-theater presentation this summer at the Blue Strawberry, she has assembled a personal tribute to Judy Garland –“You Made Me Love You,” and has put her heart and soul into it.

She plays herself and intertwines elements of her life’s challenges with Judy’s tough times. Judy died tragically at age 47.

The story is tinged with sadness. Yet the star’s luster doesn’t lose any power. Owens’ luminous talent and warm personality make it not just a sentimental journey, but a substantive presentation about our chosen paths. A big takeaway is how people affect us through their gifts, and how we decide to share our gifts matters.

Playwright Joe Hanrahan, artistic director of The Midnight Company, has written a script that hits the highs and lows of Garland’s career and life. He also smoothly directed the show.

“Dear Mr. Gable”

Owens starts off strong with the title song, the fan letter to Clark Gable that Garland sang at age 15 in the movie “Broadway Melody of 1938.”

A longtime fan of the acclaimed singer-actress-dancer, Owens talks about the connection that Garland had with her ardent fans. She was a much-loved star, known for her vulnerability, achingly tender, gorgeous voice, and beautiful spirit, soaring in the ‘30s and ‘40s, and trying to stay afloat in the ‘50s and ‘60s. She had man troubles, struggled with addiction, fragile mental and physical health, emotional trauma from abusive childhood, and career ups and downs.

Garland appeared in some of the most delightful movie musicals of all-time, including “Meet Me in St. Louis,” “The Harvey Girls,” “Easter Parade,” “Summer Stock,” “Girl Crazy,” “In the Good Old Summertime,” “Babes in Arms” and “The Pirate.”

Owens has selected signature songs from those and the Great American Songbook, ones that are strongly identified with Judy –including a bittersweet rendition of “Somewhere Over the Rainbow,” from her most iconic role as Dorothy Gale in “The Wizard of Oz.”

Two accomplished guest singers joined her on stage for one number each. Jeffrey Wright endearingly sang the Gene Kelly part in “For Me and My Gal,” the 1942 vaudeville-centered musical in which Kelly made his film debut, and it was a lovely pairing.

For a heartfelt mash-up finale, Kimmie Kidd-Booker wistfully sang “Happy Days Are Here Again” while Owens added “Get Happy,” replicating the famous pairing when rising star Barbra Streisand appeared on “The Judy Garland Show” in October 1963.

What a fabulous snapshot and a grand way to end the evening.

In a retrospective of Garland’s career, touching on disappointments noted in the 2019 biopic drama “Judy,” which is based on the superior play, “End of the Rainbow,” Owens mentions Judy’s two Oscar nominations, in “A Star is Born”1954 remake and “Judgment at Nuremberg” in 1961. She sings the memorable torch song Judy delivered in her Oscar-worthy role (she was robbed): “The Man That Got Away.”

Judy and Barbra

Owens’ selections ran the gamut of jaunty (“The Trolley Song” – from “Meet Me in St. Louis”), vibrant (“Come Rain or Come Shine” – from Judy’s 1961 Carnegie Hall concert), silky (“Embraceable You” from “Girl Crazy”) and haunting (Charlie Chaplin’s “Smile” – from her memorable appearance on “The Ed Sullivan Show” in 1963) – all sung with conviction.

On the small stage, she was supported by a mighty combo of stellar musicians, who helped make it a polished presentation. Music Director John Gerdes led Lea Gerdes on woodwinds, Paul Cereghino on piano, and Clarence “Clancy” Newell on drums/percussion.

Owens, who has appeared in regional professional theater and local community theater for the past 10 years, earning multiple award nominations, has two other passions as a performer. She travels the country to present a World War II immersive USO show, “Dixie D’s Canteen,” which captures the 1940s songs and spirit of the Greatest Generation.

She teared up talking about her experiences entertaining military veterans. She is also a performer, producer, emcee, and member of The Bon Bons Burlesque Troupe.

With her busy schedule, the Garland tribute was only scheduled for three nights – July 27, Aug. 2 and 9. It’s such a sincere, affectionate show that I hope it has an encore in its future.

Update: Sell-out crowds have prompted a new date — Wednesday, Sept. 14. More info: www.midnightcompany.com and bluestrawberrystl.com

Jennelle Gilreath Owens, in her Dixie D’s Canteen Show

Exquisitely Rendered Sondheim in Splendid, Whimsical ‘Into the Woods’

Exquisitely Rendered Sondheim in Splendid, Whimsical ‘Into the Woods’

By Lynn Venhaus

Stephen Sondheim’s lush and richly layered score is flawlessly presented by music director Leah Schultz and an extraordinary 12-piece orchestra, with touching ensemble harmonies to match, setting apart Stray Dog Theatre’s fresh and clever “Into the Woods.”

Since the musical was first produced in 1986 before going to Broadway the next year, audiences have found new ways to see the message behind this beguiling gem: No one is alone.

 Starting with its deceptively simple concept featuring familiar fairy tale characters interacting, the second act swerves into much darker territory. For they are desperately seeking happily ever after, but not transforming their lives until they change their selfish, foolish, and childish ways. But eventually, hope emerges after harsh occurrences.

The roster from Brothers Grimm and Charles Perrault’s centuries-old literary works includes Little Red Riding Hood, Cinderella, Jack and the Beanstalk, Rapunzel, and the childless couple from Thumbelina.

The themes involving parents and children touch on responsibility, morality, and the consequences of wishes to beautiful, emotional effect. (I expect to get misty-eyed in multiple scenes.)

“Nice is different than good.” It is a very grown-up tale that becomes more profound with each viewing and the passage of time, yet its structure isn’t predictable. The complexities of this insightful tale resonate 26 years later, which has been crucial to this show’s staying power.

That’s the genius of Sondheim’s collaboration with book writer and director James Lapine. They both won Tony’s – for score and book – but that year the top prize went to “The Phantom of the Opera.”

(If we’re mentioning prizes, the 2002 revival won the Tony for Best Musical Revival, a London West End revival in 2010 won the Olivier Award, and the most recent Encores! revival in 2022 that was so popular it extended its run multiple times, closing on Jan. 8, won the Grammy Award for Best Musical Theatre Album – and expect Tony nominations this spring.) Clearly a show that gets better with age, as long as the humanity is displayed.

Before Disney revised fairy tales, many were dark, and upon second glance, it’s not all cuddly forest animals and talking birds. However, director Justin Been recognized the whimsy and the playfulness, which he focuses on, with some snark. That helps considerably on the small intimate stage – yet he does not gloss over the less-than-merry, adding that necessary depth.

The library setting, with well-placed bookshelves, designed by Been and Dominic Emery, gives it a different perspective. The program lists the place as “an old library on the fringes of our memory.” And the time – “Maybe yesterday, could be tomorrow.” Been’s staging adroitly moves the characters physically to convey their power plays. And they leap off the pages, as this cast has no trouble breaking the fourth wall.

The narrator (Jon Hey) introduces four groups of characters – Cinderella (Maggie Nold) wishes to go to the festival, Jack (Shannon Lampkin Campbell) wishes that his cow Milky White would give milk, a baker and his wife (Tyler Luetkenhaus and Margaret Stall) want to have a baby, and Little Red Riding Hood (Grace Langford), wants to visit her grandmother.  

The baker’s neighbor is a witch (Jennelle Gilreath Owens) who has been pulling the strings from bitterness. A curse she cast has made them infertile because his father stole her vegetables, including magic beans. Her own mother cursed her, making her old and hideous. In turn, she took the baker’s father’s child, Rapunzel (Dawn Schmid).

The Witch makes a deal – bring her four ingredients “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” in three days’ time – and she’ll reverse it.

And we’re off “Into the Woods” on the rugged journey, where there is more chicanery afoot. Nobody is who they appear to be. Will they find out if what they’ve always wished for is what they truly want? They will lie, cheat, and steal to achieve their goals, but when the going gets tough, realize they must work together. The characters learn that they must carry each other, or the show will not resonate as deeply.

The 14-member cast fluidly follows its course, with some roles typically doubled. Most display crisp comic timing and strong vocals at the same time, although some characters aren’t that amusing (Jack’s mom, the tragic Rapunzel, and the rather generic roles of Granny and Cinderella’s Mother).

The Wolf, Little Red. Photo by John Lamb

As the petulant Little Red Riding Hood, Grace Langford brings out the girl’s brattiness, and then learns some things: “I Know Things Now.”

The ever reliable and assured Jon Hey plays both the Narrator and the Mysterious Man, who slithers out of owning up to responsibility. And his occasional jig must be a nod to Rumplestiltskin.

This time, though, Cinderella’s Prince and the Wolf, are played by separate characters. Agile Drew Mizell and animated Sarah Polizzi humorously step into the princes (Cinderella’s and Rapunzel’s) and as Cinderella’s awful stepsisters Florinda and Lucinda. It may be stunt-casting, but it works.

In fact, the broader the comedy, the more fun the performer has. It’s a treat to see comical Michael Wells return to the Tower Grove Abbey stage in multiple roles, for he is deliciously wicked as the Wolf (“Hello, Little Girl”), then portray Cinderella’s father, Prince’s steward and make hilarious sound effects as the crying baby.

The splendid Jennelle Gilreath Owens takes a more cynical, less menacing approach to the diva role of the Witch, which suits her, delivering a disconcerting “Last Midnight” and dynamic “Children Will Listen.” Her dialogue stings – especially such memorable lines as “I’m not good; I’m not nice; I’m just right” and “I was just trying to be a good mother.”

Other standouts include Tyler Luetkenhaus and Margaret Stall as the Baker and Baker’s Wife, both making noteworthy debuts. They breezily sail through “It Takes Two,” while their signatures “Moments in the Woods” and “No One Is Alone” are superb.

Bringing out the baker’s flaws, Luetkenhaus adds a layer of deceit that’s not always there, and you sense that the couple is truly working through their issues as the characters. It’s not always as superficial as some of the other characterizations. They delve into the hearts and minds.

Shannon Lampkin Campbell is a spunky yet naive Jack the Giant Killer, robust in “Giants in the Sky.” Been has moved the physical confrontation between the giant’s wife, steward and Jack’s mom (Laura Lee Kyro) offstage, which accounts for less fireworks. Yet, Milky White is as funny as ever, with its goofy, squatty, small appearance.

Photo by John Lamb

Just as she showed in “A Little Night Music,” Madeline Black has a regal bearing and her speech pattern accents the haughtiness of Cinderella’s stepmother. Granny and Cinderella’s mother are handled competently by Jennifer Clodi, who also voices the frightening Giant and his livid Wife.

The princess roles are capably filled by Dawn Schmid as distraught Rapunzel and Maggie Nold as tormented Cinderella, bringing out their characters’ insecurities.

The ensemble appears to be having fun together and has the silky-smooth voices to meet their major moments. It’s such a pleasure to hear the sublime Sondheim sung as intended.

Schultz has conducted the orchestrations by Jonathan Tunick with expert finesse, nimbly leading Marie Brown and Paul Rueschhoff on cello (alternating performances), Mo Carr on trumpet, Chuck Evans on viola, Steve Frisbee on violin, John Gerdes on horn, Lea Gerdes on flute, piccolo and reed, Mike Hanson on percussion, Ian Hayden on reed, and M. Joshua Ryan on bass through Sondheim’s recurring motifs. They are strategically placed among the bookshelves, a savvy touch.

Sarah Gene Dowling’s colorful wig design enhances the fantasy storybook world, pairing well with Eileen Engel’s character-appropriate costume design.

Jacob Baxley’s sound design is crystal clear, and Tyler Duenow’s lighting design effectively sets the moods.

And because the songs are so exquisitely rendered, moments will linger. The second act is aural perfection, connecting the story threads into a magical experience that is awe-inspiring.

Photo by John Lamb

Stray Dog Theatre presents “Into the Woods” March 30 – April 22 at 8 p.m. Thursdays through Saturdays, with additional performances at 2 p.m. on Sunday, April 2 and Sunday, April 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking. Additional information and ticket reservations: Call (314) 865-1995. Visit www.straydogtheatre.org.

The 3/31, 4/7, 4/14, and 4/21 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Audio Description: The 4/16 performance will be Audio Described by MindsEye. Audio Described performances are suitable for audience members who are blind or partially sighted. Please note that if you are interested in participating in the audio description of this performance you will need to call the Box Office to order your ticket. Please announce that you would like to reserve a pair of headphones for the Audio Description.

Jack, Baker, Cinderella. Photo by John Lamb

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Strong Singers Shimmer in Stimulating Musical ‘Nine’ at New Line

Strong Singers Shimmer in Stimulating Musical ‘Nine’ at New Line

By Lynn Venhaus

The crème de la crème of local female vocal talent displays why they have earned those reputations in a lusty version of “Nine,” an exotic Felliniesque musical being presented by New Line Theatre March 2-25.

Based on filmmaker Federico Fellini’s 1963 semi-autographical angsty-existential-fantasy masterpiece “8 ½,” Tony-winning composer-lyricist Maury Yeston has tackled the age-old conundrum about a woman’s relationship to a man in an expressive, emotional score. Ballads are rueful, company numbers are vigorous in this 1982 musical. Yeston, who started this project in college in 1973, also won a Tony for the 1997 “Titanic” musical.

New Line’s glamorous production has a cast of 13 females who are connected to celebrated director Guido Contini, a womanizer going through a midlife personal and professional crisis.

Set at a Venetian spa in the early 1960s, an exasperated Luisa Del Forno (Lisa Karpowicz) has gone there with her preoccupied husband Guido (Cole Gutmann) to save their troubled marriage. Karpowicz makes you feel her pain, and her best number is the poignant “My Husband Makes Movies.” After all her sacrifices and his infidelities, she sings a mournful “Be On Your Own.”

The cast of “Nine.” Photo by Gerry Love.

He’s a cad, the boy who never grew up, and while smart and chic, she’s more of a caretaker. He does seem to care, but obviously has commitment issues, and they really don’t have much spark left. Contini (you’ll never forget his name because they say it over and over) brought all this misery on himself and is caught in a web of his own lies.

Discovered by the paparazzi, Guido tells reporters he is there to direct his latest film. Three previous movies have flopped, and the pressure is intense. His tough film producer, Liliane La Fleur (a flamboyant Kimmie Kidd-Booker), wants him to make a musical.

Gutmann conveys Guido’s desperation as he tries to come up with his next big picture, spinning tall tales and improvising with a riff on Casanova. His macho meltdown is precipitated by his turning 40, writer’s block, and his shabby treatment of people.

Has he run out of things to say? As the chaotic circus of his life flashes before our eyes, we see what the women have meant to him and what they have put up with – which makes him mostly unsympathetic. Can he change into a better person?

As the magnetic Guido, Gutmann is obsessive and frantic interacting with his mother, wife, teacher, temptress, mistress, muse, younger self, and other people who cross his path.

Cole Gutmann as Guido Contini. Lisa Karpowicz, at left, is Luisa. Photo by Gerry Love.

Gutmann has a rich melodic voice and the confident stage presence to pull off this conflicted character, but because the center of attention is often a jerk, it’s not that easy to emotionally connect to Guido, no matter how famous, important, handsome, and charming he is.

But Gutmann’s soulful delivery of his numbers – especially “Guido’s Song” and “I Can’t Make This Movie” — and his willingness to show the guy at his worst, makes you appreciate his skills. It’s a very demanding, energetic role, as he is on stage about 95 percent of the time.

The drama does have humorous moments but the book by Arthur Kopit seriously attempts to make a statement on artists, the creative process, and one’s demons and desires. Yet, it’s mostly a psychoanalysis of a self-absorbed talent, a male-centered fantasy and it runs hot and cold.

The story flips from real to invented, often taking place in Guido’s head, as he explores his past and present relationships.

Co-directors Scott Miller and Chris Kernan capitalize on the strength of the performers in their minimalist staging, keeping in mind the necessary surrealism. Kernan also choregraphed the movements to be functional, simply depicting moods and attitudes.

The ensemble moves the story forward with added oomph, starting with the exquisite harmonies in the opening “Overture Delle Donne.”

Because it’s about filmmaking, the company delivers melodramatic versions of “Not Since Chaplin,” “Western di Guido,” “Bible di Guido,” and “Documentary di Guido,” plus Guido’s exaggerated “The Script” and “The Grand Canal.”

Guttman is strong leading “The Bells of St. Sebastian,” which shows off the belters to close the first act. In keeping with the plot thread about how the Catholic religion affected his childhood, “Kyrie eleison” (“Lord, have mercy”) is repetitively sung.

Cole Gutmann, Ann Hier Brown. Photo by Gerry Love.

Throughout the two acts, which run 2 hours and 15 minutes, with a 15-minute intermission, the women sit on a striking black and white set cleverly designed as cubes by Rob Lippert, moving off the steps onto the tiled floor for various processions in a dream-like way.

Like a black-and-white film, this work contrasts darkness and light, and this staging uses that aesthetic to its advantage. Lighting designer Matt Stuckel heightens the shadows effectively.

Costume Designer Sarah Porter has outfitted the women in cosmopolitan black apparel that reflects their characters’ personalities and the period styles, while Gutmann’s all-black attire comfortably suits the role.

Music Director Jenna Lee Moore, making her New Line debut and playing keyboard, deftly leads a cohesive orchestra – Tyler Davis on cello, John Gerdes on brass, Lea Gerdes and Joseph Hendricks on reeds, Mallory Golden on violin, and Clancy Newell on percussion.

Ryan Day’s sound design works well at The Marcelle.

The spa sojourn doesn’t turn out as planned. Guido’s mistress, the young and sexy Carla Albanese, shows up. Sarah Wilkinson is a fireball, agile in movement and frisky in “A Call from the Vatican.” She nimbly maneuvers her slinky, satiny mini-dress with bike shorts underneath. Lovely as well in voice, she tugs at the heartstrings in “Simple.”

His muse, actress Claudia Nardi (Ann Hier Brown) has previously been an inspiration, so she is called again in that capacity. However, their relationship is complicated, and she holds her ground. Brown’s luscious mezzo soprano is sublime in “A Man Like You” and the plaintive “Unusual Way.”

Kimmie Kidd-Booker as Liliane. Photo by Gerry Love.

Another highlight is big personality Kidd-Booker, hamming it up and interacting with the audience in her robust “Folies Begeres.” After all, Liliane is a former showgirl, and Kidd-Booker is a scene-stealer as a diva.

Guido’s mother is played sentimentally by Stephanie Merritt, featuring her outstanding operatic voice. As an apparition, she is tender towards her genius son, yet she is aware of his faults. Merritt may be younger than the role calls for, but she appropriately projects the loving mother’s nurturing side and dazzles in the title number, “Nine.”

A seductive Sarah Lueken plays the local prostitute Saraghina from Guido’s youth, seen costumed as a nun. She made an indelible impact on him at age 9, and he must face that truth. Her rousing “Be Italian” is provocative, and the company joins in the naughty fun, using tiny tambourines for effect.

Gillian Pieper is sardonic as Stephanie Necrophorus, a writer and film critic not enamored by Guido neither as a man or a visionary and is downright hostile as she disapproves.

Much of the action takes place in the spa. Kathleen Dwyer is the hospitable manager Mama Maddelena, and a flirty, comical Annabella, while Kay Love is the ethereal Our Lady of the Spa, giving off a spiritual vibe. Then there are spa workers and guests, who are chorus and dancers – Olga (Julia Monsey), Renata (Chelsie Johnston), Diana (Kat Bailey) and Juliette (Brittany Kohl Hester).

Monsey is also Lina Darling, Liliane’s bodyguard. Hester is also the voice of little Guido, and sings the significant “Getting Tall.”

Normally, a little boy is featured in the cast, but New Line uses Hester’s fine vocals and a portrait instead as the young Guido. Like the 2003 Broadway revival, they have dropped “The Germans at the Spa.”

This tale has been an awards magnet and conversation piece since the iconic film debuted 60 years ago, and then became a musical in 1982, revived in London in the ‘90s, then on Broadway in 2003 and film adaptation of the musical (and original film) in 2009. It’s one of those unorthodox works that you may not comprehend completely at first glance, but perception deepens in time and repeat viewings.

It remains maestro Fellini’s chauvinistic source material, nevertheless.

Fellini’s elegant Italian film won two Oscars, for Best Foreign Language Film and for costume design in 1964, and was also nominated for best director, screenplay, and art direction-set decoration (black and white).

Sarah Wilkinson, Gutmann. Photo by Gerry Love.

The musical, and New Line’s interpretation, forego other male characters, trims the women to manageable cast size, cuts the constant smoking and omits Guido’s snazzy hat that Marcello Mastroianni wore.

1963 was a very different time for women, so it’s good to have some cuts, such as the harem scene, Mastroianni’s disturbing whip-cracking, and revisions in dialogue.

However, I wished the playwright would have kept the movie’s best line: “Happiness consists of being able to tell the truth without hurting anyone.”

(An aside: my college film professor adored Fellini, so I was introduced to his films as a student. I struggled with his ideas and images back when I was a teen, but upon watching as an adult, it’s a stirring avant-garde work, and Claudia Cardinale takes your breath away. If you are an HBOMax subscriber, the original “8 ½” in glorious black-and-white and the filmed musical “Nine” are available streaming).

The 1982 musical received 12 Tony Award nominations and won five, including Best Musical, Tommy Tune as director, Yeston for score, Liliane Montevecchi for featured actress as Liliane Le Fleur, and William Ivey Long for costume design. Receiving nominations: Raul Julia as Guido, Karen Akers as Luisa, Anita Morris as Carla, Kopit for book, Thommie Walsh for choreography, lighting design and scenic design.

The 2003 Broadway show earned nine Tony Award nominations, winning for Best Revival and Jane Krakowski for featured actress as Carla, with Antonio Banderas as Guido, Mary Stuart Masterson as Luisa, Chita Rivera as Liliane, director, lighting design and orchestrations nominated.

The film version of the musical, directed by Rob Marshall and starring Daniel Day-Lewis as Guido, was not well-received in 2009, but earned four Oscar nominations for Penelope Cruz as Carla, Maury Yeston for the original song “Take It All,” costume design and art direction.

This cinematically inspired musical, because it’s not typically structured, is more difficult than many other modern theatricals, and is not often produced. While its themes are intriguing, it can be frustrating for those unfamiliar with how the plot unfolds. Yet, the characters are passionate and the music sophisticated, so performers willing to risk the challenge can make their mark.

The focus in New Line’s crisp performance is the sense of collaboration instead of coming across as distant. This cast exhibits sincerity, brings out colors and feelings not always apparent, and appears to be on ‘Cloud Nine’ embarking on this journey.

Photo by Gerry Love.

“Nine” runs March 2 – 25 at The Marcelle Theatre in the Grand Center Arts District, 3310 Samuel Shepard Drive. Shows are Thursday, Friday, and Saturday at 8 p.m. For more information, visit www.newlinetheatre.com, and for tickets, they can be purchased at metrotix.com or by calling 314-534-1111.

Splendid ‘The Last Five Years’ from Tesseract Theatre Company

Splendid ‘The Last Five Years’ from Tesseract Theatre Company

By Lynn Venhaus

Jason Robert Brown’s musical compositions are strenuous and so are two-character pieces, therefore, “The Last Five Years” was a daunting choice for the enterprising Tesseract Theatre Company as they dive into musical theater endeavors.

However, the group pulled off this marriage chronicle with aplomb when I saw it Feb. 19.. With spirited performers, exemplary musicians, accomplished direction, and smart creative choices, “The Last Five Years” is splendid.

With its all-sung framework and an unconventional structure, Brown’s unforgettable score and emotionally powerful lyrics tug at the heartstrings, for in 85 minutes, they go from meeting to break-up (Jamie Wellerstein) and from break-up to meeting (Cathy Hiatt), intersecting at their wedding.

High praise must be bestowed on an exceptional five-piece orchestra lead by veteran maestro Leah Schultz, who is on piano, with Adam Rugo on guitar, John Gerdes on bass, Chuck Evans on violin, and Marie Brown on cello. (The strings are the cherry on top here, lovely and lush.)

The music is beautiful to get lost in, and highlights are “The Next Ten Minutes,” “Still Hurting,” and “Goodbye Until Tomorrow.”

While this might sound like a simple endeavor, it is not. Brown has incorporated many genres, including jazz, blues, folk, and Latin besides his usual pop-rock fusion with musical theatre. His distinctive melodies are notoriously difficult, and his atypical harmonies require a broad vocal range.

The two leads, Kevin Corpuz as Jamie and Grace Langford as Cathy, as dynamic as they are, struggle a wee bit on a few demanding notes.  Nevertheless, with the high wire singing for nearly an hour and a half, it’s a dandy achievement – especially the stamina required.

With their pizzazzy personalities on display, Corpuz and Langford are engaging as two New Yorkers – he’s a writer and she’s an actress. They convincingly convey a couple from start to finish over five years — exhilaration at falling in love to crestfallen going through a difficult break-up.

You can’t not be moved by the ebbs and flows as the storytelling weaves the doubts that 20-somethings fret about with careers and commitment.

The aching-yearning-worried songs include “Moving Too Fast” and “A Miracle Could Happen” (Jamie) and “I’m a Part of That” and “Climbing Uphill” (Cathy), which they deliver sincerely.

Langford, a strong vocalist who is well-trained, and Corpuz, who moves with great ease, have worked together multiple times in local regional professional theater, so their comfort level with each other is obvious. This is their first time paired as a romantic couple, and they are believable.

Director Taylor Gruenloh has given the piece some needed vitality, for I’ve seen this musical a couple of times where the pair just basically stand there. No, not a move you’d likely see from inventive Gruenloh, nor Corpuz or Langford. Gruenloh’s tweaked it in a good way, making it more heartfelt.

Lankford is particularly fetching in the clever ditty “A Summer in Ohio,” about her experience in summer stock away from her husband, and the humorous “I Can Do Better Than That,” about her hopes and dreams.

And Corpuz’s energy isn’t containable, so he must move. His “Shiksa Goddess” is amusing in a brazen way, a song detailing his character’s Jewish heritage.

The songs that are raw and tinged with sadness — “If I Didn’t Believe in You,” “I Could Never Rescue You,” and “Nobody Needs to Know,” have forceful solos.

Brown has won three Tony Awards – for his original score to “Parade” in 1999 (currently revived on Broadway) and for original score and orchestrations for “The Bridges of Madison County” in 2014. He was nominated for Billy Crystal’s “Mr. Saturday Night” score last year (with Amanda Green lyrics).

This musical, his third, was inspired by his first marriage, and premiered in Chicago in 2001. It moved to off-Broadway in 2002. St. Louis native Norbert Leo Butz originated the role of Jamie in Chicago and played opposite Sherie Renee Scott off-Broadway, and they recorded the cast album.

That production won the 2002 Drama Desk Award for Outstanding Music and Lyrics, as well as receiving Drama Desk nominations for musical, actor, actress, orchestrations and set design. It also received Lucille Lortel Award nominations for musical and actor, and the Outer Critics Circle Award nomination for Off-Broadway musical.

An enduring and popular musical with regional, colleges and community theaters, it has been revived on Broadway, turned into a 2015 movie with Anna Kendrick and Jeremy Jordan, had an acclaimed London run, a 20th anniversary concert with Butz and original Cathy Lauren Kennedy, and directed by Brown, among other presentations.

The music remains hummable and memorable, and add Tesseract to the list of companies that do it right. Sound designer Phillip Evans has figured out .Zack’s finicky acoustics for flawless work, Brittanie Gunn’s lighting design is striking, and Gruenloh did fine projection work. Actress Josie Schnelten shows up for a cameo.

After their triumphant “Ordinary Days” last fall, and now this 2-hander, Tesseract’s prowess on staging musicals must be highly regarded. “Kinky Boots” is next up at the Grandel Theatre Aug. 17-27, one that will be a must-see.

And you don’t want to miss “The Last Five Years” – a show about love, produced with great affection, and another opportunity to hear those glorious songs.

The Tesseract Theatre Company presents “The Last Five Years” from Feb. 17 to Feb. 26, with performances Friday and Saturday at 8 p.m. and Sunday at 4 p.m. at the .ZACK, 3224 Locust, in the Grand Center. For more information or tickets, visit: www.tesseracttheatre.com.

New Line’s Fine Singers Aim Zingers in a Spirited ‘Urinetown’ That’s As Timely As Ever

New Line’s Fine Singers Aim Zingers in a Spirited ‘Urinetown’ That’s As Timely As Ever

By Lynn Venhaus

Zeitgiest, meet “Urinetown.”

In this Twilight Zone reality we seem to live in now in the 21st century, the subversive “Urinetown” the musical has never seemed timelier. Or funnier. Or scarier.

What once was merely laugh-out-loud outrageous 20 years ago has morphed into a gasp-filled hit-nail-on-head satire where sleazebag politicians are even slimier, greedy corporate bastards are more cruel, ecological disaster seems more imminent and cries of revolution are not far-fetched but absolutely necessary.

This wicked musical comedy composed by Fairview Heights, Ill., native Mark Hollmann, with co-lyricist and book writer Greg Kotis, appears to grow more relevant as the gap continues to widen between the haves and have nots.

Resurrecting one of its past triumphs, from 2007, for the cross-your-fingers 30th season, New Line Theatre’s savvy choice allows a confident, polished ensemble to have fun romping through the ripe-for-parody American legal system, ridiculous bureaucracy, corrupt municipal politics, and foolish mismanagement of natural resources.

The time is 2027 and the focus is urination. Yes, that indispensable body function. But, because we’re in a near dystopian future, there is no such thing as a free pee – and we can’t squander flushes and there is a limited water supply.

If you gotta go, it will cost you. A severe 20-year drought has resulted in the government banning private toilets. Citizens must use public amenities that are regulated by a single evil company that profits from charging a fee to conduct one of humanity’s basic needs.

So, what happens if you disobey? You are punished by a trip to Urinetown, never to return. Egads!

A rabble-rouser emerges – Bobby Strong, and he launches a People’s Revolution for the right to pee. Let’s hear it for urinary freedom! As he does with every role, energetic Kevin Corpuz is passionate in his hero’s journey.

This cast has the vocal chops to entertain in lively fashion, and with nimble comic timing, hits the sweet spot between exaggerated naivete and cheeky irreverence. Jennelle Gilreath, effectively using a Betty Boop-Shirley Temple voice, is the child-like street urchin Little Sally.

Bobby leads the poor rebels – performed by local live wires Grace Langford as pregnant Little Becky Two Shoes, Ian McCreary as Tiny Tom, Chris Moore ss Billy Boy Bill, Christopher Strawhun as Robbie the Stockfish and Jessica Winningham as Soupy Sue.

They are part of a first-rate ensemble in such crisply staged musical numbers as “It’s a Privilege to Pee,” “Snuff That Girl,” “Run Freedom Run,” and “We’re Not Sorry.”

Not only do Hollmann and Kotis take on capitalism, social injustice and climate crisis, but also cleverly twist the great American musical art form itself, with resemblance to Bertolt Brecht and Kurt Weill’s “The Threepenny Opera” and the populist champ “Les Miserables.”

With silly characters modeled after old-timely melodramas, Kent Coffel is Officer Lockstock, Marshall Jennings is Officer Barrel, and Sarah Gene Dowling is tough urinal warden Penelope Pennywise, all having fun with their goofy over-the-top roles.

Kent Coffel, Marshall Jennings as Officers Lockstock and Barrel. Photo by Jill Ritter Lindberg

Bobby’s downtrodden parents, Joseph and Josephine Strong, are played by solid veterans Mara Bollini and Zachary Allen Farmer, also doubling as rebels, while fellow New Line regulars Todd Schaefer is the dastardly profiteer Caldwell P. Cladwell and Melissa Felps his darling daughter, Hope, who falls in love with Bobby. Both Schaefer and Felps play it straight, although they are winking to the audience the whole time as the heads of Urine Good Company, aka UGC.

Corpuz and Felps soar in “Follow Your Heart” while Bobby’s “Look to the Sky” and Hope’s finale “I See a River” showcase their skills.

Playing a caricature of an oily grifter and elected official Senator Fipp is Colin Dowd, doing his best Matt Gaetz impersonation, and Clayton Humburg is weaselly as Cladwell’s assistant Mr. McQueen. The “Rich” folk have fun with “Don’t Be the Bunny,”

Co-directors Scott Miller and Chris Kernan’s fresh take goes darker, which suits the capricious winds of an ever-evolving global pandemic that we have lived through for 27 months. Not to mention clinging to a democracy with fascist and authoritarian threats very much present. And hello, global warming.

Kernan’s choreography is a highlight, and music director Tim Clark keeps the tempo brisk. He conducts a tight band of Kelly Austermann on reeds, Tom Hanson on trombone, Clancy Newell on percussion and John Gerdes on bass while he plays keyboard.

The upside-down world we’re in is enhanced by Todd Schaefer’s grimy set, Sarah Porter’s astute costume design, Ryan Day’s sound design Kimi Short’s props,  and Kenneth Zinkl’s lighting design.

After an off-Broadway run, “Urinetown” opened on Broadway in 2001 and was nominated for nine Tony Awards, winning for best book, best music score and best direction. The fact that it’s stature has grown over the years is a reflection of our current time – and while that is rather frightening, this show continues to say something worth saying through its devilish use of heightened reality.

It’s holding up a mirror, even though it’s presented in a funhouse way, and that is indeed admirable.

In that spirit, leave your paranoia behind and get ready to laugh at the zingers launched with glee. New Line Theatre’s “Urinetown” is worth a sojourn as time keeps on slipping into the future.

New Line Theatre presents “Urinetown” June 2-25, with performances Thursday through Saturday at 8 p.m. at the Marcelle Theatre. For tickets or more information, visit ww.newlinetheatre.com

Photos by Jill Ritter Lindberg

Bright Lights: Accolades Aplenty to Heat Up Winter

Bright Lights: Accolades Aplenty to Heat Up Winter

By Lynn Venhaus Managing Editor THE BIZ IN SHOW: Congratulations to the recipients of this year’s St. Louis Arts Awards, which took place Jan. 21 at the Chase Park Plaza Royal Sonesta Hotel. Arts honorees included: Chris Hansen, executive director of the Kranzberg Arts Foundation, received Arts Innovator of the Year; Carrie Houk of the Tennessee Williams Festival, Arts Startup of the Year; Noémi and Michael Neidorff, Excellence in Philanthropy; Ken Page, Lifetime Achievement in the Arts; Brent Benjamin, Saint Louis Art Museum, Excellence in the Arts; Sue Greenberg, Volunteer Lawyers and Accountants for the Arts, Champion for the Arts; and Amy Freet, Ferguson-Florissant School District, Art Educator of the Year.

Bryan Batt and Carrie Houk at A&E Arts Awards.

Nominations are sought from the community every spring by
the Arts and Education Council, who convenes a selection panel made of past
honorees, arts patrons, artists and others to review the nominations and select
the honorees.

A&E Council has recognized more than 175 artists,
educators, philanthropists, corporate citizens and arts groups since 1992.

Bryan Batt, who starred in “Mad Men” and appeared as Edna Turnblad in “Hairspray” at The Muny, will be returning in May for the Tennessee Williams Festival, Carrie Houk said. Exciting news to come! ***DOWN-HOME DIVA:  Grammy-winning artist, world-class soprano and proud resident of Lebanon, Ill., Christine Brewer can be seen in Doug Cuomo’s opera “Doubt” on PBS.

Christine Brewer of Lebanon, Ill.

The Minnesota Opera production is airing on the “Great
Performances” program and is now available for streaming on pbs.org/gperf and
PBS apps. Check local listings for programming. PBS Local is Ch. 9 KETC
and Ch. 8 WSIU in Carbondale.
The opera is based on playwright John Patrick Shanley’s acclaimed 2005 Broadway
play, which was later adapted into an Academy Award-nominated film in 2008
starring Meryl Streep and Philip Seymour Hoffman.

The Union Avenue Opera company produced “Doubt” here in the summer of 2016, with Brewer as Sister Aloysius.

Brewer was on hand to introduce a showing and participate in a Q&A Jan. 27 at The Hettenhausen Center for the Performing Arts on the campus of her alma mater, McKendree University, in Lebanon, Ill. The opera also stars Adriana Zabala as Sister
James, Matthew Worth as Father Flynn and Denyce Graves as Mrs. Miller

 Great Performances
Executive Producer David Horn said “Doubt’ is a powerful story that has
resonated with Broadway and movie audiences alike. Minnesota Opera has brought
the story to life in an exciting new way, highlighting the company’s depth of
talent and willingness to take on the challenge of an emotionally charged new
work.”

In 1964 at a Bronx Catholic Schools, a battle of wills is ignited when Sister James shares her suspicion that Father Flynn, the progressive pastor, may be abusing the school’s only African-American student. Sister Aloysius, the school’s iron-fisted principal, embarks on a personal crusade to discover the truth. Brewer will return to the Union Avenue Opera stage this summer as the Mother Abbess in “The Sound of Music.” Performance dates are July 5, 6, 12 and 13. ***NO DAY BUT TODAY: The Fox Network has confirmed that the original Broadway cast of  the landmark musical “Rent” will be on the “Rent Live!” telecast Sunday, Jan. 27, from 7 to 10 p.m. on KTVI (ch. 2 local).

The original 1996 cast includes Tony winner Idina Menzel
who played Maureen Johnson, Tony nominee Adam Pascal as Roger Davis, Tony
nominee Daphne Rubin-Vega as Mimi Marquez, Anthony Rapp as Mark Cohen, Jesse L.
Martin as Tom Collins, Fredi Walker as Joanne Jefferson, Taye Diggs as Benny
and Wilson Jermaine Heredia in a Tony-winning turn as Angel.

Original Broadway Cast 1996The live cast will include Vanessa Hudgens as Maureen
Johnson, Brennin Hunt as Roger Davis, Tinashe as Mimi Marquez, Jordan Fisher as
Mark Cohen, Tony nominee Brandon Victor Dixon as Tom Collins, Kiersey Clemons
as Joanne Jefferson, Mario as Benny and Valentina as Angel, with Tony nominee
Keala Settle as the “Seasons of Love” soloist.

Jonathan Larson’s musical about a group of friends
surviving in New York City at the during the AIDS crisis won the 1996 Tony
Award for Best Musical and a Pulitzer Prize, among many others. A film
adaptation was released in 2005, featuring most of the original cast.

Original director Michael Greif is helming the TV version.  Producers include Julia and Al Larson, Jonathan’s
sister and father.

 ***FIT AND FAB: Conquering Mount Olympus, St. Louisan Derik Scott, 30, is the Reigning Titan after competing Jan. 24 on NBC’s “The Titan Games,” which is hosted by Dwayne “The Rock” Johnson. Scott, a lawyer and professional mixed martial-arts fighter, grew up in Jefferson and south St. Louis counties. He is a 2006 graduate of Lindbergh High School and attended Lindenwood University, where he competed on the diving team and graduated in 2009.

Derik Scott of St. Louis

He earned his law degree from Baylor University and lived
in the Dallas area, moving back to the ‘Lou in 2015. This past summer, he moved
again, taking a job as general counsel with a chain of fitness centers.

His parents, Kevin and Dana Scott, owned Scotts Gymnastics
in Crestwood. He won his first national championship at age 7.

The 10-episode athletic competition show began Jan. 3 and is
produced by the team behind “America’s Ninja Warriors.”

Jeff Wright

HEAR YE: Local singer-actor Jeffrey M. Wright will be a guest performer at the CabaretFest in Provincetown, Mass., late May/early June. More details to come.

Alexandra Kay

Local singer-actress Lexi Krekorian returns to her roots, coming in from L.A. to play on Saturday, Feb. 16, with her Alexandra Kay Band at the Silver Creek Saloon & Grill, 2520 Masscoutah Ave., in Belleville. Matt Wynn will open the show that begins at 8:30 p.m. Cover is $5.

Lexi, aka Alexandra Kay, can be seen in the original Netflix reality series, “Westside.” She is from Waterloo, Ill.

The Zombies of PenzancePhoto by Jill Ritter Lindberg

***THE SINGING DEAD: The script, full piano-vocal score and live original cast recording of ‘The Zombies of Penzance” are now available on Amazon.com.

New Line Theatre’s world premiere of this comic-horror opera adaptation of Gilbert and Sullivan’s “The Pirates of Penzance” was in October 2018, with new text by Scott Miller and music adaptation and orchestration by John Gerdes. It contains adult language and adult content.

The cast album features the entire original St. Louis cast and band, recorded in front of a live audience at the Marcelle Theater in the Grand Center Arts District, recorded and mixed by New Line sound designer Ryan Day.

The show’s writers are also
accepting requests for production rights.

New Line’s original Zombies of
Penzance cast included Sean Michael as Frederic, Melissa Felps as Mabel,
Zachary Allen Farmer as Major-General Stanley the Zombie Hunter, Dominic
Dowdy-Windsor as the Zombie King, Kent Coffel as Zombie Sam, with Mara Bollini,
Robert Doyle, Matt Hill, Lindsey Jones, Tim Kaniecki, Kyle Kelesoma, Melanie
Kozak, Sarah Porter, Christina Rios, and Kimi Short.

The Zombies of Penzance band
included Nicolas Valdez (Conductor/Piano), John Gerdes (French Horn), Lea
Gerdes (Reeds), Joseph Hendricks (Bassoon), Emily Trista Lane (Cello), Twinda
Murry (Violin), Kelly Austermann (Reeds), and Hope Walker (Reeds).

The show was directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez.***

GO SEE A PLAY POLL: Want to see “Avenue Q” at the Playhouse at Westport? We are giving away two tickets for the Thursday, Jan. 31, performance. To enter this drawing, send your name, phone number and your answer to the question on Favorite Musicals About Neighbors by noon on Tuesday, Jan. 29 to: lynnvenhaus@gmail.com All entries will be placed into a drawing, and winner will be notified that afternoon.What Is Your Favorite Musical About Neighbors?Avenue Q The Fantasticks Fiddler on the Roof In the Heights Promises, Promises Rent

Send your choice to Lynn Venhaus, lynnvenhaus@gmail.com, by Tuesday. Jan. 29, at noon.***WORD: What do you say when you receive three Oscar nominations for Best Picture, Adapted Screenplay and Best Actor for “A Star Is Born”?

Oscar nominees Lady Gaga and Bradley Cooper“Everyone who worked on this film truly risked putting themselves out there — in the hope that in doing so people will connect and feel something deep and personal — the way films have made me feel since I was a kid.  When I got this opportunity I knew I had to risk it all because I may never get another chance — so to be here today in a place where people who have seen the film are talking about how it makes them feel, something deep — that simple human thing — that we need each other — and the Academy to recognize that this morning — I just am so grateful.” – statement from Bradley Cooper***

Awards March 25

THEATER PROM: More than 100 shows were produced by 40 companies during the calendar year for consideration for the St. Louis Theater Circle Awards. Nominations for the seventh annual ceremony were announced Jan. 25.Circle members recently voted for five nominees in 34 categories each — 54 shows received nominations, presented by 23 companies, and 120 artists recognized.

I am a founding member, and published the list here. https://stllimelight.com/2019/01/25/evita-streetcar-lead-st-louis-theater-circle-nominations/

The awards will be presented on Monday, March 25, on the Browning Mainstage at the Loretto-Hilton Center on the Webster University campus, home of The Repertory Theatre of St. Louis. Admission remains $15 per person, and tickets can be purchased through www.brownpapertickets.com. Instead of a pre-show dinner, appetizers and drinks will be available from Llewellyn Catering***

Nominations for the Theatre Mask Awards (plays) and Best Performance Awards (musicals) will be announced at the 10th annual AFL Trivia Night this Friday, Feb. 1 at St. Joseph’s Parish Center in Manchester. Go to this page to sign up and for more information. The 70s theme is just for costumes (optional) and tables.http://www.artsforlife.org/trivia-night-1.htmlTRIVIA TIME-OUT: Whether you are a RENT-head or not, you must admit that “Rent” changed the cultural landscape when it opened on Broadway April 29, 1996, after being workshopped and off-Broadway. The night it was to be unveiled to the public, Jan. 25, 1996, composer-writer Jonathan Larson was found dead from an aneurysm (later diagnosed Marfan Syndrome). At the New York Theatre Workshop, the cast went on to sing-through the score for a closed audience of Jonathan’s family and friends instead.After its move to the Niederlander Theatre, it spent 12 years there and is the 11th-longest running musical of all-time. And it also pioneered the Broadway ticket lottery. Here are a few questions – test your knowledge (Answers Below):

The musical is based on what Puccini opera?Anthony Rapp, who originated the role of Mark
Cohen, went to high school with stage and screen star John Barrowman and comic
actor Andy Dick in what northern Illinois town?Four cast members were nominated for Tonys, but
who won?The cast of “Rent” performed “Seasons of Love” on the
opening day of the 1996 Democratic convention (Aug. 26). A year later,
President Bill Clinton and his wife Hillary took Chelsea to see it for her 17th
birthday.
Another Broadway legend was inspired by seeing it when he turned 17 – Lin-Manuel
Miranda. He called it a revelation.
Here is the cast of “Rent” singing at the Chicago convention: https://youtu.be/WlOWRrXqTr4

Answers: 1. “La Boheme” 2. Joliet, Ill. 3. Wilson Jermaine Heredia, who played Angel. (Adam Pascal, Daphne Rubin-Vega and Idina Menzel were also nominated.) ***

Broadway fan David Letterman

MEMORY LANE: Friend to the Broadway theater community, David Letterman’s talk show “Late Night” debuted on Feb. 1, 1982, filmed at the NBC Studios in Rockefeller Center.

He moved to CBS on Aug. 30, 1993, broadcasting “Late Show” from the historic Ed Sullivan Theatre in mid-town Manhattan, in the heart of the Broadway theater district, and retired May 20, 2015. With his 33 year-tenure, he became the longest running talk show host ever.

Known for often presenting new musicals in thrilling live
performances, that mantel has moved to his successor, Stephen Colbert’s show in
the Ed Sullivan Theatre, and also Seth Meyer’s late-night show on NBC.
Letterman also involved local theaters and performers in comedy bits, and Broadway
stars were frequent guests.

When Letterman retired, Playbill published an article “Letterman Loves Broadway!” and included clips of some show performances, including “American Idiot,” “Catch Me If You Can,” “Nice Work if You Can Get It,” Spring Awakening,” “Jersey Boys,” “Lion King,” “Wicked,” “Million Dollar Quartet,” “The Producers,” “Spider-Man,” and “Young Frankenstein,” with revivals of  “Anything Goes,” “Cabaret,” “Hair,” “West Side Story,” “South Pacific” and “How to Succeed.”

Here is the article link with the video clips. “Matilda,” “Pippin” and “Rocky” have been removed, but all the mentions above are still there.

http://www.playbill.com/article/letterman-loves-broadway-see-more-than-two-dozen-thrilling-musical-performances-from-the-late-show-video-com-349539