Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

By Lynn Venhaus

Epic in scope and intimate in execution, Tesseract Theatre Company’s “The Inheritance” Part I is a monumental achievement that leaves one exhilarated and eagerly anticipating Part 2.

A rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love is written vividly and perceptively by Matthew Lopez.

This Tony and Olivier-Award winning play is surprising in its wit and depth of feeling as we’re hit with this tsunami of talent meeting moment after moment.

This magnum opus on what it’s like to be gay in America is boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble that radiates charm and conviviality.

It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.

 What does it mean for the future? Intertwining a sprawling cast of 13, Lopez examines healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”

Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.

Alex C Moore plays Morgan and Walter. Photo by FF.

Moments of grace and laughter abound as the knotty entanglements of life unfold. Lopez tackles the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastical way. It is specific to the LGBTQIA+ experience, but allies will be able to relate.

Where to begin with this marathon of a show that defies conventions and embraces universal truths?

Employing an uncommon structure, Lopez nimbly name drops in a dishy soap-opera way, using familiar – and amusing — pop culture references, while being profound about generational experiences with textured, novelist flourishes.

The production’s 7-hour runtime may be daunting, but do not be intimidated by its two parts. Yes, it is a commitment, but the rewards are vast, especially when everyone involved has given their all, and it shows.

Part 1, which is from Summer 2015 to Spring 2017, is 3 hours and 10 minutes. The first act is 75 minutes, followed by a 15-minute intermission, then the second act is 55 minutes, followed by a 10-minute intermission, and final piece of Part 1 is 52 minutes.

Part 2, which is set from Spring 2017 to Summer 2018, is 3 hours and 15 minutes with one intermission and a brief pause. I look forward to returning to find out what’s happening with these people.

Keeping the momentum was obviously Peirick’s goal, and it is riveting from start to finish, never sagging.

However, the way the multi-layered show is structured is an investment, as it has many moving parts and themes that intersect. Sure, it’s imperfect, but hello…

It takes a broad canvas and narrows it down, starting in a classroom, where out-and proud gay men in their 30s are instructed by E.M. Forster, known as “Morgan,” to shape their own stories.

Gabriel Paul as Toby and Chris Kernan as Eric. Photo by FF.

Yes, the legendary author Edward Morgan Forster, who lived from 1879 to 1970, and besides “Howards End,” wrote the novels “A Room with a View” and “A Passage to India,” all later adapted into Merchant and Ivory films.

This is a conceit that is a master stroke, and not far-fetched. While the contemporary characters here chastise Morgan for hiding his sexuality publicly as a gay man – homosexual acts in private weren’t decriminalized until he was 83 – he is a guiding light.

According to biographical data, in 1963, Forster wrote: “How annoyed I am with society for wasting my time by making homosexuality criminal. The subterfuges…that might have been avoided.”

While that is not forgotten, he never gave up on love and believed all his life that “the true history of the human race is the history of human affection.”

So, it’s no wonder that this play is based on his 343-page “Howards End,” demonstrating empathy and understanding, and especially with the full-circle motto: “Only connect.”

In “The Inheritance,” Morgan’s advice comes from a place of love and wisdom. In a preternatural performance, Alex C. Moore navigates the role like a captain on a ship, respected and in command. He’s an imposing, mesmerizing figure in dual roles.

“One may as well begin with Toby’s voice mails to his boyfriend,” he says with confidence, and the students appear to begin making up the work as they go along.

Toby at the disco. Photo by FF.

The interconnectedness of the characters is engrossing. Political activist Eric Glass is cultured and likes bringing people together. He’s mindful of making a difference in the world and his heritage. Chris Kernan plays him as committed but easygoing.

His boyfriend, aspiring playwright Toby Darling, is reckless and hedonistic, drawn to the limelight and lives in the moment. Gabriel Paul’s performance bristles with electricity — he’s a hot spring of emotion, giving off Icarus vibes.  

They are the main couple, but the secondary pair are two older, longtime companions –
Walter Poole and Henry Wilcox – wealthy gentlemen with social graces and an enviable lifestyle. Jon Hey as the capitalist billionaire Henry and Moore, as Walter, the caretaker/partner, ingratiate themselves as learned men of money and manners.

In another dual role, a captivating Tyson Cole is Adam, a flirtatious and adventurous rich kid who disrupts Eric and Toby’s lives.

For all of Toby’s faux bravado, there is an undercurrent of turbulence and mystery, particularly when Toby is drawn to a street hustler, Leo, also played by Cole. Paul’s intense Toby, as troubled as he is, driven by fame and his libido, is a remarkable achievement in complexity.

Cole superbly manages to play both his roles surreptitiously, distinguishing them in subtle ways. In his Prague monologue, he shows exceptional bravery.

Lopez has created a circle of friends that feels like a warm cocoon, in a way that Mart Crawley’s play “The Boys in the Band” couldn’t in 1968, or wasn’t, in its 2018 revival. They are a Greek chorus, not unlike Bobby’s married friends in the Sondheim musical “Company.”

It’s that dichotomy – outside in a not-so-kind world, and inside their sanctuary that is contrasted so sharply.

Through overlapping dialogue, the actors establish characters and their place in Eric and Toby’s orbit, while Kernan anchors this landscape. Eric has fostered a supportive environment, and now his life is topsy-turvy in both unexpected and anticipated ways.

He traverses the slab stage to center it as his family homestead, and then deals with all the aggravations of ‘being.’

Photo by FF.

A sweet friendship between Walter and Eric develops, and their conversations are lovely reminders of the people we meet on our journey, and how they influence our thoughts and deeds.

Howards End was the name of a country house in the novel, and a similar property is prominent in this play. It takes on different emotional and sentimental meanings, which is another interesting aspect, and best not be spoiled in a review. Its impact is earned in ending Part I.

Peirick’s scenic design expands on the blossoms of a significant cherry tree, and he has placed artwork based on several photos he took during his NYC travels on the walls, pointedly referencing the Bethesda Fountain at Central Park.

One of my favorite flavors of this show is that New York City is also a character, for it’s as much a love letter to the island as it is a contemplation on the big picture.

Lopez’s dialogue reminds one of NYC’s lure, of its magical quality as the center of the universe, its unparalleled cultural offerings, and its encapsulation of hopes and dreams.

“Every summer, waves of college graduates wash up on its shores to begin the struggle toward success and achievement,” one character says, and as the mother of two sons who did just that, it resonated.

Of course, people will compare this to the landmark “Angels in America: A Gay Fantasia on National Themes,” whose two parts “Millennium Approaches” and “Perestroika” opened on Broadway in 1993. After all, its themes are metaphorical and symbolic as it explored AIDS and homosexuality in the 1980s.

“The Normal Heart” by Larry Kramer is another touchstones – addressing the rise of the HIV/AIDS epidemic in New York City between 1981-1984.

These bellwethers inform and add emotional depth to this exercise, for advocacy isn’t confined to the past, a crucial message.

Tyson Cole is Adam and Leo. Photo by FF.

Warning to the audience: Because part of the show takes place in 2016 with social liberals re-enacting election night shock (and for some, horror), that could conjure up some “things.”

Depictions of relationships include frank dialogue and stylized moves for sexual encounters. Adam’s lengthy explicit monologue about a euphoric erotic experience in a gay bathhouse in Prague leads to a terrifying realization of the danger of unprotected sex, and immediate action with PrEP (pre-exposure prophylaxis, medicine taken to prevent HIV).

The supporting players are lively and animated, and transform into whatever they are tasked with, which adds to the show’s unique appeal. For instance, Kevin O’Brien shifts into two parts as one of Henry’s spoiled entitled sons and Eric’s fiery progressive activist boss Jasper.

Kelvin Urday and Nic Tayborn are funny as an anxious singular-focused couple expecting a baby through a surrogate. Jacob Schmidt and Sean Seifert are young Walter and Henry. Stephen Henley is the other spoiled entitled son of Henry. Donald Kidd is Tristan and Margery Handy is Margaret, and they both factor into Part 2.

While the subject matter is serious, levity is present, including a whole discussion on whether camp is necessary as an ostentatious example of gay-ness.

This massive undertaking has involved the outstanding skill sets of many local technicians – lighting designer Tony Anselmo, sound designer Jacob Baxley, technical director Kevin Sallwasser, assistant director Dani Mann, stage manager Rachel Downing, production manager Sarah Baucom and dialect coach Mark Kelley – and their accomplishments are noteworthy.

Part I is an extraordinary piece of theatre, enhanced by its fully alive cast and the creative team’s commitment to telling truths in this special way. “Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.

The Inheritance cast. Photo by FF.

This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Tesseract Theatre Company presents “The Inheritance, Parts I and 2” April 26 – May 5 at the Marcelle Theatre, 3310 Samuel Shepard Drive. Part 1 is presented Friday and Saturday, April 26 and 27, at 7:30 p.m., with a Sunday matinee at 2 p.m. April 28. Part 2 is presented Thursday and Friday, May 2 and 3, at 7:30 p.m., with a Sunday matinee at 2 p.m. on May 5. Both Parts 1 and 2 are presented on Saturday, May 4, with Part 1 at 2 p.m. and Part 2 at 7: 30 p.m.

For tickets, visit: https://www.metrotix.com/events/detail/the-tesseract-theatre-company-the-inheritance

Take Ten with Stephen Peirick

Take Ten with Stephen Peirick


By Lynn Venhaus

A longtime multi-hyphenate in St. Louis, actor, director and playwright Stephen Peirick’s latest challenge is a very personal and special experience for him, what he describes as a “dream opportunity.”

As director of the regional theater premiere of the Tony-winning “The Inheritance,” he said it’s not only an honor and privilege to be a part of the work, but described the production as an “embarrassment of riches” because of his “hands-down brilliant” cast.

Tesseract Theatre Company will present “The Inheritance, Parts 1 and 2” by Matthew Lopez April 26 to May 5 at the Marcelle Theatre in Grand Center. There is one day, May 4, where both parts will be presented. For more information, visit www.tesseracttheatre.com and tickets are available at MetroTix.

Peirick is working with Tesseract for the first time. Taylor Gruenloh, former founder and artistic director, said he first thought of Stephen while reading the play, and locked him in to make it happen.

“As soon as I read that play, it reminded me of all the work Stephen was doing in town. And knowing how passionate he is about this kind of subject matter made it important to know he was at the helm before the rights were secured,” Gruenloh said.

The Daily Telegraph said it was “perhaps the most important American play of this century.” The play is based on “Howard’s End” by E.M. Forster and takes place in New York City decades after the AIDS epidemic, as three generations of gay men attempt to forge a future for themselves amid turbulent and changing America.

“This play doesn’t deny the pain of our experience.. it allows people to remember how we have gotten this far, what it’s like to fight, and who we have lost along the way. That sometimes our best weapon is our sense of humor, is our wit, is our intelligence, and is the love we have for each other,” said playwright Matthew Lopez.

Gabriel Paul and Chris Kernan. Photo by Tesseract Theatre Company.

Eric Glass (Chris Kernan) is a political activist engaged to his writer boyfriend, Toby Darling (Gabriel Paul). When two strangers enter their lives — an older man and a younger one — their futures suddenly become uncertain as they begin to chart divergent paths. This is an epic examination of survival, healing, class divide, and what it means to call a place home.

Besides Kernan and Paul, “The Inheritance” cast includes Tyson Cole, Stephen Henley, Jon Hey, Donald Kidd, Alex Moore, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, Kelvin Urday, and Margery Handy. Assistant Director is Dani Mann.

Among its accolades, “The Inheritance” won the 2020 Tony Award for Best Play., the 2020 Drama Desk Award for Best Play and the 2019 Olivier Award for Best Play.

​This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Peirick has been working with Stray Dog Theatre for years, and has performed and directed at West End Players Guild and performed with Union Avenue Opera in “Lost in the Stars.” He also works with Take Two Productions, a community theatre.

He is known for writing original plays as well, and has received nominations for Best New Play from the St. Louis Theater Circle for “Wake Up, Cameron Dobbs” and “Four Sugars.”

Last year, the Circle nominated him for his performance as Ned Weeks in “The Normal Heart” and several years ago for “The Doll’s House.”

He has also been nominated for the local community theatre Arts for Life awards for directing, lighting design, choreography and scenic design — winning the latter for Fun Home with Take Two Productions.

Next up is directing “Merrily We Roll Along” for Take Two Productions, which will be presented in September and October.

Stephen as Ned Weeks in “The Normal Heart,” with Joey Saunders, at Stray Dog Theatre in 2022. Photo by John Lamb.

Take Ten Questionnaire with Stephen Peirick

1. What is special about your latest project?

Larry Kramer masterfully wrote the brilliant play The Normal Heart, which detailed his experiences fighting for the gay community during the AIDS crisis in the 1980s. When I first saw Kramer’s play in 2011, it amplified a history I had been almost entirely ignorant of. It was a humbling moment as a gay man: an embarrassing privilege of my age. Kramer’s play inspired me to want to share this history with the world, and in particularly with the next generation of queer youth.

Our history is important. We are important. Matthew Lopez’s first-rate epic The Inheritance goes one step further, by asking audiences to ponder not only what we owe the generation who came before us, but what will we leave behind for the generation to come?

It’s not often that you get asked about your interest in directing a two-part epic – this has been a dream opportunity. It has been my incredible honor and privilege to direct the St. Louis premiere of this Tony-Award winning play.

And then, on top of it, to get to work with a hands-down brilliant local cast (Tyson Cole, Nic Tayborn, Sean Seifert, Jacob Schmidt, Stephen Henley, Donald Kidd, Kevin O’Brien, Kelvin Urday, Chris Kernan, Gabriel Paul, Alex C. Moore, Jon Hey, and Margery Handy) and an exceptional behind the scenes team (Dani Mann, Rachel Downing, Amanda Brasher, Abby Pastorello, Tony Anselmo, Jacob Baxley, Sarah Baucom, Kent Coffel, Kevin Sallwasser, as well as Tesseract’s Creative Directors Brittanie Gunn and Kevin Corpuz): this show has been an embarrassment of riches for a director. A special experience, for sure.

2. Why did you choose your profession/pursue the arts?

Because I can’t NOT pursue it. (I would be so much more well-rested if I just stay away!) At the end of the day, I’m a storyteller trying to get better at this craft. Whether I’m directing, acting, or writing…I have a passion for creating, and no matter how tired I get, I keep going back for more.

As George in “Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre in 2023, with Stephen Henley and Claire Wenzel. John Lamb Photo.

3. How would your friends describe you?

First and foremost, I think they’d say I was hot. And also, probably…hilarious. Okay; maybe they wouldn’t say either of those things unprovoked…or at all. But in my mind, those are the two compliments they are always ABOUT to share with me…before they get distracted by something else and forget .

4. How do you like to spend your spare time?

What is that? Spare time? Alas…should I ever find it again, I’d love to get back to writing.

5. What is your current obsession?

The Inheritance. I literally have no time for anything else. But once the show has come and gone, I love to spend summers outside…I love lounging in a pool, and enjoying R & R time. I love to find and read new plays, and I’m always on the lookout for some good Halloween décor. I track what’s playing in NYC, both on Broadway and Off…and I love reality television, or binding scripted shows.

6. What would people be surprised to find out about you?

If I told you, it wouldn’t be a surprise.

7. Can you share one of your most defining moments in life?

Seeing my sister’s high school production of The Diary of Anne Frank when I was six or seven. It ignited in me my love for live theatre. When I look back on my life, I think it was the very beginning moment of this whole journey.

8. Who do you admire most?

My mom was, no doubt, the most influential person on me. She passed away nearly 10 years ago, and I miss her everyday, and I can’t help but wonder what she would think of the work I’ve done over these years.

Lavonne Byers, Stephen Peirick and Laurell Stevenson in “Good People” at Stray Dog Theatre in 2022. Photo by John Lamb.

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

I was just getting ready to return to the stage as an actor (after having taken a year off) when the pandemic hit. Like for everyone else, it caused so much disruption to projects I had in the pipeline. Most of them still got to happen, although after a long delay, including directing Fun Home with Take Two Productions, and playing Mike in Good People and Ned in The Normal Heart for Stay Dog Theatre.

The Normal Heart was my dream project, and had been since 2011, so the fear that it would never get to happen, and that the arts might never recover was real.

I think it’s important to go see and support live theatre as one’s schedule (and wallet) allows. Volunteer to usher, and post to the socials when you go see work. Help your friends and family see that it is safe to return to the theatre, and that good things are happening. (And masks are still welcome in any theatre you might want that added layer of protection.)


10. What is your favorite thing to do in St. Louis? (Or your hometown)

I love to be immersed in our local arts scene as much as possible. This month alone, I saw productions with Stray Dog Theatre, The Rep, Clayton Community Theatre, and St. Louis Shakespeare. I love hitting up restaurants (The Tavern is a favorite for special occasions), and spending time with friends and family.

12. What’s next?

Next up, I am directing the musical Merrily We Roll Along for Take Two Players. This dynamic and rarely produced musical is currently having an incredible run on Broadway. Running for two weekends in September and October, our cast features an incredible group of local talent, including Ryan Farmer, Grace Langford, and Michael Baird in the central roles of Frank, Mary and Charlie. www.taketwoproductions.org

Stephen Peirick and husband Jon Hey. Photo by Lynn Venhaus

More Information on Stephen Peirick
Birthplace: Franklin County, MO
Current location: St. Louis
Family: I am married to the incredible Jon Hey, and we have three cats: Kona, Poppy and George. I have four older sisters, three nephews, two nieces, two great nephews and two great nieces.
Education: BA in Communications/Theatre with a minor in Education
Day job: I have spent the last 15+ years working for a state association. I create our online newsletters, content for our socials, etc., and appreciate working for an organization that understands and supports my passion for the arts.
First job: I was a Ticket Taker at Six Flags when I was 15 years old.
First play or movie you were involved in or made: The first real, non-grade school Christmas play I did was a courtroom drama called The Night of January 16 when I was a freshman in high school.
Favorite jobs/roles/plays or work in your medium? Playing Ned Weeks in The Normal Heart at Stray Dog Theatre was such a dream; and seeing the premiere of my first, full-length play (in 2012 at West End Players Guild) Wake Up, Cameron Dobbs is something that I will never forget.
Dream job/opportunity: Taking Wake Up, Cameron Dobbs to New York maybe?
Awards/Honors/Achievements: I have been nominated for four St. Louis Theatre Circle Awards; two for acting (The Normal Heart and A Doll’s House) and two for writing (Wake Up, Cameron Dobbs and Four Sugars). I have also been nominated for our local, community theatre Arts for Life awards for directing, lighting design, choreography and scenic design (winning the latter for Fun Home with Take Two Productions).
Favorite quote/words to live by: Tell your story bravely. It’s a story worth telling.” – Morgan, The Inheritance
A song that makes you happy: I love 80s music. Here I Go Again by Whitesnake is a fave.

Stephen Peirick and Nicole Angeli in Stray Dog’s “Hedda Gabler” in 2017. Photo by John Lamb.
“Art” outdoors at Stray Dog, with Ben Ritchie and Jeremy Goldmeier in 2021. Photo by John Lamb

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.”

Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

By Lynn Venhaus

In an extraordinary, reimagined interpretation of Stephen Sondheim’s classic “Into the Woods,” New Jewish Theatre immerses us into a vibrant in-the-round setting, where a vocal-rich ensemble of 11 takes on iconic fairy tale characters.

The harmonies stand out under the seamless music direction of Larry D. Pry, who also serves as the Narrator and expertly plays the piano while Christopher Bachmann is on cello and Helen Bednara is on bassoon. While only three, the virtuosos are a superb combination that elevates this show’s rich melodies.

To say they understand Sondheim is no small feat. The greatest theater artist of the past 75 years is demanding, but everyone connected with this production is up for that daunting challenge. To be able to master his complex harmonies is like winning a gold medal in the Olympic Decathlon.

This 1986 masterpiece was Sondheim’s second collaboration with book writer James Lapine after “Sunday in the Park with George” two years earlier. They both won 1988 Tony Awards for score and book, even though “The Phantom of the Opera” took home the Best Musical prize. (But it later won 2002 Tony for Best Revival, 2011 Laurence Olivier Award for Best Revival and last year’s cast won a Grammy Award for Best Musical Theater Album.)

Photo by Jon Gitchoff

When done right, “Into the Woods” can be magical, transformative in many ways (as I experienced in the 2022 Broadway revival and a whimsical, inventive interpretation at Stray Dog Theatre last spring).

The fact that this musical continues to speak to new generations and evolves with new insights nearly three decades later is a testament to its relatable themes reflecting on humanity.

The concept is deceptively simple – a storybook world but with real-people problems, and how these characters’ lives are uprooted, teaching them valuable lessons about life, love, and listening. How they need to really be present when together – meaning it, not just saying so.

This poignant New Jewish Theatre effort focused on the emotional layers of each character, who are desperate for happily ever after but not making the effort to change their ways until confronted with reality.

Every time I see this show, I am struck by new observations and how the tale has deepened over time, but it is reinforced that I am not alone when people leave me halfway through the wood.

And this much is true — I always will be misty-eyed during a few numbers, “No One Is Alone” and “Children Will Listen” specifically, and in this show, “No More” especially resonated.

Here, the biggest takeaway is what comes after the “happily ever after” when you want so badly to have your wishes come true but realize you can’t do it alone.

Photo by Jon Gitchoff

The characters are based on Brothers Grimm and Charles Perrault’s literary works, but they are molded by the performers to convey consequences from their less-than-ideal actions and impulsive decisions. No Disney aberrations here. Director Robert Quinlan focused on the storytelling, and he doesn’t waste a moment – no dilly-dallying whatsoever.

The format: the narrator exclaims “Once upon a time,” and we’re off on an adventure with four groups of characters – Cinderella wishes to go to the king’s festival, Jack wishes his cow Milky White would give milk, a baker and his wife wish to have a child, and Little Red Ridinghood wishes for bread to bring to her grandmother.

Be careful what you wish for – and soon we’ll know about curses. A witch convinces the childless couple that if they 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, she will reverse the infertility curse.

Thus commences a long and winding path through the woods.

It’s the largest musical ever staged in the intimate Wool Studio Theatre, but only 11 actors are playing the 20-plus characters, with a few puppets too. And with scenes taking place in and around the audience, characters are right in the mix.

Photo by Jon Gitchoff

The cast truly gets a workout, setting the scenes and popping in and out, often relying on quick costume changes. They are marvels in motion.

Phil Leveling is outstanding, and one of the MVPs – he smoothly switches into the Wolf, Mysterious Man and Cinderella’s Stepmother without missing a beat. Cinderella’s Prince Matt Billings is also puppeteer for Milky White, another fluid transition. He works well with Kevin Corpuz as Rapunzel’s Prince, and their full-bodied “Agony” duet is a highlight. The nimble Corpuz doubles as Lucinda, one of the stepsisters too.

Molly Wennstrom soars as the Baker’s Wife, a role she’s well-suited for, and “Moments in the Woods” is terrific. She and her scene partner, Kevin O’Brien as the Baker, are splendid together, especially in “It Takes Two.” O’Brien is a versatile musical theater performer, and not only are they both strong in song, but also have the emotional heft to depict their rocky relationship.

O’Brien and Leveling are also dynamic in “No More,” bringing considerable depth to their version.

Kristen Joy Lintvedt makes an impressive debut as Cinderella, delivering lush vocals and putting some oomph and a little edge into the role.

Aliyah Jacobs opts for a trusting Little Red and sweet-voiced Sarah Wilkinson exemplifies a girl trapped in a gilded cage as Rapunzel, and also has fun as Florinda. Matthew Cox is both an innocent, naïve Jack, and the more obnoxious Steward.

Matthew Cox as Jack. Photo by Jon Gitchoff

Sarah Gene Dowling plays the Witch robustly as cruel and condescending, unforgiving of anyone’s flaws – except her own. As bitter as she is, when she is rejected, and crestfallen, her “I was just trying to be a good mother” is said with transparent desperation.

Victoria Pines is cranky and intolerant as Jack’s Mother, not giving any hints of humor, which always helps the passive-aggressive dialogue be more palatable.

Nisi Sturgis lends her considerable talents as the booming voice of the Giant (well, Giantess).

The group vocals stand out. The grown-up tale needs performers to bring out the complexities confronting each character, for everyone changes. No one is left unscathed.

Quinlan has done a masterful job of keeping things briskly paced. He aims for the sweet spot in tone – hopeful in the first act and rueful in the second. Perhaps a bit more whimsy with the necessary dark undercurrent, but I think they were so focused on crisp movements and infusing sincere emotion into each song, that no one let up for a second. Choreographer Ellen Isom kept the moves playful.

NJT’s in-house costume designer, Michele Friedman Siler, adroitly outfitted every character to support both the storytelling and the fast changes that the in-the-round setting demanded.

C. Otis Sweeney’s scenic design is exceptional – and enhanced by Jayson Lawshee’s lighting design, and not just the trees were awe-inspiring, but that full moon too. Amanda Werre’s skilled sound design was effective in the atmospheric woodland sounds and also by indicating danger in giant footsteps — and punctuating dashed hopes and dreams, and broken hearts.

Since its Broadway opening in 1987, there have been productions in London’s West End, national tours, Hollywood Bowl, The Muny, three revivals and a 2014 film adaptation. This fresh New Jewish staging can stand as one of the most heartfelt in the region. The melodies linger, the performers enchant, and the themes are re-awakened, stored for safe-keeping in my memories.

New Jewish Theatre presents “Into the Woods” from Nov. 30 to Dec. 17 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Performances are Thursdays at 7:30 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. (Closing show on Dec. 17 has sold out).

Individual tickets are $27- $58 with special rates available for groups. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org

​

Sarah Gene Dowling as The Witch. Photo by Jon Gitchoff
Photo by Jon Gitchoff

Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

By Lynn Venhaus

With its energetic and appealing cast of six, and its earnest mission from a buzzy contemporary playwright, “Welcome to Arroyo’s” is a fine example of Tesseract Theatre Company’s commitment to fresh voices and perspectives.

It was written when the promising storyteller Kristoffer Diaz was in college but produced after his acclaimed 2009 play “The Elaborate Entrance of Chad Diety” was a finalist for the Pulitzer Prize for Drama. Diaz incorporated an American Dream theme in this dramatic comedy about the wrestler Macedonio Guerra, and it also won the Obie Award for Best New American Play in 2011.

Here, Diaz focuses on dreams, stressing community and touching on family, art, grief, loss, and his Latino culture.

Underscored with a lively hip-hop beat, “Welcome to Arroyo’s” is set on New York City’s Lower East Side in 2004. Victor Mendez portrays with conviction the industrious Alejandro Arroyo, whose dream is to convert the space where his late mother ran a bodega/deli for 20 years into a neighborhood bar/lounge that could become a cultural hot spot, but so far, not going so well.

The hard-working Al is at odds with his younger sister Amalia, aka Molly, who is full of anger and rebellion, and spray-paints graffiti outside the 7th precinct police station. Remi Mark conveys her character’s agitation and how mad at the world she is.

She courts trouble, he wants a better life. They are both dealing with the loss of their mother and will meet people who result in changes in direction for them.

Her unexpected love interest? Derek, a rookie police officer who recently moved to the area. He’s nice to her when she is mean to him, and Marshall Jennings is effective playing the concerned guy trying to understand her.

Al’s romantic attraction is to Lelly, a quirky college student tracing the history of a Puerto Rican woman that played a big part in hip-hop music. Could their mother have been one of its founders? Based on her research, Lelly seems to think that 20 years ago, she was the first female hip-hop DJ. Hannah de Oliveira brings out Lelly’s passion for her work.

Two DJs, Nelson and Trip, are Alejandro’s pals who hang out at the bar, and act as narrators sharing this fangirl theory, tying it all together. Kevin Corpuz (Nelson) and Jacob Schmidt (Trip) are the high-spirited rappers devoted to getting the party started, and they succeed in engaging audience members, who are eager to follow their direction. Corpuz’ enthusiasm is always contagious, and their contributions are easily the most relatable aspect of the show.

While heartfelt, Diaz’s play, however, seems incomplete, and the characters aren’t as developed as they could be for us to really care about them and be drawn into the scenario.

Nevertheless, director Brittanie Gunn worked well with an exuberant cast of four men and two women who give their all to pull us into the narrative. There is much goodwill here for what they are trying to accomplish with this show and the people involved.

The main problem with staging at the .Zack is its challenging acoustics, which have been problematic since it opened, some more pronounced than others. On the plus side, Corpuz and Schmidt have individual microphones, and Mark is loud as Molly, but de Oliveira is, at times, hard to hear as Lelly, although she is animated in her performance. Usually, in Tesseract’s previous shows staged there, it wasn’t an issue, but the uneven sound detracts.

Diaz appears destined to be a powerful presence in American theater. Besides writing plays, he is an academic – an associate arts professor at New York University’s Tisch School of the Arts and has worked in television.

Diaz went on to write the book for “Hercules,” the stage adaptation of the 1997 Disney film, with music by Alan Menken and lyrics by David Zippel, which was presented at The Public Theatre in 2019.

For television, Díaz adapted Jonathan Larson’s musical “Rent” into the 2019 live show on Fox and was the editor for Season 1 of “GLOW” on Netflix in 2017.

Tesseract gives this playful production a celebratory feel, and with its dedicated creatives, will likely continue its commitment to diverse talents and plays with something to say. And those are reasons to rejoice.

Tesseract Theatre Company presents “Welcome to Arroyo’s” April 28 – May 7, with performances on Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. at the .ZACK, 3224 Locust St., in Grand Center. For more information, visit the website: www.tesseracttheatre.com

This play contains adult language and themes.

Corpuz, Schmidt, Jennings

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.

Tesseract Theatre Changes Leadership Structures with New Team

Tesseract Theatre Changes Leadership Structures with New Team

 The Tesseract Theatre Company has changed leadership structures and announced its new team of Creative Directors.

Tesseract Theatre has followed the more traditional model of theatre administration for over a decade now, with an Artistic Director choosing production material, a Managing Director overseeing production operations, and an Executive Director tackling the administrative identity of the company.

The company is now switching to a more ‘open forum’ type of management structure with the addition of Kevin Corpuz. ”It opens up for more collaboration,” says Corpuz, “and allows us to work more in tandem to help shape the new direction of the company.”

The new direction of the company involving the addition of musicals, like last November’s production of Adam Gwon’s Ordinary Days, something Tesseract never did in its first twelve years in St. Louis. “I found myself wishing the play would never end,” wrote Richard Green of Talkin’ Broadway of the production.


”We’ve always celebrated having a lot of voices in the room,” says Taylor Gruenloh, the founding Artistic Director of the company, now turned Creative Director alongside Corpuz, “but this feels more responsible. And guarantees a ‘check and balance’ system to everything. And not just to make sure that duties are being done and everything is done fairly in production, but that leadership can look out for one another, make sure everyone is still taking a breath and is reminded why we want to sacrifice our time to produce theatre in this community.”

Along with Gruenloh and Corpuz is Brittanie Gunn, a founding partner of the company. “We celebrate ensembles on our stage,” Gunn says, “and I think mirroring our management structure in a more ensemble-like fashion should allow us to find new experimental ways to take on production management and company administration.”

”I’m excited to help Tesseract do what it’s always done,” says Corpuz. “Which has been producing exciting shows in St. Louis. And I’m glad to help usher in the exploration of musical theatre inside this company.”

Corpuz will be featured in the musical The Last Five Years by Jason Robert Brown at Tesseract Feb. 17-26, directed by Gruenloh. And Gunn will be directing the hip-hop romance Welcome to Arroyo’s by Kristoffer Diaz this upcoming April. Both shows at the .Zack Theatre in Midtown on Locust.

Ordinary Days

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

By Lynn Venhaus
How do you define J-O-C-U-L-A-R-I-T-Y? The literal translation is “The 25th Annual Putnam County Spelling Bee,” now playing at Stray Dog Theatre.

A splendid summer sojourn, the jaunty musical comedy celebrates American traditions and meritocracy, our inherent competitive spirt, and freak-flag waving.

At a nondescript middle school, a sextet of smarty-pants sixth graders competes for a $200 savings bond and a towering trophy at the annual big-deal event. Three adults handle the proceedings, and four audience members are selected to participate, too.

And the blithe spirits on stage and in the audience instinctually know this is far more pleasurable than Mensa members getting together for Scrabble, especially with its clever audience-participation cachet.

However, those who didn’t make the honor roll need not worry, for SAT scores aren’t required at the door, and it’s a very accessible and inclusive work. The catchy music and savvy lyrics by William Finn (“Falsettos,” “A New Brain”) and the whip-smart Tony-winning book by Rachel Sheinkin offer something for everyone.

In this enjoyable production, adroitly directed by Justin Been, the dexterous cast has mastered the nimble word play and spit-take worthy improvisations for a rollicking good time. They got game.

The in-sync ensemble expertly colors outside the lines, shading their idiosyncratic characters with humor and humanity. Unlike “You’re a Good Man, Charlie Brown,” where grown-ups also play kids, this is a show with mature content.

Kevin Corpuz is returning champ Charlito “Chip” Tolentino, a strident Boy Scout who is struggling with puberty and distracted by a female in audience; Grace Langford is resolute newcomer Olive Ostrosky, whose mom is in India and dad is always working; and Sara Rae Womack is fervid Marcy Park, an over-achieving transfer student.

Clayton Humburg is mellow Leaf Coneybear, home-schooled son of hippies; Dawn Schmid is high-strung Logainne “Schwartzy” SchwartzandGrubenierre, politically aware and pushed by her two dads to win at all costs; and Kevin O’Brien is last year’s egghead finalist William Morris Barfee, whose name is really pronounced Bar-Fay, because of an accent aigu, and not Bar-Fee, like the announcer repeats.

Photo by John Lamb

While everyone’s comic timing is admirable, O’Brien elicits many laughs as he embodies a know-it-all misfit unfortunately hampered by one working nostril. Hunching his shoulders, rolling his eyes, and sighing in exasperation, O’Brien is in his element. He has the most peculiar way of spelling out the words – with his “Magic Foot.”

Barfee is one of those supporting roles that is an awards nomination magnet, like Adolfo in “The Drowsy Chaperone” and the UPS guy in “Legally Blonde – The Musical.” Dan Fogler, now of “Fantastic Beasts” who recently played Francis Ford Coppola in “The Offer,” won a Tony Award for originating the role.

The middle-school spellers are joined by four individuals that have volunteered for the gig – signing up in the lobby beforehand.  Good sports, they are called on to spell, without any special treatment, which is a key element to the fun. They might have to spell Lysergic Acid Diethylamide, or cow.

The three adults in the room include ‘comfort counselor’ Mitch Mahoney (Chris Kernan), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Stephanie Merritt), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Jason Meyers), who has returned as a judge after personal time off to work out some ‘things.’

Their perspicacity is evident – and the three veterans are oh-so-smooth with the innuendos and deadpan humor. Merritt is guileful as the supremely assured and unflappable announcer – think Patty Simcox from “Grease” as an adult.

She glibly describes the contestants with seemingly innocent comments and a few double-entendres. You don’t want to miss a word, for you might do a double-take (Wait – what?).

Hilarity ensues whenever the puckish Meyers wryly uses a word in a sentence or describes his feelings. He elevates the script’s wit (those inappropriate comments!) with his crackerjack delivery. Just don’t get him started on Klondike’s decision to drop the Choco Taco! He’s a tad jittery.

Photo by John Lamb

Several performers double as ancillary characters, such as parents – for instance, Kernan and Humburg are Logainne’s importunate fathers. Corpuz shows up as Jesus Christ. (You’ll just have to see).

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two. It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The ingenious construction has managed to keep it fresh 17 years later by relying on the actors to be on the ball with au courant references.

Been astutely uses the state of play as an advantage, maintaining a balance of friskiness and sweetness that makes sure everyone is in on the jokes. No mean-spirited sarcasm here.

The cast’s exemplary improv skills make this a very funny, free-wheeling show. But let’s not forget the music is an integral part, too, and each character nails a signature song. Besides Barfee’s “Magic Foot,” there is — Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me.” Chip: “Chip’s Lament.”

Rona’s “My Favorite Moment of the Bee” is a running theme throughout, Mitch serenades the last audience speller with “Prayer of the Comfort Counselor,” and Panch is in “Spelling Montage.”

The troupe’s strong voices harmonize well in the group numbers, too.

Photo by John Lamb

Music Director Leah Schultz smoothly keeps the tempo on track, and is on piano, joined by Kelly Austermann on reeds and Joe Winters on percussion. Choreographer Mike Hodges keeps the moves light-hearted and breezy.

Jacob Baxley’s sound design enhances Rona’s championship spotlight, as does Tyler Duenow’s lighting design.

Eileen Engel’s costume designs distinctly outfit the personalities – and allow them to move easily, whether in the minimal dancing or walking through the aisles.

The Tower Grove Abbey’s small stage is well-suited for the show’s sparse set design, put together by Been.

For logophiles, the principal contestants are relatable. — perhaps a bit more eccentric, but these quirky characters have all learned an early invaluable life lesson: Knowledge is power.

My fellow nerds will feel at one with their tribe. For we know that summer vacation fun isn’t defined by theme park rides, water slides, and sports camps, but by summer reading lists – whether it’s for a library club, school enrichment class or a free personal pan pizza in the Pizza Hut Book It! Program.

It’s still the only musical where the cool kids are here for the orthography. Revenge of the nerds, indeed. So, Wordle can wait – and this show cannot, for there are 8 performances remaining.

Stray Dog Theatre presents the musical “The 25th Annual Putnam County Spelling Bee Thursdays through Saturdays from Aug. 4 to Aug. 20 at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 14 and 8 p.m. Wednesday, Aug. 17 at the Tower Grove Abbey, 2336 Tennessee Avenue in Tower Grove East. For more information, visit www.straydogtheatre.org

Note: Tickets are only offered in physically distanced groups of two or four.

Photo by John Lamb.

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

New Line to Premiere Go-Gos Musical Comedy ‘Head Over Heels’ March 6

New Line to Premiere Go-Gos Musical Comedy ‘Head Over Heels’ March 6

“Head Over Heels” will open at New Line Theatre March 6. It is the regional premiere of the wild, sexy, modern musical fairy tale where Once Upon a Time is now.

“Head Over Heels” is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening.

Conceived by Jeff Whitty, with an original book by Whitty, adapted by James Magruder, originally directed by Michael Mayer, and set to the music of the iconic 1980s all-girl rock band The Go-Go’s, this high-octane, laugh-out-loud love story includes hit songs like, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Heaven is a Place on Earth” and “Mad About You.”

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

With band and vocal arrangements by Broadway composer Tom Kitt (Next to Normal, If/Then, High Fidelity), and eleven amazing dance numbers, choreographed by New Liners Michelle Sauer and Sara Rae Womack, this is the heaviest dance show New Line has produced since Chicago in 2002.

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

The New Line cast includes Grace Langford (Princess Pamela), Melissa Felps (Princess Philoclea), Clayton Humburg (Musidorus), Jaclyn Amber (Mopsa), Zachary Allen Farmer (King Basilius), Carrie Priesmeyer (Queen Gynecia), Aaron Allen (Dametas), Tiélere Cheatem (Pythio), Kevin Corpuz, Evan Fornachon, Chris Kernan, Chris Moore, Maggie Nold, Michelle Sauer, Alyssa Wolf, and Sara Rae Womack.

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

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

TimeOut NY said, “It grafts a 2010s sensibility onto songs from the 1980s — by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career) — and fits them into a 16th-century story that is set in ancient Greece. . . Head Over Heels is a fantasy and celebration of nonconformity, and it puts its casting where its mouth is with an ensemble that is diverse in race, gender and size. Honoring the beat, in this merry Arcadia, means making room for different drummers.”

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

Tickets

HEAD OVER HEELS runs March 5-28, 2020, Thursdays, Fridays, and Saturdays, all at 8:00 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in the Grand Center Arts District. March 5 is a preview.

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

DISCOUNTS

HIGH SCHOOL DISCOUNT: 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.

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

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

MILITARY DISCOUNT: 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.

The New Line Film Series

Have a Little Rock & Roll Fable with your Rock & Roll Fable…

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

Click Here for more info.

About New Line Theatre

New Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country.

New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions.

Altogether, New Line has produced 89 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives funding from the Missouri Arts Council, a state agency, and the Regional Arts Commission.

For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change. New Line’s 29th season closes in June with Urinetown.