An Elegant, Exuberant ‘Anastasia’ Is a Knockout for Tesseract Theatre Co.

An Elegant, Exuberant ‘Anastasia’ Is a Knockout for Tesseract Theatre Co.

By Lynn Venhaus

A zestful and exuberant “Anastasia: The Musical” is a crowning achievement for the Tesseract Theatre Company, which has crafted a big, bold production where every element is in harmony together.

Elegantly produced and seamlessly performed, this intriguing story centering on the legend of a Russian grand duchess is executed with remarkable skill by innovative creatives and a first-rate cast.

Impeccably staged as a swirling mix of constant motion, this adventurous blend of history, mystery and romance engaged from the jump. While this 2017 musical is not a flawlessly constructed show, the company’s determination and their lively interpretation propels it forward.

Using an abstract, intimate stage design at The Marcelle, director Brittanie Gunn, a Tesseract co-founder and creative director along with Kevin Corpuz, has focused sharply on the storytelling. The charming and well-cast 17-person ensemble’s hard work is obvious throughout this emotional journey that leads to a bittersweet finale.

The Press Conference. Photo by FF.

This ultimately is a tale of self-discovery. Gunn wanted Anya to be seen as a strong woman, and Sarah Wilkinson is believable as she works on herself – who is she and who will she become? But other characters find their purpose and their way, too.

Tesseract has been dipping its toe into musical productions for the past two years, with small-scale shows “Ordinary Days” in November 2022, “The Last Five Years” in February 2023, and “The Mad Ones” in November 2023, with its first large-cast splashy musical “Kinky Boots” in August 2023. This year, an original musical “Cascade’s Fire,” and another small-scale effort “My Heart Says Go” were previously performed.

With the ambitious “Anastasia,” they are taking a huge leap forward, and each component is impressive — Gunn’s thoughtful depiction, Zach Neumann’s vigorous music direction, choreographer Michelle Sauer’s graceful ballet and vibrant period dance numbers, and the superb technical team’s designs.

This all-ages show, which has been performed by schools, youth and community theaters in recent years but not yet by regional professional companies, features lyrics by Lynn Ahrens and music by Stephen Flaherty, whose best-known works are “Ragtime” and “Seussical.”

This grand-scale musical is adapted from the well-liked 1997 animated movie, which in turn was inspired by the 1956 “what if” dramatic film “Anastasia” that starred Ingrid Bergman in her second of three Oscar-winning roles.

The Czar’s Family Pre-Revolution. Photo by FF.

Fun fact: The animated musical’s music, composed by Ahrens and Flaherty, also featured music by David Newman, whose father, Alfred, was Oscar-nominated for the original 1956 film. This team earned two Oscar nominations for the film – musical score, and “Journey to the Past” for best song.

That power ballad is reprised in this stage musical, with a dynamic rendition by Sarah Wilkinson ending Act 1. There are five other songs from the movie, including the poignant “Once Upon a December,” and 16 new songs.

Playwright Terence McNally wrote the book, from the play by Marcelle Maurette, as adapted by Guy Bolton. While the late McNally is among the greatest, winning five Tony Awards, this result isn’t among his best. However, he shaped what could have been a too-sprawling complex narrative into several subplots that mesh well.

He has omitted the villain Rasputin and dropped the magic realism that were a major part of the animated tale, replacing the shady wizard with a formidable Bolshevik general Gleb, who seems as obsessed as Javert in “Les Miserables.” In fact, this show may remind you somewhat of “Les Miz,” only not as epic in scope.

Photo by FF.

The character Anastasia has always been enigmatic because she may or may not be who she thinks she is. The story arc begins at the twilight of the Russian Empire and moves to Paris in the 1920s, as this young woman tries to fit the puzzle together of her life.

The real story is that the royal family Czar Nicholas II, his wife, Alexandra; son, Alexis; and four daughters, Olga, Tatiana, Maria, and Anastasia, were taken captive after he abdicated the throne on March 15, 1917. They were executed by a firing squad of Communist Bolsheviks on July 17, 1918, along with four of their servants, but no bodies were immediately found. Reports were so unclear that the dowager empress, then in Crimea, doubted the news of her family’s death.

The musical begins nine years after the Russian Revolution in 1918. Legend has it that Anastasia escaped her family’s murder, but hit her head while running away, causing her to lose all her memories.

Can she reclaim the magic of her childhood? In an interesting contrast, the show flashes back to Anya as a child, and 12-year-old Devynn Phoenix is luminous in her dance sequences as both the young Anastasia and Alexia. Ella Drake demonstrates superb dancing skills in ballet sequences, also.

Ella Drake. Photo by FF.

As the grown-up Anya, she meets two conmen, Dmitry and Vlad, who are looking for a girl to pretend she is the lost princess. Wilkinson easily slips into Anya’s skin, while new-to-professional theatre Aaron Fischer is revelatory as Dmitry, and Kent Coffel, an MVP when it comes to playing comedic sidekicks, works well with both.

The men hatch their imposter plan in “A Rumor in St. Petersburg.” They tutor her, a la “My Fair Lady,” in “Learn to Do It,” then take her to Paris and plan to meet with her grandmother, because they think the Dowager Empress will give them a substantial reward for recovering this long-lost member of the royal family.

Through this process, she slowly starts to regain her memory and believes she is indeed the real Anastasia. Wilkinson’s transformation is palpable, and you see her become more radiant.

Wilkinson, who has been memorable on local stages in “Nine” and “Into the Woods,” is an accomplished singer and dancer. With an opportunity to anchor this production, she grabs it with gusto.

She shines on her solo numbers. “Once Upon a December” is wistfully delivered, as is “A Secret She Kept,” and “In My Dreams” is a touching tribute to starting over. She also possesses considerable poise and carries herself regally on stage.

Danielle Feinstein, Kimmie Kidd-Booker and Lindsey Grojean. Photo by FF.

Act 2 opens with an ebullient “Paris Holds the Key (to Your Heart)” and the chorus also has fun with “Land of Yesterday” led by the intrepid Kimmie Kidd-Booker as the lady-in-waiting Countess Lily.

Anya and Dimitry are in a budding romance that’s straight out of a Hallmark movie template, but Wilkinson and Fischer have a genuine connection. He soars in his strong vocals, especially “Everything to Win” and with Anya in “My Petersburg” and “In a Crowd of Thousands.”

Vlad reminisces about hobnobbing with the aristocracy, and his wit comes through – as does his physical comedy.

In his role as Gleb, Donald Kidd stuns with his sturdy vocals and layered characterization. “The Neva Flows,” along with Anya, showcases his vocal command, and when he realizes he has feelings for Anya, “Still.”

As the Dowager Empress, dauntless Margery A. Handy is imposing, and has a terrific song, “Close the Door.” She is as stately as Lily is goofy. Kidd-Booker is hilarious hamming it up as Vlad’s former mistress, and she and Coffel know how to create an effective chemistry in “The Countess and the Common Man,” ramping up the physical comedy.

Aaron Fischer, as Dmitry, revs up the crowd. Photo by FF.

The ensemble is quite strong, with distinctive characterizations developed by each supporting player. Tielere Cheatem, Scott Degitz-Fries, Ella Drake, Danielle Feinstein, Julia Gilbert Gaglio, Lindsey Grojean, Jaelyn Hawkins, Stephanie Merritt, Jacob Schmidt and Kelvin Urday all blend well, but also stand out as different characters.

They harmonize beautifully, and the orchestra’s vitality is noticeable. Besides conducting, Neumann is on keyboards, joining Chuck Evans on violin, John Gerdes on brass, Lea Gerdes and Joseph Hendricks on reeds, Brad Martin on percussion, and Paul Rueschhoff on cello.

The musical’s costumes are an opulent showcase, with costume designer Sarah Gene Dowling assembling a bevy of beautiful gowns, flashy vintage party dresses, textured ethereal whites, working-class garments and heavy wintry outerwear. She collected over 100 looks for this show alone.

The craftsmen meet the moment, with noteworthy sound design by Phillip Evans, lighting design by Kevin Bowman, properties design by Rachel Puleo, and scenic design by Todd Schaefer.

Kevin “Kevlar” Sallwasser was the technical director, Sarah Baucom production manager, and Marisa Daddazio the stage manager, with Bella Lucero assistant stage manager and Hannah Lohmeyer the intimacy coordinator.

Donald Kidd as Gleb. Photo by FF.

The show’s lush qualities combine with the venue’s cozy ambience to create an enchanting experience. “Anastasia: The Musical” will linger for a while. Tesseract’s mission accomplished, and it was refreshing to see how well it all came together.


Tesseract Theatre presents the musical Anastasia Thursdays through Saturdays at 8 p.m. and Sundays at 4 p.m., Nov. 14 – 24. Performances take place at the Marcelle Theatre in Grand Center. For more information: www.tesseracttheatre.com.

Tesseract’s High-Spirited ‘My Heart Says Go’ Has Terrific Vocals, And A Few Challenges

Tesseract’s High-Spirited ‘My Heart Says Go’ Has Terrific Vocals, And A Few Challenges

By Lynn Venhaus

Supple vocal work stands out in Tesseract’s latest premiere, “My Heart Says Go,” a hip-hop-meets-pop musical well-suited for the company’s enthusiasm in mounting energetic ensembles.

But inconsistent sound quality, a louder-decibel pre-recorded music track overpowering the singers, and a cliché-riddled script hampered its impact.

Always dynamic Kevin Corpuz anchors this one-act musical as Indigo, a conflicted first-generation college student who quits to pursue his dream of making music. He is often a ball of fire on stage, i.e. “The Who’s Tommy,” “Godspell,” “Be More Chill,” “Urinetown,” “In the Heights,” and “Altar Boyz,” and this role is tailor-made to his strengths.

Indigo’s hard-working immigrant father (Kelvin Urday) thinks he’s made a grievous error. Despite that friction, Indigo moves to L.A., and meets a couple of people whom he thinks will help him reach his singer-songwriter goals.

Indigo quickly connects with Clara (Sarah Wilkinson), a struggling talented fashion designer who has a troubled relationship with her alcoholic mother (Loren Boudreau).

Sarah Wilkinson matches Corpuz in spirit and inner light. Their buoyancy, particularly in their emphatic movements, is tangible.

Clayton Humburg, Kevin Corpuz, Sarah Wilkinson. Photo by Florence Flick.

Bright spots are “What Does My Heart Say?” and “The Place Where Dreams Come True”; “Don’t Give Up” is a rousing finale.

Another vibrant portrayal is by Clayton Humburg as a lively rapper named Timmy, a guy brimming with positivity who assumes the role as Indigo’s biggest cheerleader.

While he doesn’t look that much older than Corpuz, Urday is touching as the concerned single father Eliseo, and the two bring out the emotions of a close dad-son bond in several heartfelt scenes and vocals (“Father vs. Son,” “Heat of the Moment” and “Foot Down”). Urday’s musical numbers are beautifully delivered, as is customary.

Victoria Pines is a soulful vocalist as a train conductor, and some sort of conduit to the characters. Her part, however, is underdeveloped and unclear how she connects to these people long after they rode the train. She shines in “Find Your Voice.”

The book is the weakest element of this show, and really drags down the overall experience. The characters are merely archetypes, and if the main characters weren’t live-wire performers, this would be painfully humdrum.

The book, written by Matthew Hawkins, overflows with triteness. How many times are aspiring artists used in hopes-and-dreams scenarios? This isn’t all that original, and nothing we haven’t seen before. Follow your passion, overcome obstacles, believe in yourself, blah blah blah. Must be compelling to sustain interest and empathy, and because of the cast’s talent, it is..

Dreams are such a theatrical staple that the brilliant satire “The Musical of Musicals” has a song called – what else? — “Follow Your Dream.”

Hey, having dreams fuels our fires, and any chance to remind people to persist following their heart is well-intentioned. But freshness is the key for endearment.

Wilkinson, Loren Goudreau. Photo by Florence Flick.

For an example, the addict mom is an unnecessary subplot, and you can predict her story arc the minute she enters. Both Pines’ conductor and Kevin Hester’s grungy recording studio engineer seem like they are characters in another show. Hester’s a fine vocalist, but he mumbled his speaking lines and barely spoke above a whisper, so his dialogue was hard to hear.

While everyone is earnest, the ensemble doesn’t seem to be well-defined either. They are a bouncy group, nevertheless – Khristian Duncan, David Gregory, Laura Schulze, and Goudreau are spry in song and dance.

Milo Garlich was out because of illness Sunday, so choreographer Maggie Nold stepped in, and didn’t miss a beat.

Grace Langford aces a brief role as a heart doctor supervising Indigo in med school.

The performers’ passion carries this show across the 90-minute finish line, as well as the music direction by Larry D. Pry and Nold’s choreography.

The sunny coupling of Wilkinson and Corpuz is natural, as they were last seen together as Rapunzel and Rapunzel’s Prince in New Jewish Theatre’s award-winning “Into the Woods” in November, and so was Pines as Jack’s Mom. Pry was the musical director of that show. Obviously, that’s a winning combination.

Other than the disappointing script, a major problem stemmed from the technical elements. The garbled sound was challenging, with echoes and reverbs marring vocals, and most of the time the recorded music overpowered the vocalists. Sound designer Ryan Day is familiar with The Marcelle, so I am not sure why there were so many issues.

The blocking where characters had scenes far back made it even harder to engage, because the sound was such a mixed bag. The lighting overall was inconsistent and shadowy, and again, another experienced Marcelle technician, Matt Stuckel, oversaw the design. The neon lights on the back wall, however, were a nifty touch.

Director Brittanie Gunn relied on simple staging to focus on the characters’ journeys. By using the entirety of The Marcelle stage, it seemed at times too cavernous for such a small musical. Nevertheless, she maintained a zippy pace, with smooth entrances and snappy group placings.

The score of this show is based on the personal experience of Jorge “Jay” Rivera-Herrans, who switched from pre-med to the film, television and theater department as a student at University of Notre Dame. After graduation, he received a fellowship, continued pursuing his ideas, and the school served as his incubator.

No one doubts his ardor or sincerity. The musical premiered in 2023 and has become a viral sensation. I imagine that’s largely on the strength of the musical being a celebratory anthem because the story should be further workshopped, and characters more fleshed out.

Kelvin Urday, Kevin Corpuz. Photo by Florence Flick.

One of the show’s highlights is the costume design by Abby Pastorello, who either found or made embroidered denim jackets and shirts to give a unique flair to Clara’s original designs. Those outfits were a bright addition to an otherwise scruffy group wearing band T-shirts and casual attire. In contrast were fashionista Clara’s well-put together looks, especially a bedazzled black leather ensemble that Wilkinson rocked.

This show has a shaggy charm, not unlike Lin-Manuel Miranda’s early one-act endeavor “21 Chump Street,” but on the off-the-charts inspiring meter, it lags behind “tick, tick…Boom!” “Dreamgirls,” “Beautiful: the Carole King Musical,” and many others as a whole package.

Of course, this is on a much smaller scale, and targeted to tug at your heart strings. It is a labor of love for all involved.

In recent years, Tesseract has taken more risks with musical premieres, such as “The Mad Ones,” “Ordinary Days,” and the upcoming original “Cascade’s Fire,” and tackled big shoes with “Kinky Boots” and “The Last Five Years.” Their ambitious drive is refreshing.

Hopefully, the technical director Kevin Sallwasser can get the glitches worked out this week before the show returns. The production already has a first-rate cast that it showcases fervently.

(As an aside, many a show presented in the smaller Grand Center venues has been known to have sound issues, aka at The .Zack and The Grandel. If these venues encourage stage productions, doesn’t it behoove the facilities’ powers-at-be to upgrade sound technology? We critics are beginning to sound like broken records.)

Victoria Pines as the Conductor, surrounded by the ensemble. Photo by Florence Flick.

Tesseract Theatre Company presents “My Heart Says Go” July 11 – July 21, as part of its Summer Festival of New Musicals at the Marcelle Theatre in Grand Center. Performances are July 11-13 and July 20 at 8 p.m., and July 14-21 at 4 p.m. For more information, visit www.tesseracttheatre.com

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

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

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

By Lynn Venhaus

Once upon a time, “A Funny Thing Happened on the Way to the Forum” was the gold standard of a playful musical comedy, crafted by skilled vaudevillians with the early musicality of Stephen Sondheim, who would mature into a bona fide theatrical titan. But 61 years since its debut, as seen through a modern lens, it doesn’t have the same pop it once did.

Nevertheless, New Line Theatre’s latest interpretation has several main performers nimble at slapstick and well-versed in comic timing, and the ensemble is spirited in its farcical delivery.

They try mightily to earn laughs, and it mostly succeeds – except for some problematic “frozen in time” dialogue and lyrics. Case in point – “Bring Me My Bride,” with the line: “I have no time to lose, there are towns to plunder, temples to burn and women to abuse.”

OK, I know, it’s supposed to be jokey and satirical, but…And yes, “Everybody Ought to Have a Maid” is cringy, no matter how many clever rhymes.

This 1962 smash hit was Sondheim’s first show as composer and lyricist, after breaking through as lyricist to Leonard Bernstein on “West Side Story” in 1957 and Jule Styne on “Gypsy” in 1959.

Sarah Wilkinson, Ian McCreary, Photo by Jill Ritter Lindberg

Patterned after Borscht Belt schtick and burlesque back in the day, plus a nod to its centuries-old comic roots, the bawdy material doesn’t bother some folks while others find sexual innuendo offensive.

The book, written by Burt Schevelove (“No, No Nanette”) and Larry Gelbart, creator of “M*A*S*H” who wrote for “Caesar’s Hour” (1954-57), the successor to legendary Sid Caesar’s writing stable on “Your Show of Shows,” “Forum” recalls variety show sketches du jour, often centering on nubile women as sex objects and other stereotypes.

The basic premise is taken from playwright Plautus (251 – 183 B.C.) In ancient Rome, a wily slave, desperate to earn his freedom, wants to hook up a virgin courtesan with his young master, but she has been sold to warrior Miles Gloriosus, who will arrive soon. In the meantime, another neighbor, Erronius, returns after searching for his two children, who were kidnapped by pirates.

Even with changing comedic tastes, people who have enjoyed this musical before, either in the audience or as players, look back at it fondly, because it does need a cohesive team to convey the zaniness, and that’s where the fun can be found.

Lively performers Kent Coffel, as crafty Pseudolus, and Chris Moore, as worrywart Hysterium, hatch schemes that get sillier and stickier, and mistaken identities are a key element to the humor, so is crossdressing.

Kent Coffel, Danny Brown. Photo by Jill Ritter Lindberg

The principal singers are all gifted vocalists, especially Ann Hier Brown, who plays the shrew Domina, Hero’s mom. She does effectively turn the tables on “That Dirty Old Man.”

The score’s highlight is the vigorous opening “Comedy Tonight,” a can’t miss showy number. Tragedy can wait, are you ready for some fluff?

Sarah Wilkinson, memorable in New Line’s “Nine” last March, is a sweet Philia and Ian McCreary is an earnest Hero, as the young lovers everyone is rooting for, despite all the wacky complications that ensue. Their duet of “Lovely,” is well, lovely.

A standout is Danny Brown as the swaggering brute Miles Gloriosus, surprising in his robust delivery and rugged appearance.

Without firmly landing punchlines, Robert Doyle seems miscast as the lecherous Senex and Gary Cox is the befuddled Erronius, who has returned after searching for his two children, who were kidnapped by pirates.

Lending support are Jason Blackburn as Marcus Lycus and Nathan Hakenewerth, Brittany Kohl Hester, and Aarin Kamphoefner as the Proteans.

Ann Hier Brown, Chris Moore. Photo by Jill Ritter Lindberg

Co-directors Scott Miller and Chris Kernan have fluidly staged the performers to maximize the madcap movements required, especially in frantic chase scenes.

And Rob Lippert has designed a three-house set that makes entrances and exits breezy, with lighting design by Matt Stuckel and sound design by Ryan Day.

Eileen Engel’s costume design may appear simple, with widespread togas and sandals on hand, but considering the character disguises, she had to duplicate outfits in various sizes so that the apparel would elicit laughs, too.

The conductor/keyboard player is Matthew Kauzlarich, with Kelly Austermann on reeds, Tyler Davis on cello, Ron Foster on trumpet, John Gerdes on brass, Adam Levin on trombone and Clancy Newell on percussion. Joe Simpson is music director.

“Forum” closes out New Line’s 31st season, and they have tackled demanding Stephen Sondheim works before (“Anyone Can Whistle,” “Assassins,” “Company,” “Into the Woods,” “Passion,” “Sunday in the Park with George,” and “Sweeney Todd”),

The original 1962 production of “Forum” was nominated for eight Tony Awards and won six, including best musical, producer, book, and director. Multiple Broadway revivals were well-received, in 1972 with Phil Silvers and in 1996 with Nathan Lane (and later in the run, with Whoopi Goldberg. All three actors who have opened in the role of Pseudolus on Broadway have won Best Actor Tony Awards (Zero Mostel, Silvers and Lane).

This throwback has a cast merrily cavorting on stage, zipping along to keep it from sagging, that helps carry it across the finish line. I just wish the material was fresher. This only works as a period piece, recreating an outdated style.

In recent years, New Line’s impressive choices have moved the needle on local musical offerings – especially “Something Rotten!” “Urinetown,” “Be More Chill,” “Lizzie,” “Head Over Heels,” “Bonnie and Clyde,” “Heathers,”  and others.

Proteans and Miles. Photo by Jill Ritter Lindberg.

New Line Theatre’s production of “A Funny Thing Happened on the Way to the Forum” is from June 1 to June 24, on Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, in the Grand Center Arts District.

Tickets are $25 for adults and $20 for students/seniors on the first Thursday; 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.

Discounts are available for high school students (check Facebook page for code), educators and military personnel, and college students are offered the chance to get a free seat (10 per performance) They are available only at the door, and subject to availability.

Cover Photo by Jill Ritter Lindberg

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.