New Musical Written For STEM Students Heads to New York, St. Louis

New Musical Written For STEM Students Heads to New York, St. Louis

St. Louis, MO (March 4, 2024) – A new musical written for students at the Missouri University of Science & Technology will have a brief run in New York City this month before having its World Premiere at the Tesseract Theatre Company in St. Louis this July.

Cascade’s Fire, a modern adaptation of Sophocles’ Antigone story, was written by Taylor Gruenloh and Kyle Wernke, professors at Missouri S&T.

“The students at this university,” Gruenloh says, “are super bright and drawn to creative adventures. Like other theatre programs at schools across the country, we came out of the pandemic swinging and haven’t slowed back down yet.”

Gruenloh and Wernke’s Cascade’s Fire had a workshop production on the campus of Missouri S&T in October 2023. Since the university doesn’t have a theatre major, the acting ensemble featured students studying in majors like engineering management, physics, education, and biological science.

“It was a staggeringly new experience,” said David Pisoni, a chemical engineering major. “Not only do you get to go through the rehearsal process with the writer and composer of the piece, but you’re approaching it with completely fresh eyes.”

Cascade’s Fire sees the character of Cascade return to her old college campus looking for answers after the death of her ex-girlfriend.

Taylor Gruenloh

The same cast from the October production will travel with the show to New York this month.

“It has always been a dream of mine to perform in New York,” said Madison Kastner, an education major. “I’m so grateful to have the opportunity to do the thing I love.”

While the student actors perform Cascade’s Fire during the evenings at Under St. Marks Theatre in the East Village, Gruenloh will be escorting them to career related activities during the day.

“Not only do these few students get to perform a new musical in New York, the university is helping send a larger student group with us to visit an entertainment engineering firm, talk with technical theatre professionals, and seeing a new Broadway show.”

Gruenloh says it’s his mission at Missouri S&T to showcase pathways for engineering students to achieve careers in the arts. “A lot of students came in around the start of the pandemic, thinking they weren’t going to have many opportunities in theatre, thinking this school only championed STEM activities, and now they’re taking a show to the busiest theatre city in the world.”

Cascade’s Fire won’t stop after the brief run in New York. St. Louis’ Tesseract Theatre Company will produce the musical’s official World Premiere as part of their 2024 New Musical Summer Fest in July.

Gruenloh has a strong history with Tesseract Theatre, co-founding the company in 2012 with current Creative Director Brittanie Gunn. Gruenloh stepped away from the company in August last year to focus on building the theatre program at Missouri S&T. “We’re excited to bring Taylor back,” said Kevin Corpuz, a Creative Director at Tesseract. “To share his new musical with St. Louis audiences is very special and we can’t wait to get started.”

While the St. Louis production of Cascade’s Fire will have a new cast at Tesseract for the World Premiere, the titular role of Cascade will be played by Josie Schnelten, who originated the role in October and will lead the show in New York this month.

“I never thought that I’d get the opportunity to bring a brand-new character to life,” said Schnelten, an engineering management major at Missouri S&T. “It’s been special to work on Cascade from her very beginnings and I cannot wait to be a part of her professional debut in St. Louis.”

The Tesseract Theatre Company will run Cascade’s Fire July 19 – 24 at the Marcelle Theatre in Midtown St. Louis. The 2024 New Musical Summer Fest will also feature My Heart Says Go, a show about a first-generation college student, Indigo, who defies his father and drops out of medical school to become a singer-songwriter.

Gruenloh, who is directing Cascade’s Fire in St. Louis, said, “This is the best possible outcome for this little experiment. I wanted to give the theatre students at Missouri S&T a taste of new play development, the bragging rights of originating roles in a musical, but the support from the university and the excitement at Tesseract Theatre has made this project a years long journey that is leaving a lot of people with some great memories.”

Feed Your Fire with Tesseract Theatre’s Celebratory ‘Kinky Boots’

Feed Your Fire with Tesseract Theatre’s Celebratory ‘Kinky Boots’

By Lynn Venhaus
With its big heart and lofty ambitions, Tesseract Theatre Company has performed its first big splashy musical in St. Louis, and “Kinky Boots” is a chef’s kiss of a show, a celebration of possibilities and a tour-de-force performance by Tielere Cheatem as Simon/Lola.

Cheatem, a standout local performer and St. Louis Theater Circle Award winner, as housekeeper Jacob in New Line Theatre’s “La Cage Aux Folles” in 2019, has always had a ‘je ne sais quoi’ quality on stage, but as Lola, they are magnificent.

Cheatem makes the role that won Billy Porter a Tony Award their own and seizes that stage in authentic diva mode, with a ferocity and a passion that is remarkable to behold. It’s a fully realized, multi-layered performance.

Overcoming obstacles is the ebullient show’s theme, along with acceptance and tolerance, so it is understandable that moving to a larger space than they are used to, The Grandel Theatre, would present its own challenges. Opening night Aug. 17 was marred by sound problems, but Gruenloh said they have worked to solve those issues.

Tesseract’s previous small-scale musicals, “Ordinary Days” in November 2022 and “The Last Five Years” in February 2023, were performed at the .Zack Theatre. Tesseract’s “Kinky Boots” is also the second regional production after the Muny’s premiere in 2019.

Cheatem has a sweet chemistry with co-lead Kelvin Urday as Charlie Price, who inherited a failing shoe factory from his dad. They are a palpable pairing, and when they duet to “Not My Father’s Son,” their harmony tugs at the heartstrings.

In fact, the ballads about parental expectations and other relationships are memorable – Lola’s tearful “Hold Me in Your Heart” and Charlie’s “Soul of a Man.”

Aaron Tucker Jr. as Harry in “Take What You Got.” Photo by Taylor Gruenloh.

Urday displays confidence in his characterization of Charlie, who reluctantly took over the fourth-generation family business, Price & Son, which is on the verge of bankruptcy, and the weight of his father’s legacy leads him to much soul-searching. His earnest delivery of his “Step One” solo is also noteworthy.

Inspired by the life force that is the eccentric Lola, whose drag attire includes unsteady stilettos, the factory begins a niche business model, and those glittery sturdy “kinky boots” are made well to meet the needs of flamboyant performers-in-drag.

The musical “Kinky Boots” is based on a 2005 British film starring Chiwetel Ejiofor as Simon/Lola and Joel Edgerton as Charlie, which was based on a true story and a BBC documentary, and premiered at the 2006 Sundance Film Festival, catching the eye of some Broadway producers.

Thus began its journey to the stage. It premiered on Broadway in 2013, the adaptation by four-time Tony winner Harvey Fierstein and music and lyrics by first-timer Cyndi Lauper, the Grammy-winning pop icon, who won a Tony for the score, which is an infectious mix of club music and heartfelt ballads. The musical won six Tonys, including best musical, from a season-high 13 nominations.

It also won London’s Olivier Award for Best Musical and the Grammy Award for Best Musical Theatre album. It ran for six years and 1,400 performances until April 7, 2019.

The Tesseract ensemble includes some seasoned veterans, like versatile Marshall Jennings as the intimidating and homophobic foreman Don, dynamic Carrie Wenos as sassy line worker Trish, Loren Goudreau in her local debut as amiable worker Pat, who are all seamless. Kent Coffel, ‘an iron man’ in local theater this summer, is a good fit as Charlie’s proud hard-working dad and briefly seen as manager George.

Kaitlin Gant announces her presence as factory worker Lauren who fancies Charlie. Her standout number is the humorous “The History of Wrong Guys.”

Strong singer Chelsie Johnston, recently seen in “Nine” at New Line, has the thankless role as Charlie’s posh girlfriend Nicola, who is a status conscious social climber and meant to not be likable.

And there are some new-to-St. Louis performers, so to feel their joy is inspiring. They look like they are so happy to be on that stage, relatable in that ‘work family’ way, and emphasizing the message “You can change the world if you change your mind.”

Lindsey Grojean, Sarah Lueken, David Pisoni, Tori Ray, Corinna Redford, Michelle Sauer, Josie Schnelten and Aaron Tucker Jr. are a merry bunch as the factory ensemble. Tucker is stellar giving advice as Charlie’s childhood pal in a spirited “Take What You Got” and Redford is hilarious as the stage manager in Milan.

Lola and The Angels. Photo by Taylor Gruenloh

Splendid are The Angels – Lola’s six drag queen back-up singers at the seedy nightclub where they perform a cabaret act, notable with their in-your-face bravado. The always outstanding Mike Hodges and Jordan Woods, also local choreographers, as well as the ever-radiant Dylan Stanley, with their effervescent energy are matched by flashy newbies Todd Garten, Ronnie Wingbermuehle, and Nick Zobrist. They sparkle in “Land of Lola” and “Sex is in the Heel.”

Asher Woodward and Mark Ambrose Hill are impressive as the young Charlie and Lola respectively.

The cast brings the fun out in the cheery Act 1 finale “Everybody Say Yeah,” and is ecstatic in the up-on-your-feet anthem closer “Raise You Up/Just Be,” which is a marvelous way to spread hope in a universal message.

Taylor Gruenloh, who directed this musical first at the Missouri University Science & Technology in the spring, where he is an assistant professor in theatre, has honored the uplifting nature of the book, focusing on humanity – and made the humor zing. He knows how to get laughs, too, and deftly works in physical comedy.

He also ensured that the British accents were spot on – hurray!

“In This Corner.” Photo by Taylor Gruenloh

He shares the same affection for the material as celebrated music director Nicolas Valdez and experienced choreographer Maggie Nold, with Michelle Sauer the dance captain.

However, Valdez is not conducting a 12-piece orchestra but using recorded tracks from the publisher Music Theatre International that includes orchestrations and arrangements by Stephen Oremus for the performances. Charlie Heil was a music supervisor.

Zachary Phelps’ costume designs are stunning, and to learn that he’s a 19-year-old college student makes it even more astonishing. He also was the makeup assistant. The well-fitted wigs were designed by Sarah Gene Dowling and the wig supervisor was Analyse Thropic.

Technical director Kevin Salwasser and sound designer/supervisor Phillip Evans had to master the issues at the Grandel, as did lighting designer Max Demski.

Scenic designer Taylor Gruenloh created a believable and modest set, with a working conveyor belt, and was able to keep the action flowing. He also kept the focus on the performers.

On one level, it’s a feel-good dance party. Yet, Tesseract’s production is another exclamation point on the need for inclusion and individuality. And that is “The Most Beautiful Thing in the World.”

You may fall head-over-high-heels with this cast and crew, and you could be singing “Raise You Up” at the jubilant curtain call, which should empower everyone to “Feed your fire,” and perhaps like me, leave dancing in the aisles.

Tesseract Theatre Company presents “Kinky Boots” Thursday through Saturday, Aug. 17-27, at 7:30 p.m., with Sunday matinees at 2 p.m., at the Grandel Theatre, 3610 Grandel Square, St. Louis. Tickets are available at MetroTix.com. Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

Dylan Stanley, one of the Angels. Photo by Taylor Gruenloh.

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.