1<!DOCTYPE html> 2<html lang="en"> 3 <head> 4 <title>New Line Theatre</title> 5 <meta name="description" content=""> 6 <meta name="author" content=""> 7 <meta charset="UTF-8"> 8 <meta http-equiv="X-UA-Compatible" content="IE=Edge"> 9 <meta name="viewport" content="width=device-width, initial-scale=1, maximum-scale=1"> 10 <link rel="stylesheet" href="css/bootstrap.css"> 11 <link rel="stylesheet" href="css/animate.css"> 12 <link rel="stylesheet" href="css/font-awesome.css"> 13 <link rel="stylesheet" href="css/owl.theme.css"> 14 <link rel="stylesheet" href="css/owl.carousel.css"> 15 <!-- Main css --> 16 <link rel="stylesheet" href="css/style.css"> 17 <!-- Google Font --> 18 <link href='https://fonts.googleapis.com/css?family=Poppins:400,500,600' rel='stylesheet' type='text/css'> 19 </head> 20 <body data-spy="scroll" data-offset="50" data-target=".navbar-collapse"> 21 <!-- ========================= 22 NAVIGATION LINKS 23 ============================== --> 24 <div class="navbar navbar-fixed-top custom-navbar" role="navigation"> 25 <div class="container"> 26 <!-- navbar header --> 27 <div class="navbar-header"> 28 <button class="navbar-toggle" data-toggle="collapse" data-target=".navbar-collapse"> 29 <span class="icon icon-bar"></span> 30 <span class="icon icon-bar"></span> 31 <span class="icon icon-bar"></span> 32 </button> 33 <a href="#" class="navbar-brand">New Line Theatre</a> 34 </div> 35 <div class="collapse navbar-collapse"> 36 <ul class="nav navbar-nav navbar-right"> 37 <li><a href="index.html#intro">Home</a></li> 38 <li><a href="reviews.html#reviews">Show Reviews</a></li> 39 <li><a href="reviews.html#press">Press Honors</a></li> 40 <li><a href="anniversaryPress.html">Anniversary Press</a></li> 41 <li><a href="aboutUs.html#start">About Us</a></li> 42 <li><a href="contactUs.php#start">Contact</a></li> 43 </ul> 44 </div> 45 </div> 46 </div> 47 <!-- ========================= 48 INTRO SECTION 49 ============================== --> 50 <section> 51 <img src="images/newimages/reviews.jpg" class="img-responsive"/> 52 </section> 53 <!-- ========================= 54 OVERVIEW SECTION 55 ============================== --> 56 <section id="start" class="parallax-section"> 57 <div class="container"> 58 <div class="row"> 59 <div class=" col-md-offset-2 col-md-8 col-sm-offset-1 col-sm-10" style="text-align:center;"> 60 <div class="section-title"> 61 <h2>What the Press Says</h2> 62 </div> 63 </div> 64 <div class="carousel slide" data-ride="carousel" id="quote-carousel"> 65 <!-- Bottom Carousel Indicators --> 66 <ol class="carousel-indicators"> 67 <li data-target="#quote-carousel" data-slide-to="0" class="active"></li> 68 <li data-target="#quote-carousel" data-slide-to="1"></li> 69 <li data-target="#quote-carousel" data-slide-to="2"></li> 70 <li data-target="#quote-carousel" data-slide-to="3"></li> 71 <li data-target="#quote-carousel" data-slide-to="4"></li> 72 <li data-target="#quote-carousel" data-slide-to="5"></li> 73 <li data-target="#quote-carousel" data-slide-to="6"></li> 74 <li data-target="#quote-carousel" data-slide-to="7"></li> 75 <li data-target="#quote-carousel" data-slide-to="8"></li> 76 </ol> 77 <!-- Carousel Slides / Quotes --> 78 <div class="carousel-inner"> 79 <!-- Quote 1 --> 80 <div class="item active text-center"> 81 <blockquote> 82 <div class="row"> 83 <div class="col-md-12"> 84 <p>"New Line Theatre is something special to be sure."</p> 85 <small> Tanya Seals, BroadwayWorld</small> 86 </div> 87 </div> 88 </blockquote> 89 </div> 90 <!-- Quote 2 --> 91 <div class="item text-center"> 92 <blockquote> 93 <div class="row"> 94 <div class="col-md-12"> 95 <p>
95"The little cutting-edge theater that could."</p> 96 <small>Judith Newmark, St. Louis Post-Dispatch</small> 97 </div> 98 </div> 99 </blockquote> 100 </div> 101 <!-- Quote 3 --> 102 <div class="item text-center"> 103 <blockquote> 104 <div class="row"> 105 <div class="col-md-12"> 106 <p>"St. Louis' premier company when it comes to raw-nerve theatrics."</p> 107 <small>Paul Friswold, The Riverfront Times</small> 108 </div> 109 </div> 110 </blockquote> 111 </div> 112 <!-- Quote 4 --> 113 <div class="item text-center"> 114 <blockquote> 115 <div class="row"> 116 <div class="col-md-12"> 117 <p>"Reinventing the way we perceive musicals."</p> 118 <small>Steve Allen, Stagedoor St. Louis</small> 119 </div> 120 </div> 121 </blockquote> 122 </div> 123 <!-- Quote 5 --> 124 <div class="item text-center"> 125 <blockquote> 126 <div class="row"> 127 <div class="col-md-12"> 128 <p>"The kind of experience that absolutely defines modern musical theatre."</p> 129 <small>Chris Gibson, BroadwayWorld</small> 130 </div> 131 </div> 132 </blockquote> 133 </div> 134 <!-- Quote 6 --> 135 <div class="item text-center"> 136 <blockquote> 137 <div class="row"> 138 <div class="col-md-12"> 139 <p>"So weird. So smart. So shocking. So entertaining."</p> 140 <small>Judith Newmark, St. Louis Post-Dispatch</small> 141 </div> 142 </div> 143 </blockquote> 144 </div> 145 <!-- Quote 7 --> 146 <div class="item text-center"> 147 <blockquote> 148 <div class="row"> 149 <div class="col-md-12"> 150 <p>"The Best Theatre in St. Louis."</p> 151 <small>St. Louis Magazine "A List"</small> 152 </div> 153 </div> 154 </blockquote> 155 </div> 156 <!-- Quote 8 --> 157 <div class="item text-center"> 158 <blockquote> 159 <div class="row"> 160 <div class="col-md-12"> 161 <p>"The Most Provocative Theatre in St. Louis."</p> 162 <small>Alive Magazine "Hot List"</small> 163 </div> 164 </div> 165 </blockquote> 166 </div> 167 </div> 168 </div> 169 </div> 170 </div> 171 </section> 172 <!-- ========================= 173 REVIEWS SECTION 174 ============================== --> 175 <section id="reviews" class="parallax-section"> 176 <div class="container"> 177 <div class="row"> 178 <!-- Section title 179 ================================================== --> 180 <div class=" col-md-offset-2 col-md-8 col-sm-offset-1 col-sm-10" style="text-align:center;"> 181 <div class="section-title"> 182 <h2>Show Reviews</h2> 183 </div> 184 </div>
185 <div class="wow fadeInUp col-md-offset-1 col-md-10 col-sm-offset-1 col-sm-10" data-wow-delay="0.9s"> 186 <div class="panel-group" id="accordion" role="tablist" aria-multiselectable="true"> 187 188 <div class="panel panel-default"> 189 <div class="panel-heading" role="tab" id="headingOneHundredEight"> 190 <h4 class="panel-title"> 191 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredEight" aria-expanded="false" aria-controls="collapseOneHundredEight"> 192 WE WILL ROCK YOU (2026) 193 </a> 194 </h4> 195 </div> 196 <div id="RcollapseOneHundredEight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredEight"> 197 <div class="panel-body"> 198 <p> 199âAt first glance, Ben Eltonâs jukebox musical seems like a fun romp through the catalog of Queen, a band that has sold over 300 million records worldwide. However, beneath the surface, it is something more, a satirical rallying cry against dystopian society, conformity, and corporate control. . . Boasting a dynamic cast and a kickass band, <i>We Will Rock You</i> is essential viewing. Perfect for fans of Queen and those who want their musicals tinged with plenty of sass, the show is the perfect amalgamation of driving beats, finger snaps, get down grooves, and phenomenal performances.â â Rob Levy, <i>BroadwayWorld</i> 200<br /><br /> 201âThe singing is outstanding in this New Line Theatre production, probably the best youâve heard from this company, which is saying quite a lot, looking back over the 102-show legacy of company founder (and this productionâs co-director) Scott Miller. . . This staging of <i>We Will Rock You</i> captures a primal sense of rebellion against the growing authority and repression of that time in America. In a show like this, we can easily summarize the post-60s as âfirst came Stonewall, then came the backlash, and then came Queenâ.â â Richard Green, <i>TalkinBroadway</i> 202<br /><br /> 203âAt New Line, with a great cast and excellent production values, itâs a celebration of the pure joy and energy of rock, as well as reflecting some surprisingly timely trends in culture. . . Overall, this is an immensely entertaining show, doing justice to its celebrated soundtrack and featuring a fun and excellently sung encore, as well. It holds attention from start to finish with a great theme, a first-rate cast, and of course the sound of Queen, featuring both âgreatest hitsâ and more hidden gems. If you love rockânâroll, and especially the music of Queen, you should find a lot to like here. Itâs a fine tribute to the music, the attitude, and the spirit of rock ânâ roll.â â Michell Kenyon, <i>Snoopâs Theatre Thoughts</i> 204<br /><br /> 205âNew Line Theatre closes its 34th season with a high-energy, thoroughly enjoyable rendition of the smash West End production <i>We Will Rock You</i>, an invigorating jukebox musical celebrating the irrepressible sounds of the British rock group Queen. . . Ben Eltonâs story is good enough to maintain interest between the high-octane performances of Queen tunes, something New Lineâs production consistently achieves during the showâs two-hour running time. . . Kudos to New Line for staging such an enjoyable version of this appealing and fun-filled musical extravaganza.â â Mark Bretz, <i>Ladue News</i> 206<br /><br /> 207âNew Line Theatre has put us in its debt by reviving <i>We Will Rock You</i>, the jukebox musical based on the music of Queen. I cannot recall another professional staging since the national tour came to the Fox in March 2014. Queenâs songs are entrancing in the New Line performances. . . This story is thin but works as framework for the glorious music. I seldom listen to Queen, but I adored the numbers in the show.â â Gerry Kowarsky, <i>Two on the Aisle</i> 208<br /><br /> 209âWhen a small theater company views a limited budget not as a constraint, but as a license for creativity⦠Itâs a kind of magic. New Line Theatre specializes in goofy musical comedies delivered with a distinct DIY charm. . . Their production of the Queen-centric musical <i>We Will Rock You</i> features vocal virtuosity and flamboyant creativity that would make Freddie Mercury proud. . . It is a campy, delightful night of musical theater that never takes itself too seriously.â â Rob Von Nordheim, <i>The Arts St. Louis</i> 210 </div> 211 </div> 212 </div> 213 <div class="panel panel-default"> 214 <div class="panel-heading" role="tab" id="headingOneHundredSeven"> 215 <h4 class="panel-title"> 216 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredSeven" aria-expanded="false" aria-controls="collapseOneHundredSeven"> 217 PROMENADE (2026) 218 </a> 219 </h4> 220 </div> 221 <div id="RcollapseOneHundredSeven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredSeven"> 222 <div class="panel-body"> 223 <p> 224âThis ridiculously hilarious romp is gloriously wacky. Audiences should set aside any expectations and go along for the ride. Giddy and wonderful, <i>Promenade</i> succeeds thanks to a stellar cast that relishes the ludicrousness of it all. Happily devouring scenery as they goof off, they deliver an infectious burst of musical theater. . . Raucous, crass, and gleefully off-kilter, New Line Theatreâs production of <i>Promenade</i> darts and weaves between the serious and the sublime. A funny and frivolous frolic, the show shows no signs of age as its critiques of social standing, wealth-driven buffoonery, and struggles of the poor and oppressed seem strangely relevant today. This is magical chaos.â â Rob Levy, <i>BroadwayWorld</i> 225<br /><br /> 226âNew Line Theatre is up to its old tricks again, and we should all be grateful. The companyâs last four fully staged musicals were revivals of successful shows from its past. These safe choices were understandable, given the financial challenges facing New Line and many other theaters. With its current staging of Prome<i>Promenade</i>
226nade, however, New Line reclaims its place among the boldest producers of musicals. . . In taking a chance on a provocative, seldom produced work, New Line has lived up to its billing as âthe bad boy of musical theaterâ. . . The opportunity to see this rare and historically important work should not be passed up.â â Gerry Kowarsky, <i>Two on the Aisle</i> 227<br /><br /> 228âNew Line Theatre is known for shining light on off-beat and lesser known shows, and their latest offering is one of their quirkiest yet. <i>Promenade</i> is an experimental musical from 1969 that features a catchy score and a markedly absurdist style. Itâs sharply satirical and surprisingly relevant to today, featuring a cast and creative team that have gone all-in on the absurdity, making for a thought-provoking, entertaining and challenging production that highlights the best of what New Line is about. . . <i>Promenade</i> is a show like you probably havenât seen before. Although it does fit in musically and thematically with its 1960s origin, its themes resonate a great deal to notable topics of today. Itâs a production that brings out the best of what New Line can do while satirizing some of the worst of what humanity has to offer in terms of economic disparity and abuse of power. Itâs certainly a show that will make you think, and you just might find the songs playing in your head as you leave.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 229<br /><br /> 230âDelightfully absurd, 1965âs <i>Promenade</i> is a mad tea party in act one and a sprawling, nutty gadabout in act two. You keep shaking it like a Christmas present, going crazy trying to figure out whatâs inside. But a playful nonsense rules the day. . . âWhat does it mean, and where is it going?,â I kept asking myself during this production. Those questions become the ultimate joke in a show thatâs gleefully evasive, where powerful idiots delight in flummoxing one another, as the powerless sneak in for a closer look. . . The whole show comes along at exactly the right moment, with its unexplained war and our own wealth gap at the worst itâs been since the French Revolution. And every wise word twisted into ridiculous nonsense. What a surprising relief, finally, to be able to laugh at it all.â â Richard Green, <i>TalkinBroadway</i> 231<br /><br /> 232âNew Lineâs production of <i>Promenade</i> is lighting in a bottle. If this were helmed by a lesser crew, it would have crashed and burned. . . New Line makes it look easy, effortless, accessible even. And itâs all thanks to an enthusiastic cast, a lush jazz combo, creative visuals, and great directing. . . If this is going to be the only chance to see <i>Promenade</i>, for at least a long while, I implore you to run, like a Maypole in a war zone, to the Marcelle Theater for this potentially once-in-a-lifetime opportunity.â â Jack Janssen, <i>Jack Reviews Musicals</i> 233<br /><br /> 234âNew Line Theater bills itself as the âbad boy of musical theater,â and that is hilariously true in the case of its current production, <i>Promenade</i>, a delightfully satiric absurdist musical that is as tuneful and hummable as any Iâve heard in years. When I first read the musicalâs description, an off-Broadway absurdist musical comedy hit from 1969 with book and lyrics by Maria Irene Fornes and music by Al Carmines, which was beloved by critics and is now considered a classic, although somewhat puzzling to audie
234nces at the time, I was intrigued. What I didnât expect was that <i>Promenade</i> would be so incredibly funny and completely entertaining. . . Kudos to New Line for bringing back this delightful, sharp musical back from the past. The cast and staff all deserve praise for this well-staged, wonderfully performed production, a delight that can be enjoyed more than once.â â Cate Marquis, <i>Marquee by Marquis</i> 235<br /><br /> 236âA theatrical treat: New Line Theatre dusts off the rare absurdist comedy <i>Promenade</i>.â â Mark Bretz, <i>Ladue News</i> 237<br /><br /> 238â<i>Promenade</i> is well-staged at New Line. The artistic choices and collaboration of the directors, actors, and designers enhance the colorfully aesthetic production.â â James Lindhorst, <i>St. Louis Arts Scene</i> 239 </div> 240 </div> 241 </div> 242 <div class="panel panel-default"> 243 <div class="panel-heading" role="tab" id="headingOneHundredSix"> 244 <h4 class="panel-title"> 245 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredSix" aria-expanded="false" aria-controls="collapseOneHundredSix"> 246 BAT BOY (2025) 247 </a> 248 </h4> 249 </div> 250 <div id="RcollapseOneHundredSix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredSix"> 251 <div class="panel-body"> 252 <p> 253âDirectors Scott Miller and Chris Moore lean into the camp and give their cast license to milk every bit of the ridiculous weirdness from the story. Their lively direction and the castâs animated all-in portrayals make for absurdly bizarre storytelling about a societal misfit. The co-directorsâ exaggerated, over-the-top staging is delightfully self-aware, and the cast is in on the joke. No one takes the narrative too seriously, but all are seriously immersed in amusingly extreme characterizations. . . Directors Miller and Moore empowered the entire company to throw themselves into excessively dramatic, flamboyant, tacky, and genuinely funny portrayals â and that they did. <i>Bat Boy</i> knows what it is trying to be. While not a literary work of art or musically eloquent, itâs a horror camp fest with heart. It is a darkly humorous and satirical look at an outcast who desperately wants to belong to a society that wants to ostracize him. New Line Theatreâs production of <i>Bat Boy</i> is a fun diversion this Halloween Season.â âJames Lindhorst, <i>St. Louis Arts Scene</i> 254<br /><br /> 255âLaurence OâKeefeâs savory mix of a score for <i>Bat Boy</i> goes from the opening anthem-like âHold Me, Bat Boyâ to the witty lyrics of the hopeful âLet Me Walk Among You,â with a mix of pop and rock, light and dark, serious and tongue-in-cheek along the way. . . with much that is moving and little that is mocking, a better balance than in any other production of this musical that I have seen. For that I also thank the Directors Scott Miller and Chris Moore and Music Director Jason Eschhofen.â â Bob Wilcox, <i>Two on the Aisle</i> 256<br /><br /> 257âUnder the direction of Scott Miller and Chris Moore New Line has put a lot of energy into this production, which features striking production elements and a strong, enthusiastic cast of local performers. . . The overall darkly comic energy is handled with entertaining enthusiasm. This is a show that has a lot of laughs and a few cringey horror moments, but also a palpable message warning against the dangers of judging people based on appearance and preconceived notions. Itâs alternately creepy, haunting, offbeat, and deliberately sensationalist, with some crass humor and suggestive themes. <i>Bat Boy</i> strikes just the right tone for this time of year, and itâs a good start to a new season for New Line.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 258<br /><br /> 259âNew Line Theatre opens its 34th season with an energetic rendition of a musical itâs presented twice before in 2003 and 2006. A new cast brings a fresh perspective to the show while realizing its musically diverse cautionary tale. . . New Line founder and artistic director Scott Miller and his co-director, Chris Moore revisit the companyâs earlier success with this weird but engaging tale, featuring a variety of musical motifs. The cast fully invests in their characters, bringing out both the physical comedy and touching drama. . . <i>Bat Boy</i> is a fun show for the Halloween season, especially when produced by a director who knows and understands the material as well as Miller. Youâll be humming âHold Me, Bat Boyâ on your way out of the theater.â â Mark Bretz, <i>Ladue News</i> 260<br /><br /> 261âUnderneath the comedy, and despite the tabloid sensationalism about the lead character, <i>Bat Boy</i>, written by Keythe Farley and Brian Fleming with music and lyrics by Laurence OâKeefe, offers a lesson in acceptance and kindness. While itâs highly improbable that anyone in the audience has or will ever see someone who is mostly human but part bat, we are likely to encounter are people who look strikingly different than us. It is often too easy to dismiss or disparage people who donât fit societyâs cookie-cutter norms when we should be more like Mrs. Parker and show kindness, not judge people harshly simply because of their looks. Thatâs a lesson we can all take to heart and New Line Theatre delivers the message with surprising heart as well as good humor. The musical is a lot of fun and a surefire hit that will appeal to mature audiences, especially those who enjoy their musicals with a little blood and a touch of horror story suspense.â â Tina Farmer, <i>
261Mound City Messenger</i> 262 </div> 263 </div> 264 </div> 265 <div class="panel panel-default"> 266 <div class="panel-heading" role="tab" id="headingOneHundredFive"> 267 <h4 class="panel-title"> 268 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredFive" aria-expanded="false" aria-controls="collapseOneHundredFive"> 269 RENT (2025) 270 </a> 271 </h4> 272 </div> 273 <div id="RcollapseOneHundredFive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredFive"> 274 <div class="panel-body"> 275 <p> 276âOne hundred sprigs of life burst forth in a great new revival of <i>Rent</i> at New Line Theatre, in the groupâs 100th production. Somehow, this desperate patch of Gotham becomes filled with romantic hope and beautiful song, in spite of all the melancholy. . . I hadnât seen <i>Rent</i> all the way through in a while, not since a highly proficient but mechanical touring production blew through town some fifteen years ago. But for me, in terms of perfect comprehensibility and a kind of symbolic purity on every level, this time really felt like the first.â â Richard Green, <i>TalkinBroadway</i> 277<br /><br /> 278âNew Line Theatreâs production, I am thankful to say, is totally respectful of Jonathan Larsonâs masterwork, giving <i>Rent</i> a mounting thatâs gritty, thatâs raw, thatâs cheerful in how raucous it is, thatâs totally rockinâ, and even quite elegant in a lot of ways. . . Literally everything about New Lineâs production feels like this amazing cosmic convergence. It canât be duplicated. Itâs an incredibly unique production.â â Jak Janssen, <i>Jack Reviews Musicals</i> 279<br /><br /> 280â<i>Rent</i>? Yes, <i>Rent</i> again. But <i>Rent</i> done as it should be and better than ever. . . I have a new appreciation for what Larson has done and a renewed enjoyment of <i>Rent</i>. . . This New Line production helped me to appreciate <i>Rent</i> again.â â Bob Wilcox, <i>Two on the Aisle</i> 281<br /><br /> 282âNew Line Theatreâs production embraces these universal themes in an intimate production that captures the musicalâs conflicting emotions with raw honesty. . . with relevant themes and truly unforgettable songs, <i>Rent</i> is a sometimes messy, always compelling must-see show thatâs a fitting celebration of the companyâs legacy.â â Tina Farmer, <i>
282Mound City Messenger</i> 283<br /><br /> 284âThis highly entertaining immersive production, further enhanced my love of Larsonâs award winning work. New Line Theatreâs entertaining production is very well done. New Line staged <i>Rent</i> in their 2013-14 season, and this revival gives its audience another opportunity to experience <i>Rent</i> in an intimate setting. Seeing this piece in a small black box theater added to the storyâs powerful emotional impact. . . New Line Theatreâs absorbing production of <i>Rent</i> is fresh, feels new, and rejuvenates the appreciation of Larsonâs Pulitzer Prize and Tony winning musical. Itâs intensely enjoyable for <i>Rent</i>-heads, and a good reminder for those lukewarm on the piece why <i>Rent</i> became a musical theatre phenomenon.â â James Lindhorst, <i>St. Louis Arts Scene</i> 285<br /><br /> 286âNew Line is presenting a season of musicals the theater has previously performed in its illustrious, 35-year history; and returns to <i>Rent</i>, which the company first produced in 2014, for its 100th production. Itâs an inspired choice, as this version of <i>Rent</i> is intimate and direct, a soaring triumph for artistic director Scott Miller and his committed cast, designers and crew. . . This presentation of <i>Rent</i> is a wondrous, exhilarating gift.â â <i>Mark Bretz, Ladue News</i> 287<br /><br /> 288âThereâs a lot of urgency and relatability to be seen here, as evidenced by New Lineâs new production directed by Scott Miller and Chris Moore, featuring a strong cast and excellent visuals and musical accompaniment. . . If you love <i>Rent</i>, youâll probably love this production. Even if you havenât seen the show before, or even had a negative experience, I would recommend checking out this heartfelt, well-cast and especially well-sung staging. Itâs a timeless classic with a timely immediacy that brings out the passion and energy for which this show is known and celebrated.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 289 </div> 290 </div> 291 </div> 292 <div class="panel panel-default"> 293 <div class="panel-heading" role="tab" id="headingOneHundredFour"> 294 <h4 class="panel-title"> 295 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredFour" aria-expanded="false" aria-controls="collapseOneHundredFour"> 296 THE ROCKY HORROR SHOW (2025) 297 </a> 298 </h4> 299 </div> 300 <div id="RcollapseOneHundredFour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredFour"> 301 <div class="panel-body"> 302 <p> 303âWhat an entertaining romp! . . . This current production of <i>The Rocky Horror Show</i> at New Line Theatre offers a rollicking sense of nostalgia. . . delightful fun for any of the legions of fans whoâve seen the movie dozens of times. Itâs an entertaining, smile inducing diversion that will bring back many zany memories of late nights in a movie theater with your closest friends.â â James Lindhorst, KDHX 304<br /><br /> 305âNew Line proves <i>Rocky Horror</i> still has what it takes. New Line Theatreâs current season highlights musicals previously performed in its illustrious, 35-year history, revisiting <i>The Rocky Horror Show</i> with a blend of seasoned veterans and newcomers in its first performance of the cult classic since 2002. Now, as then, founder Scott Miller finds both the humor and social commentary in Richard OâBrienâs enduring masterpiece. . . If youâve never viewed the original stage version of that campy sensation, New Lineâs straight-ahead salute to OâBrienâs long-lasting masterpiece is a fitting introduction.â â Mark Bretz, <i>Ladue News</i> 306<br /><br /> 307âNew Line Theatreâs delightful production of <i>The Rocky Horror Show</i> is unusually fresh...â â Gerry Kowarsky, <i>Two on the Aisle</i> 308<br /><br /> 309âThe enduring much-revered fan-favorite musical <i>The Rocky Horror Show</i> is being produced by New Line Theatre after the company first staged the daring cult smash hit 23 years ago. But itâs not a rewind. This time, a playful cast interprets the original live stage show, which varies slightly from the raucous cult classic 1975 movie <i>The Rocky Horror Picture Show</i>, and may provide a fresh perspective in this changing current climate (as in catch it now before Missouri legislators may outlaw it). . . These days, a rebel yell is good for the soul, as more conservative viewpoints sweep the land, wanting to control what you read and watch, and wishing life were a â50s
309sitcom dream. Anyone not wanting to conform to outdated social mores and go back, those who can take a joke, could get fired up at <i>The Rocky Horror Show</i>. Just saying.â â Lynn Venhaus, <i>PopLifeSTL</i> 310<br /><br /> 311âThatâs what New Line was aiming for with this production, to return <i>Rocky Horror</i> to its raw, essential form. . . They make the show feel like an immersive rock concert. . . All the actors are simply terrific. Vocally they sound great, they do justice to these great songs, but at the same time they craft their own unique interpretations of these characters, who are already unforgettable, and find new layers to them that make us love them even more. . . New Line went the extra mile to make <i>The Rocky Horror Show</i> feel like a vital piece of theatre.â â Jack Janssen, <i>Jack Reviews Musicals</i> 312<br /><br /> 313âEspecially if youâre into dark, campy, raunchy homages of old B-style sci-fi and horror, or if youâre curious to see what everyone has been talking about, this show is worth seeing at least once. At New Line, the production takes a âback to basicsâ approach that is focused on capturing the independent, small-theatre vibe that the original stage show had back when it first opened. . . This is the second show in a season of repeat productions for New Line, and it entertains with energy and campy, creepy style.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 314<br /><br /> 315âThe bad boy of musical theatre, New Line Theatre, focuses on the elements that matter in a thoroughly entertaining production of <i>The Rocky Horror Show</i>. The musical is a bawdy, upbeat, and essentially sex positive sci-fi thriller with moments of delightfully over-the-top theatricality, a commitment â but not obsession â to the original, and a touch of space-age mutiny thatâs easy to embrace, lightly subversive fun. . . theatergoers who enjoy well-performed high-camp, bawdy romps, catchy songs, subterfuge, and a humorously memorable sci-fi romantic comedy plot shouldnât miss New Line Theatreâs <i>The Rocky Horror Show</i>.â â Tina Farmer, <i>
315Mound City Messenger</i> 316 </div> 317 </div> 318 </div> 319 320 <div class="panel panel-default"> 321 <div class="panel-heading" role="tab" id="headingOneHundredThree"> 322 <h4 class="panel-title"> 323 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredThree" aria-expanded="false" aria-controls="collapseOneHundredThree"> 324 AMERICAN IDIOT (2024) 325 </a> 326 </h4> 327 </div> 328 <div id="RcollapseOneHundredThree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredThree"> 329 <div class="panel-body"> 330 <p> 331âNew Line Theatreâs latest revival of Green Dayâs punk rock musical <i>American Idiot</i> vastly exceeds its 2016 production on every level. Co-directed by Chris Moore and company founder Scott Miller, this new staging feels more alienated, more rebellious, and a hundred times more nuanced in its singing and acting than the last. . . Now the lyrics seem almost like glaciers â not so much to see âon the surface,â but with the great mass of their meaning lying deep within the characters brought on to the stage this time. . . This is New Lineâs 98th production and, in the post-COVID era, Scott Miller has been quietly experimenting with his companyâs DNA, bringing in various talented new co-directors and choreographers. Each time itâs looked like a great collaboration. And itâs shocking, to a critic, to watch a venerable St. Louis company like this step boldly into a new era of dynamic clarity and artistic expression.â â Richard Green, <i>TalkinBroadway</i> 332<br /><br /> 333âNew Line Theatreâs 33rd season begins with an energetic and angsty <i>American Idiot</i>. . . These songs, performed with vigor by a talented ensemble and backed by a take-no-prisoners band, form the backbone of the production. . . This masterful staging of <i>American Idiot</i> from directors Chris Moore and Scott Miller feeds off of the 2000s vibe of governmental distrust, dystopian fear and youthful agitation and freshens it up. As a result, audiences are treated to a moving contemporary parable that speaks to audiences from across the decades.â â Rob Levy, <i>BroadwayWorld</i> 334<br /><br /> 335âFledgling New Line Theatre director Chris Moore, along with founding artistic director and co-director Scott Miller, tap into the rich reservoir of rocking tunes by Green Day in an infectious, electrifying rendition of Green Dayâs <i>American Idiot</i> musical. The production features a litany of pulsating numbers guaranteed to energize its audience. . . Music director John Gerdes leads the magnificent New Line Band as it delivers the musical goods, and more, with rhythm and panache.â â Mark Bretz, <i>Ladue News</i> 336<br /><br /> 337âAn electric cast brings to life Green Dayâs turbo-charged punk rock opera <i>American Idiot</i>, accompanied by an exceptional group of eight musicians whose propulsive rhythms invigorate New Line Theatreâs 98th production. . . New Line first presented this youthful alienation statement as a regional premiere in 2016, and with a fresh crop of performers, has turned the Marcelle Theater into a scorching experience that ramps up passion and urgency. Heads will be banged. . . This cast shows their bond as mostly Gen Zâers presenting a specific era. Itâs hard to think of <i>American Idiot</i> as a period piece, for it remains relevant with its blistering screeds and hopeful ballads. With a complexity that you may not have thought about while hearing the music in radio play or through sound systems, <i>American Idiot</i> shakes things awake in a rant against complacency and manipulation â and that can be heard loud and clear at any age.â â Lynn Venhaus, <i>PopLifeSTL</i> 338<br /><br /> 339âTwo things are immediately apparent in the opening number of this excellent staging. First, the sound achieves a fine balance between the voices and the eight-piece New Line band â no small matter in a sung-through show in which the lyrics advance the story. Second, the anarchic drive of Chelsie Johnstonâs choreography and Chris Moore and Scott Millerâs direction establishes the right atmosphere for a musical about aimless, disaffected suburban youths. The staging and choreography are continually responsive to the showâs demands. . . The New Line staging features fine characterizations and singing.â â Gerry Kowarksy, <i>Two on the Aisle</i> 340<br /><br /> 341âThe casting is excellent, led by dynamic performances from Clayton Humburg as the thrill-seeking Johnny, DeAnté Bryant as the aimless Will, and especially Rafael Da Costa as the initially directionless but eventually profoundly devastated Tunny. All three have strong voices and presence, carrying their numbers with clarity and authenticity. . . If you love Green Day, youâll probably enjoy <i>American Idiot</i>. Even if you are not as familiar with the band and their music, however, there is a compelling, well thought-out message here, even though it does have its flaws. In terms of the production itself, this is another strong effort from New Line Theatre, proving that revivals can be just as effective as their original productions, and sometimes even more so.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 342<br /><br /> 343âNew Line Theatre doesnât fool around, delivering a raw, punky <i>American Idiot</i>. . . This production captures the raw energy and pop-punk spirit of young people railing self-destructively against the world through drugs, sex and rock ân roll.â â CB Adams, KDHX 344 </div> 345 </div> 346 </div> 347 348 <div class="panel panel-default"> 349 <div class="panel-heading" role="tab" id="headingOneHundredTwo"> 350 <h4 class="panel-title"> 351 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredTwo" aria-expanded="false" aria-controls="collapseOneHundredTwo"> 352 DRACULA (2024) 353 </a> 354 </h4> 355 </div> 356 <div id="RcollapseOneHundredTwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredTwo"> 357 <div class="panel-body"> 358 <p> 359âNew Line Theatreâs production of <i>Dracula the Musical</i>, from 2001, looks and sounds great. . . . And now in St. Louis, 20 years after that, this new Dracula is irresistible in overcoming women, and anyone else, if you ask me, in a local premiere.â â Richard Green, <i>TalkinBroadway</i> 360<br /><br /> 361âA marvelously entertaining show. . . the production is highly entertaining and a gorgeously sensual gothic tale suitable for most audiences.â â Tina Farmer, <i>The Riverfront Times</i> 362<br /><br /> 363âNew Lineâs production of <i>Dracula</i> is an entertaining guilty pleasure thanks to the significant chemistry among the principal actors, the vocal performances of the cast, and the macabre choreography, set and lighting design. . . New Line Theatreâs musical production of <i>Dracula</i> would especially appeal to fans of the horror genre. It is more mysterious than scary with the central plot focusing on Draculaâs obsession with Mina and her inability to resist the handsome monster. Itâs the performances, charisma, and chemistry that make this production sing.â â James Lindhorst, KDHX 364<br /><br /> 365âWhile there are no fangs or blood in New Line Theatreâs production of <i>Dracula</i> that doesnât mean the show has no bite. It has. Finishing the companyâs 32nd season, this alluring redux of Bram Stokerâs literary classic emerges from the shadows to give audiences an emotionally charged musical with plenty of chilling moments. . . New Line Theatreâs emotional reimagining works because it prioritizes the humanity of Dracula and his lost souls over splattered bodies and gory cliches. Light on special effects but heavy on heartache, <i>Dracula</i> is the perfect amalgam of tightly-paced drama and Gothic horror. As a result, this tale of a vampireâs lust and loss captivates audiences with an evocative production filled with top-notch performances and excellent singing.â â Rob Levy, <i>BroadwayWorld</i> 366<br /><br /> 367âWhile vampires are still not my favorite, I canât deny that this is a well-done show, with excellent production values, a striking aesthetic, a great c
367ast, and the excellent singing Iâve come to associate with New Line. I imagine that anyone who loves classic horror tales, and particularly vampire tales, will love this show. . . The look, sound, and atmosphere of this production is top-notch, especially considering the relatively small space at The Marcelle.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 368<br /><br /> 369âThe children of the night are making some lusty music in the musical <i>Dracula</i>, a different take on the gothic horror classic whose folklore has become a pop culture staple. Lush voices soar in a foreboding dark shadow setting, with New Line Theatre putting their own stamp on a stripped down, impressionistic version of Frank Wildhornâs much-maligned 2004 Broadway musical that has since been heavily revised and became a hit overseas. . . this very dramatic musical version combines alluring romance with an unsettling thriller narrative.â â Lynn Venhaus, <i>PopLifeSTL</i> 370 </div> 371 </div> 372 </div> 373 374 <div class="panel panel-default"> 375 <div class="panel-heading" role="tab" id="headingOneHundredOne"> 376 <h4 class="panel-title"> 377 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundredOne" aria-expanded="false" aria-controls="collapseOneHundredOne"> 378 SWEET POTATO QUEENS (2024) 379 </a> 380 </h4> 381 </div> 382 <div id="RcollapseOneHundredOne" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundredOne"> 383 <div class="panel-body"> 384 <p> 385âItâs a heartfelt and occasionally bawdy affair. But you could still bring your mother. . . A local premiere of an emotionally detailed and authentically acted show based on the best-selling novels of Jill Conner Browne. . . On balance, I think Iâd rather see a charmingly traditional show like this, done by a vehemently non-traditional group like New Line Theatre, instead of the other way around. Scott Millerâs ensemble always gets the serious psychological ephemera fully mapped out. . . A little genuine love and good cheer, from a typically acerbic company like this, goes a long way.â â Richard Green, <i>TalkinBroadway</i> 386<br /><br /> 387âFeel-good musicals have the power to lift us up even when the characters and situations are far from our own experience. Such is the case with <i>Sweet Potato Queens</i> from New Line Theatre. The often laugh-out-loud funny musical about self-acceptance and finding your place in the world is a fluffily tenderhearted, uplifting show that thoroughly entertains. . . Too often, stories of empowerment, particularly womenâs empowerment, can come across as preachy, judgmental or unattainable. Fortunately, <i>Sweet Potato Queens</i>, directed by Scott Miller and Tony L Marr Jr. and based on the book series by Jill Conner Browne, takes a different, more relatable path thatâs satisfying and light. The characters are realistically human and imperfect; their determination to thrive is uplifting and emotionally connected, reflecting the universal desire to be loved for being you. If youâre in need of a good time thatâs guaranteed to perk up your spirits, you should make plans to join the SPQ parade.â â Tina Farmer, <i>The Riverfront Times</i> 388<br /><br /> 389âNew Line Theatreâs new production sparkles with warmth, humor and an easy-going approach to the accessible score, a winning combination for the troupeâs appreciative audiences. . . Thereâs a sweetness at the core of <i>Sweet Potato Queens</i> as Talichia Noah tells Jill Connor Browneâs rags-to-riches story in most agreeable fashion. Come on down and set a spell with these good-natured folks. Youâll be glad you did.â â Mark Bretz, <i>Ladue News</i> 390<br /><br /> 391âA sweet-and-salty nutty mixed bag of brash gal pals and scummy exes who didnât deserve them, <i>Sweet Potato Queens</i> sets a table for women to be proud and live out loud, no matter their lot in life. . . While the uninitiated may think the spotlighted women fall into Southern stereotypes, it is
391wise not to go there, for do not underestimate their wit, smarts, and resilience. These are not tsk-tsk yokels from another branch of the family tree or plucked fresh from the cabbage patch to be laughed at â you will laugh with them because they find out who they are and are OK with that.â â Lynn Venhaus, <i>PopLifeSTL</i> 392<br /><br /> 393â<i>Sweet Potato Queens</i> seems at once like an ideal show for New Line Theatre as well as being a bit of a surprise. . . Overall, <i>Sweet Potato Queens</i> at New Line is an entertaining, energetic, in-your-face ode to female empowerment. . . at New Line, the enthusiastic performers put their all into this tale full of over-the-top, occasionally raunchy Southern humor with a few well-placed moments of poignancy along the way. Itâs an enjoyable evening with a memorable cast.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 394 </div> 395 </div> 396 </div> 397 398 <div class="panel panel-default"> 399 <div class="panel-heading" role="tab" id="headingOneHundred"> 400 <h4 class="panel-title"> 401 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseOneHundred" aria-expanded="false" aria-controls="collapseOneHundred"> 402 JESUS & JOHNNY APPLEWEED'S HOLY ROLLIN' FAMILY CHRISTMAS (2023) 403 </a> 404 </h4> 405 </div> 406 <div id="RcollapseOneHundred" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingOneHundred"> 407 <div class="panel-body"> 408 <p> 409âChristmas gets a wacky, if pungent, new look in <i>Jesus & Johnny Appleweedâs Holy Rollinâ Family Christmas</i>, a musical comedy having its world premiere at The Grandel Theatre in St. Louis. New Line Theatre producer and co-director Scott Miller wrote the very pro-marijuana show, with musical orchestrations by John Gerdes. And it features an impressive range of Mr. Millerâs original songs, many of which fall into a ravishing âcool jazzâ style. <i>Jesus & Johnny Appleweedâs</i> ... is a story that manages to feel revolutionary, with some arch, comical family conflict. But it also gets us surprisingly high on the Christmas spirit, without a trace of second-hand smoke. . . and when the power of the singing matches the subtle â50s jazziness of the music, the show floats giddily along. . . Itâs funny that you can take this much-less traveled road to guaranteed Christmas cheer, and get there all the same. The original music is very impressive, blending with sometimes pointed satire for a snarky (and oddly charming) holiday event.â â Richard Green, <i>Talkinâ Broadway</i><br /> 410<br /> 411âWhat if Seth Rogen, Charles Dickens, Andrew Lloyd Webber, Cheech and Chong, Christopher Hitchens, Hunter S. Thompson, and John Waters decided to have a baby? If you placed their DNA in some sort of invitro Vitamix and hit the frappe button, one of the resulting octuplets might become Scott Miller, artistic director of New Line Theatre, who goes on to write the book, music and lyrics for the mildly subversive <i>Jesus & Johnny Appleweedâs Holy Rollinâ Family Christmas</i>. . . a welcome â if salty â palate cleanser from some of the holiday seasonâs other truly family-friendly options.â â CB Adams, KDHX <br /> 412<br /> 413âA hilarious trip. Holiday revelers and partiers looking to take their celebrations to new highs should plan to pop into The Grandel Theatre for New Line Theatreâs original holiday musical spoof <i>Jesus & Johnny Appleweedâs Holy Rollinâ Family Christmas</i>. . . . The show is not for everyone, and is definitely not for children. However, itâs an upbeat musical spoof with a plethora of pointed satire underneath the holiday haze. For those looking for abundant laughs that gently but consistently poke fun at the season and social norms, <i>Jesus and Johnny Appleweedâs Holy Rollinâ Family Christmas</i> is a great choice.â â Tina Farmer, <i>The Riverfront Times</i><br /> 414<br /> 415âNew Line Theatreâs new musical, <i>Jesus & Johnny Appleweedâs Holy Rollinâ Family Christmas</i>
415, is a pot-laced Dickensian-Cheech & Chong-esque Holiday spoof that is reminiscent of when <i>Saturday Night Live</i> was in its heyday and was actually funny. . . Itâs an irreverent musical comedy chock-full of laughs. While most of the jokes are related to changing times 7-decades ago, you donât have to be a baby boomer to understand and appreciate Millerâs hysterical script. If youâre looking for funny, adult-themed holiday entertainment that is a complete diversion from more traditional holiday fare, <i>Jesus & Johnny Appleweedâs Holy Rollinâ Family Christmas</i> will certainly add some laughs to your holiday entertainment.â â James Lindhorst <i>BroadwayWorld</i><br /> 416<br /> 417âFounder and artistic director Scott Miller reprises his <i>Johnny Appleweed</i> character in the world premiere of his new musical romp, <i>Jesus & Johnny Appleweed's Holy Rollin' Family Christmas</i>, a fun-filled lampoon of Christianity, middle America and the straight-laced culture of the 1950s. . . This isnât your familyâs traditional Christmas story, if your family is that 'heteronormative' type described in the showâs second number. Itâs likely however to become a New Line favorite.â â Mark Bretz, <i>Ladue News</i><br /> 418<br /> 419âAt first glance, the daffy <i>Jesus & Johnny Appleweedâs Holy Rollinâ Family Christmas</i> takes us back to the fuddy duddy â50s, with the on-stage stylings of TV sitcom land when dads ruled the roost and moms vacuumed wearing pearls. But itâs far more subversive than that. . . As a tongue-in-cheek response to the War on Drugs and the Culture Wars, writer Scott Miller uses clever cultural references to make it clear how the bygone era, complete with hearty laugh-track type guffaws, was a white-bread wonderland where a middle-class suburban family has blinders on regarding diversity, inclusion, and sexual orientation. . . this resembles the audacious dark comedy material that John Waters and Charles Busch specialize in.â â Lynn Venhaus, <i>PopLifeSTL</i><br /> 420<br /> 421âNew Line is a theatre company thatâs not afraid of taking risks. Theyâve staged some excellent, smaller-scaled productions of musicals from the well-known to the obscure, and occasionally, like with their latest production, original works. Their latest production, written and co-directed by New Lineâs artistic director Scott Miller, is a holiday show with a twist. . . The cast members seem to be enjoying themselves a great deal, and there are some memorable moments and an excellent sense of theme. If you like crass humor, and especially stoner jokes, this show should be a fun âalternativeâ holiday production.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i> 422 </div> 423 </div> 424 </div> 425 426 <div class="panel panel-default"> 427 <div class="panel-heading" role="tab" id="headingNinetyNine"> 428 <h4 class="panel-title"> 429 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetyNine" aria-expanded="false" aria-controls="collapseNinetyNine"> 430 A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (2023) 431 </a> 432 </h4> 433 </div> 434 <div id="RcollapseNinetyNine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetyNine"> 435 <div class="panel-body"> 436 <p> 437 âProducer and co-director Scott Miller embraces the later, greater Sondheim, in spite of the chronology, to reimagine a new <i>Forum</i>. And as if by magic, or science, a musical lineage from shows like <i>Sweeney Todd</i> and <i>Into the Woods</i> seems to lead us backward into <i>Forum</i> â almost as if Mr. Miller and co-director/choreographer Chris Kernan were predicting all the great plays to come, from an earlier, less highly regarded musical. Mr. Miller once again finds the full clarity and complexity of Sondheimâs music and musings, and that, as they say, turns out to be the âstarâ of our show in this particular case. . . Their efforts pay off in the immaculate clarity of music and lyrics, in songs we can suddenly recognize as true to the overall legacy.â â Richard Green, <i>Talkinâ Broadway</i><br /> 438<br /> 439âSince 1991 Scott Millerâs New Line Theatre has been pumping out brilliant productions of edgy, mostly very modern musicals. Occasionally theyâll revive a grand old classic (e.g., <i>Anything Goes</i>, from the â30s). But now theyâre going way, way back. <i>A Funny Thing Happened on the Way to the Forum</i> premiered in 1962. And it reaches back twenty-two centuries! Stephen Sondheim, Burt Shevelove and Larry Gelbart picked juicy plot devices and characters from the Roman playwright Plautus. Plautus himself stole from what the earlier Greeks called âNew Comedyâ. To us it looks a lot like the old Borscht Belt and Vaudeville comic sketches. This is truly time-tested comedy. And at New Line itâs still dazzlingly funny! . . . The entire cast is strong. . . Itâs another bright success for directors Scott Miller and Chris Kernan.â â Steve Callahan, KDHX<br /> 440<br /> 441âNew Line Theatreâs production <i>A Funny Thing Happened on the Way to the Forum</i> succeeds due to Scott Millerâs directorial vision and the comedic t
441iming of Millerâs strong cast. There are plenty of laughs in the First Act, but the second act builds to a crescendo of complete hilarity. . . downright madcap. . . keeps the audience laughing nonstop . . . big laughs throughout the show.â â James Lindhorst, <i>BroadwayWorld</i><br /> 442<br /> 443Co-director Scott Miller, founder and artistic director of New Line Theatre, does justice to his musical muse, Stephen Sondheim, with this well-paced, often hilarious and downright entertaining presentation of one of Sondheimâs earliest successes. . . New Lineâs two-act, two-hour version delivers steady doses of comedy, with liberal sprinklings of delightful tunes. . . âTragedy tomorrow, comedy tonightâ sing Pseudolus and company at the showâs opening, and comedy they deliver with hearty flair.â â Mark Bretz, <i>Ladue News</i><br /> 444<br /> 445âIt does have its dated elements, but at New Line, as usual, there are some new perspectives that emerge. For the most part, this is a show that revels in its humor, and at New Line, the focus is on the strong singing of Stephen Sondheimâs memorable score. . . New Line has become adept at scaling shows down for its venue, as well as bringing out nuances in stories that bigger productions can gloss over. . . New Lineâs production is a lot of fun, with its small scale again working in its favor. Itâs an enjoyable production especially for fans of Stephen Sondheim, goofy comedy, and great singing.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i><br /> 446<br /> 447âEven with his reduced forces, Miller has made the climactic chase scene as funny and convincing as I have ever seen it. I donât know a musical comedy that has more wild and crazy joy in it than this one. . . Thanks to the work of all New Lineâs artists of the theatre, I once again had a lovely time at <i>A Funny Thing Happened on the Way to the Forum</i>.â â Bob Wilcox, <i>Two on the Aisle</i> 448 </div> 449 </div> 450 </div> 451 452 <div class="panel panel-default"> 453 <div class="panel-heading" role="tab" id="headingNinetyEight"> 454 <h4 class="panel-title"> 455 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetyEight" aria-expanded="false" aria-controls="collapseNinetyEight"> 456 NINE (2023) 457 </a> 458 </h4> 459 </div> 460 <div id="RcollapseNinetyEight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetyEight"> 461 <div class="panel-body"> 462 <p> 463 âA powerful journey of self-exploration and introspection through the mind of an artist. . . The entire cast is truly fantastic. . . <i>Nine</i> is a fascinating look inside the mind of an artist, and both the inspiration and demons they face throughout their career. Filled with wonderful melodies and terrific performances, itâs an entertaining introspective that will keep audiences engaged from start to finish. You donât have to see the original film to enjoy it, but chances are that you will want to by the end of the show.â â Kevin Brackett, <i>ReviewSTL</i><br /> 464<br /> 465âA spare but beautifully done stage musical revival in St. Louis, directed by New Line Theatreâs brainiac founder Scott Miller and energetic co-director and choreographer Chris Kernan. As youâd expect from New Line, itâs all lavishly sung, with a Cinemascopic eye for the period style, at the Marcelle Theatre. Sly and seductive, with all the psychological complexity you could ask for, this <i>Nine</i> is a lot more fun than Iâd ever figured on. . . itâs flirty and confident and fun. In the beginning of <i>Nine</i>, Guido is the maestro, conducting the women. But by the end of this smart, spirited musical, itâs pretty clear these women have turned the tables on him.â â Richard Green, <i>Talkinâ Broadway</i><br /> 466<br /> 467âThankfully, New Line Theatre has now given me and others the chance to see this unusual, fascinating show, which is ideal for this theatre company, known for its bold choices and excellent production quality, and especially great singing. . . There is also some of the best, most intricate ensemble singing I have heard at New Line, and with this company, thatâs saying something. . . itâs staged and sung so well as to make audiences want to pay attention, and to ponder the issues being dealt with here. Thereâs drama, occasionally raunchy humor, intensity, and reflection. As is frequent for New Line, itâs a production that is simultaneously simple and complex, bringing out the truth of the material through authentic, credible performances and thoughtful staging. Itâs a fantastic production.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i><br /> 468<br /> 469â<i>Nine</i> is a neglected show even though it received the Tony Award for best musical in 1982 and another Tony in 2003 for best revival of a musical. It should be no surprise that the local company addressing the neglect is New Line Theatre. The showâs rarity is reason enough to see New Lineâs production. An even better reason is the excellence of the score and the staging.â â Gerry Kowarsky, <i>Two on the Aisle</i><br /> 470<br /> 471âNew Line Theatre has made the story its own. . . a vocally gorgeous evening of songs that explore the vagaries of love, attraction and imagination.â â Tina Farmer, <i>The Riverfront Times</i><br /> 472<br /> 473âThe singing is stellar, the story is satisfying and the New Line Theatre production of Maury Yestonâs and Arthur Kopitâs musical <i>Nine</i> is charming and intriguing throughout. . . Yeston generously spreads the musical numbers to many members of the showâs cast. In the case of New Lineâs production, thatâs a positive, since directors Scott Miller and Chris Kernan have assembled a cast of performers who really know how to turn a tune.â â Mark Bretz, L<i>adue News</i><br /> 474<br /> 475âNew Lineâs production is passionate, compelling and enjoyable. Directors Scott Miller and Chris Kernan have assembled a female company of thirteen powerful female voices that meld magnificently and make this score come alive. . . New Line Theatre has again put together an overall performance that is entertaining and enjoyable. This production of <i>Nine</i> succeeds because of the quality performances of every member of the cast and their ability to deliver strong vocals.â â James Lindhorst, <i>BroadwayWorld</i><br /> 476<br /> 477âThe crème de la crème of local female vocal talent displays why they have earned those reputations in a lusty version of <i>Nine</i>, an exotic Felliniesque musical being presented by New Line Theatre. . . New Lineâs 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.â â Lynn Venhaus, <i>PopLifeSTL</i></p> 478 </div> 479 </div> 480 </div> 481 <div class="panel panel-default"> 482 <div class="panel-heading" role="tab" id="headingNinetySeven"> 483 <h4 class="panel-title"> 484 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetySeven" aria-expanded="false" aria-controls="collapseNinetySeven"> 485 SOMETHING ROTTEN! (2022) 486 </a> 487 </h4> 488 </div> 489 <div id="RcollapseNinetySeven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetySeven"> 490 <div class="panel-body"> 491 <p> 492 â<i>Something Rotten!</i> gets a delightful regional premier at the Marcelle Theatre in St. Louis this month, under the ebullient direction of New Line Theatre founder Scott Miller. . . I felt like a changed man after two hours and fifteen minutes packed with silly laughter and beautifully sung tunes. Unexpectedly, a lot of Mr. Millerâs usual background players seize the spotlight this time, and the sense of discovery is doubled â itâs not just a new musical to me, but a chance to see entirely different leading men and women telling the tale with fresh wit and emotion. . . If there were a prescription for joy, it would come with this show in the bottle. . . I often fail to capture in words how beautiful the singing is at New Line Theatre, and once again itâs one glorious solo after another.â
492 â Richard Green, <i>TalkinBroadway</i><br /> 493<br /> 494âThe playwrightâs the thing in New Lines Theatreâs high-energy and highly entertaining production of <i>Something Rotten!</i> . . . The show is always a good time and New Lineâs captivating, fast-paced production doubles the pleasure. . . Director Scott Miller hits the bullâs eye with less over-the-top slapstick and more interconnected and relatable humor in this production. . . New Line Theatreâs smartly interpreted <i>Somethingâs Rotten!</i> puts the emphasis on the natural humor and empathy that lies in the relationships, old and new, at the center of the play. The approach works marvelously well in the intimate Marcelle theater. . . Well-directed, well-rehearsed performers ensure the many humorously familiar lines and references flow naturally, with just an eyebrow or two raised in confirmation. The show is great fun for all ages with catchy songs, likeable characters and plenty of laughs from clever, relatable humor.â â Tina Farmer, KDHX 495<br /> 496<br />âThis production of <i>Something Rotten!</i> is terrific. New Line Theatre's production delivers a robust number of laughs from a script filled with nonsense musical theatre references. Director Scott Miller has taken a big, overblown musical and effectively shrunk the performance to a smaller stage with a simple set. . . The entire ensemble delivers exceptional vocals and animated performances. Everyone in this company is first rate. . . New Lineâs production of <i>Something Rotten!</i> is an exceptional reimagination of this asset. It illustrates how a smartly written comedy, in the hands of the right director and technical theater professionals, can effectively make the transition to any size stage.â â James Lindhorst, <i>BroadwayWorld</i><br /> 497<br /> 498âNo matter if itâs a big Broadway show or a promising tryout that flew under the radar, St. Louis audiences know they can expect great productions from New Line Theatre. In the case of <i>Something Rotten!</i>, theyâve taken the hit musical comedy and turned it into an intimate evening of song, dance, and lots of laughs. . . <i>Something Rotten!</i> is one of the funniest shows of all time. The premise alone is hilarious, with a book full of witty dialogue and clever anachronisms. And the songs are fantastic, with memorable numbers coming one after another. . . Director Scott Miller has another winner on his hands, as audiences get to see one of the funniest, cleverest, and more original musicals of the past decade.â â Kevin Brackett, <i>ReviewSTL</i><br /> 499<br /> 500âNew Lineâs terrific production increased my admiration for the 2015 hit Broadway musical. . . Millerâs encyclopedic knowledge and boundless love of musicals make him an ideal interpreter of <i>Something Rotten!</i> His insightful program notes draw attention to the showâs warning that the pursuit of commercial success can be at the expense of personal and artistic success. Also, Miller points out that <i>Something Rotten!</i> uses the traditional form of the musical comedy in a modern, self-referential way. Miller gets the metatheatrical humor and knows how to put it across to the audience. New Lineâs cast is splendid.â â Gerry Kowarsky, <i>Two on the Aisle</i><br /> 501<br /> 502â<i>Something Rotten!</i> is a humdinger of a regional professional theater premiere from New Line Theatre. . . Fresh, funny, and frisky, the cast accepts their mission to have fun with the fluff, and the tight-knit ensemble is downright giddy frolicking in some of the most original show tunes in the past decade. . . <i>Something Rotten!</i> is a must-see comedic gem, a well-cast, well-staged show thatâs a bright spot in local theater this fall.â â Lynn Venhaus, PopLifeSTL<br /> 503<br /> 504âNew Line has proved over and over that they know how to take Broadway shows and find more substance while focusing on the characters, often by scaling down to fit their smaller company and performance space. Their latest production,<i> Something Rotten!</i> is another example of this concentrated approach, and for the most part, itâs a resounding success. With thoughtful direction and a great c
504ast, and toned-down production values, this show succeeds in managing to find the heart of its story while maintaining the crackling humor and fun meta tone of the piece. . . It was big and flashy in its Broadway version, but director Scott Miller has impressively toned it down here, making it seem less derivative of the slapsticky tone of the works of Mel Brooks and Monty Python and more like a just as hilarious but also more character-focused story in its own right. With this toned-down approach, all the jokes still land, but the message and the heart ring even more true. . . Overall, <i>Something Rotten!</i> is a real treat. At New Line, itâs not big or flashy, but it looks great, and it distills the story down to its essential elements â music, comedy, truth, and heart. Itâs a remarkable example of the idea that sometimes, less really is more.â â Michelle Kenyon, <i>Snoopâs Theatre Thoughts</i><br /> </p> 505 </div> 506 </div> 507 </div> 508 509 <div class="panel panel-default"> 510 <div class="panel-heading" role="tab" id="headingNinetySix"> 511 <h4 class="panel-title"> 512 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetySix" aria-expanded="false" aria-controls="collapseNinetySix"> 513 URINETOWN (2022) 514 </a> 515 </h4> 516 </div> 517 <div id="RcollapseNinetySix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetySix"> 518 <div class="panel-body"> 519 <p> 520 âWas there ever a show like <i>Urinetown</i>, showing off this month with a jazzy new gloss at New Line Theatre? Itâs a fantasy of a nightmare of a concept of a dream. And it barrels right at you, at a hundred miles an hour. New Line founder Scott Miller co-directs, along with choreographer Chris Kernan, and the crazy audacity of it just flies out of them both, with an outstanding cast and a very fine band. . . This is one of New Lineâs strongest shows, where the companyâs whole three decades of gritty, canât-turn-away entertainments come to hard-driving, satirical fruition.â â Richard Green, <i>Talkin Broadway</i><br /> 521<br /> 522âNew Line Theatre concludes its 30th-anniversary season with a boisterous, energetic presentation of <i>Urinetown</i>, still a witty and scathing satire on much thatâs wrong with society more than twenty years after its Off-Broadway debut. . . With the declining state of politics today, <i>Urinetown</i> is as prescient as ever. This is not heavy-handed satire, though. Greg Kotis and Mark Hollmann and their characters, Officer Lockstock and Little Sally, wink and nod at the audience directly throughout its two witty acts and two hours of smoothly paced running time in this version directed by Scott Miller and Chris Kernan.â â Mark Bretz, <i>Ladue News</i><br /> 523<br /> 524â<i>Urinetown</i> is smart, sassy, and relentlessly metatheatrical â that is, it calls attention to the fact that it is theater piece. These qualities put the musical in the wheelhouse of New Line Theatre, whose current staging of <i>Urinetown</i> is a thorough delight. . . Under codirectors Scott Miller and Chris Kernan, the splendid New Line cast displays a sure grip on the style required to bring out the cheeky spirit of the book by Greg Kotis and the lyrics by Kotis and Mark Hollmann, who wrote the music.â â Gerry Kowarsky, <i>Two on the Aisle</i><br /> 525<br /> 526â<i>Urinetown</i> is the meta, satirical musical we need right now. . . Right from the start, itâs clear that we are in for something special. Conventional musical rules are thrown out the window, and the showâs self-awareness leads to a fun and unique experience throughout the show. . . <i>Urinetown</i> is packed full of funny moments and memorable musical numbers, while at the same time begging the audience to think about how close some of the absurdity resembles the current state of the world. A biting satire and social commentary that never ceases to entertain, the show is non-stop fun that also seems more important than ever.â â Kevin Brackett, Review STL<br /> 527<br /> 528âIn the capable hands of directors Scott Miller and Chris Kernan, the talented cast of <i>Urinetown</i> gives audiences an exceptional and witty production that resonates with uncomfortable truth. . . <i>Urinetown</i> is a delightful and bouncy bummer of a comic musical. Poppy songs, potty humor, and funny double takes help deliver serious concerns about global warming as well as corporate greed and political corruption. Strong performances, pointed direction and an abundance of comedy ensure New Line Theatre succeeds in giving audiences an entertaining show with a thought-provoking edge.â â Tina Farmer, KDHX<br /> 529<br /> 530âIf <i>Urinetown</i> isnât the best show that Scott Millerâs New Line Theatre has ever produced, the distinction is too fine to matter. This show â brainy, incisive, and so funny that it makes you choose between laughing and breathing â stands at the very pinnacle of New Lineâs achievements. . . About the laughing and breathing thing â thatâs no exaggeration. Should you hold your breath to make sure you hear the next hilarious line? Or should you just give in and laugh your head off? Both approaches have their advantages. Personally, I think itâs simplest to go to see it twice. . . This is wonderful grist for our Miller. With its neon political message and its unabashed love for the art of musical theater, Urinetown has in Miller a director whose own
530sensibility is perfectly in tune with the showâs material. Itâs a love match.â â Judy Newmark, <i>All the Worldâs a Stage</i><br /> 531<br /> 532âZeitgeist, meet <i>Urinetown</i>. In this <i>Twilight Zone</i> reality we seem to live in now in the 21st century, the subversive <i>Urinetown</i> 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 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. . . Co-directors Scott Miller and Chris Kernanâs 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.â â Lynn Venhaus, <i>Pop Life STL</i><br /> 533<br /> 534âItâs a dark comedy and a sharp satire, and at New Line, itâs a memorable experience with an especially strong cast, insightful direction, and a striking aesthetic. . . Itâs a strong ensemble all around, with loads of cynical energy and strong vocals. Thereâs also excellent stylized choreography by Chris Kernan. This is a demanding show in terms of style, pacing, and overall theming, and all that is done remarkably well at New Line, under the direction of Scott Miller and Kernan. . . At New Line, <i>Urinetown</i> challenges, provokes, and ultimately entertains with a superb cast of local actors and singers. It may not be a happy musical, but itâs certainly a memorable one.â â Michelle Kenyon, Snoopâs Theatre Thoughts 535 </p> 536 </div> 537 </div> 538 </div> 539 540 <div class="panel panel-default"> 541 <div class="panel-heading" role="tab" id="headingNinetyFive"> 542 <h4 class="panel-title"> 543 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetyFive" aria-expanded="false" aria-controls="collapseNinetyFive"> 544 HEAD OVER HEELS (2022) 545 </a> 546 </h4> 547 </div> 548 <div id="RcollapseNinetyFive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetyFive"> 549 <div class="panel-body"> 550 <p> 551"<i>Head Over Heels</i> thoroughly entertains. The themes and story are charmingly comic and completely relevant. The bookâs light touch ensures its messages about love and acceptance are easy to embrace, even in flyover country. Millerâs engaging direction keeps the musical comedy upbeat and the audience involved through both uncertain and declarative moments. Most importantly, exceptional performances have the audience cheering for the characters and for love to conquer all while the infectious songs of The Go-Goâs perfectly hit the mark." â Tina Farmer, KDHX<br /> 552<br /> 553"New Line Theatre, which was forced to close its hit production of the musical <i>Head Over Heels</i> with the onslaught of the COVID-19 pandemic in March 2020, revives the show with an even better version this March. If the infectious music of the Go-Goâs and a witty, clever script are your choices of entertainment, youâll be delighted with New Lineâs effervescent presentation of this agreeable romp. . . The zesty, exuberant choreography created by Michelle Sauer and Sara Rae Womack is better and tighter in this new presentation than in the 2020 version." â Mark Bretz, <i>Ladue News</i><br /> 554<br /> 555"Two years later, <i>Head Over Heels</i> is back at New Line. The original production was splendid. So is the revival. . . The perceptive stage direction by Scott Miller in complete sympathy with the show. The score sounds wonderful thanks to New Line band under Millerâs musical direction. The dance numbers sparkle in the exuberant choreography by Michelle Sauer and Sara Rae Womack." â Gerry Kowarsky, <i>Two on the Aisle</i><br /> 556<br /> 557âExactly two years ago, when COVID-19 was about to cast the live theater world into a kind of suspended animation, New Line Theatre put on a dazzling regional premier of the Go-Go's inspired stage musical <i>Head Over Heels</i>. . . it's still a thrill to watch and to get caught up in the swirl of it. <i>Head Over Heels</i>' vocal and dance magic remains in excellent working order. . . It's a jukebox musical that transcends the category, reshuffling the popular 1980s girl group's s
557ongbook into a 16th century smash hit poem, complete with Day-Glo doublet and hose, and some very up to date gender pronouns.â â Richard Green, Talkin Broadway<br /> 558<br /> 559"Thereâs a (near-riotous) party going on at New Line Theatre. Scott Miller and his merry band have unleashed <i>Head Over Heels</i>. Unleashed again, that is. Their first production was stopped in its tracks two years ago this month by the pandemic. Celebrate by heading to The Marcelle Theater and settling in for an evening of fun. . . And then thereâs the choreography from Michelle Sauer and Sara Rae Womack, dazzling and athletic and in-your-face. . . Miller directed this, and heâs hit it out of the park. Itâs a good example of the whole new world of musical theatre." â Ann Pollack, <i>St. Louis Eats and Drinks</i><br /> 560<br /> 561"Two years ago, New Line opened exactly the kind of show that makes this oddball company a treasure of St. Louis theater: hip, zesty and largely unknown. New Line founder Scott Miller has an uncanny gift for discovering these gems; I call it Playdar. . . Hereâs the great news: New Line has mounted it again, in a hilarious production that involves nearly all the same actors and artists. . . A masterful, genre-crossing, achronological mashup." â Judy Newmark, <i>All the Worldâs a Stage</i> 562 </p> 563 </div> 564 </div> 565 </div> 566 567 <div class="panel panel-default"> 568 <div class="panel-heading" role="tab" id="headingNinetyFour"> 569 <h4 class="panel-title"> 570 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetyFour" aria-expanded="false" aria-controls="collapseNinetyFour"> 571 THE STORY OF MY LIFE (2021) 572 </a> 573 </h4> 574 </div> 575 <div id="RcollapseNinetyFour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetyFour"> 576 <div class="panel-body"> 577 <p>âEmerging from the pandemic for their 30th season, New Line Theatre is welcoming audiences back to live theater with The Story of My Life, an emotionally powerful two-hander about memory, friendship, individualism and, the power of words. . . Filled with moments of whimsy, innocence, laughter, melancholy, and loss, this sterling production stars Chris Kernan as Alvin alongside Jeffrey M. Wright as the uptight Thomas with artistic director Scott Miller framing the drama on keyboards. Watching Kernan and Wright feed off of each other is mesmerizing. Onstage their symbiotically linked performances overwhelm anything in their path. Working in tandem, each delivers a powerhouse performance. . . The Story of My Life is a profoundly moving and simply stunning work of theater.â â Rob Levy, BroadwayWorld 578 <br /><br /> 579âIf Scott Miller has a superpower, it surely would be finding the potential in shows that had too short a life on or around Broadway. The Story of My Life is another winner, so beautiful and moving â that you will find yourself thinking back to past relationships of your own and making sure you remember their stories. Jeffrey M. Wright and Chris Kernan turn in a pair of mesmerizing performances that will have you hooked until the very end.â â Kevin Brackett, ReviewSTl 580 <br /><br /> 581âThe 90-minute show by Brian Hill, with clever words and music by Neil Bartram, is short on overhead but long on life, with engrossing, storytelling songs. . . It's Chris Kernan's show as Alvin, the gleeful inspiration for all of Tom's stories. And composer Neil Bartram keeps the mood playful between the usual dark and painful memories of growing up. But Jeffrey Wright's performance, as Tom, suggests a psychological counter-melody: does one simply neglect a relationship to death; or (on some level) has he methodically set about to kill it? The question of abandonment looms larger, though the question of who's to blame remains tantalizingly in doubt.â â Richard Green, TalkinBroadway 582 <br /><br /> 583âNew Line Theatre opens its 30th anniversary season with a sparkling production of a two-hand musical ideally suited for a presentation in pandemic times â intimate and poignantly effective under artistic director Scott Miller. . . Miller has a knack for finding little gems and fully realizing their individual charms, as heâs done here with The Story of My Life. Kernan and Wright join him in ensuring that New Lineâs return for its 3
5830th season is a successful and rewarding one.â â Mark Bretz, Ladue News 584 <br /><br /> 585âFor a story about death, centered on a eulogy, the show delivers a lot of joy and gratitude. The small, stage, designed by Rob Lippert, with lighting design by Kenneth Zinkl and props by Alison Helmer, layers on the comforting vibes. And the nuanced, personal performances by Jeffrey M. Wright and Chris Kernan pay tribute to friendships and the shared experiences that form the stories of our lives. Affectionate and reflective The Story of My Life invites you in to Tomâs heart then wraps you in warmth like that first hug from a good friend you miss.â â Tina Farmer, KDHX 586 <br /><br /> 587âThe showâs rich emotional depth effectively builds to a heart-tugging conclusion. . . An outstanding collaboration by all involved, The Story of My Life has a lot to say. . . Holiday time or not, this show is a gift to theatergoers eager to feel âthe feelsâ that only live theater can provide. And a reminder about humanity in a time of great uncertainty and division. It could not be more timely â and timeless.â â Lynn Venhaus, PopLifeSTL 588 <br /><br /> 589âThe Story of My Life is a bit like jazz â a certain open-mindedness is probably necessary to appreciate it. But the show has a lot to say about embracing the moment and cherishing life. And it benefits from heartfelt performances that are splendidly complemented by Rob Lippert's scenic design and Kenneth Zinkl's lighting. . . Anyone who's coped with a difficult friendship â or reluctantly come to the conclusion that such a friendship simply wasn't worth the effort â should have no trouble relating to The Story of My Life. It might even be a good idea to bring a friend along.â â Calvin Wilson, St. Louis Post-Dispatch 590 <br /><br /> 591âAt New Line, this simply staged show displays a great deal of complexity in its characters and their relationship, and even though it might not be âbigâ in the sense of size, itâs message is of profound importance. This is a very human show, with joy, with a very human heart.â â Michelle Kenyon, Snoopâs Theatre Thoughts 592 <br /><br /> 593âIt was a daring move for New Line Theatre to open this season, of all years, with a play about someone writing a eulogy. Too many of us have had to do that, too many of us have thought we might have to do that, too many of us have thought, Oh, God, please donât ask me to do that. Itâs been a stinking couple of years, but the fact that someone was brave enough to think it was material for a play, two someones in this case, book by Brian Hill, music and lyrics by Neil Bartram, is impressive. Scott Miller, New Lineâs founder and artistic director, is well known for his fearless approach to what he stages, and once again we have him grabbing life, giving it a good shake and holding it up for inspection.â â Ann Pollack, St. Louis Eats and Drinks 594 <br /><br /> 595âScott Miller and New Line Theatre are easing themselves into the Reduced Pandemic Era with a small, pleasant production of a small, pleasant musical, The Story of My Life, with two actors and an accompanist. And while the production is not elaborate, the usual suspects are putting it all together with their usual skill and taste. . . Neil Bartramâs music and lyrics enrich the emotions in Brian Hillâs book . . . it is skillfully shaped to tell the stories of two lives.â â Bob Wilcox, Two on the Aisle 596 </p> 597 </div> 598 </div> 599 </div> 600 601 <div class="panel panel-default"> 602 <div class="panel-heading" role="tab" id="headingNinetyThree"> 603 <h4 class="panel-title"> 604 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetyThree" aria-expanded="false" aria-controls="collapseNinetyThree"> 605 HEAD OVER HEELS (2020) 606 </a> 607 </h4> 608 </div> 609 <div id="RcollapseNinetyThree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetyThree"> 610 <div class="panel-body"> 611 <p>âCould this be the greatest show New Line Theatre has ever put on stage? It is, in its brash, tight dance numbers, along with a dozen shimmering vocal solos. Highly professional dance and beautifully sung '80s pop music drive Head Over Heels like a fury. It's a stagey whirlwind, with an ultra-thin layer of Elizabethan style, in which a ri
611ot of candy-colored doublet and hose is wedded to the equally colorful modern music of The Go-Go's. . . Maybe it's just the smoothest, most relentlessly âBroadwayâ musical they've ever done. Scott Miller and Mike Dowdy-Windsor co-direct with genuine humor and sensitivity. But they're steamrollered by their own hard-charging chorus: a virtually flawless army of energetic singers and dancers, perfectly choreographed by Michelle Sauer and Sara Rae Womack.â â Richard Green, TalkinBroadway 612 <br /><br /> 613âA triumphant romp of musical theater. . . Guiding things from the serious to the surreal, directors Scott Miller and Mike Dowdy-Windsor have created a totally rad mashup that explores the themes of gender, compassion, political diplomacy that delights in not taking itself too seriously. Groovy to the max.â â Rob Levy, BroadwayWorld 614 <br /><br /> 615âItâs hard to imagine a more joyful swirl of activity than theatergoers are treated to in Head Over Heels â a show improbably set to the music of the Go-Goâs. . . . Co-directors Scott Miller and Mike Dowdy-Windsor bring a freewheeling spirit to the proceedings, spinning a fantastical tale of romance that plays like A Midsummer Nightâs Dream fueled by controlled substances. . . Choreographers Michelle Sauer and Sara Rae Womack apply inspired movement to Tom Kittâs arrangements of Go-Goâs songs, and the New Line Band â led by music director and keyboardist Nicolas Valdez â lends the show an in-the-moment electricity. . . Head Over Heels occasionally succumbs to silliness, but the show is engagingly and relentlessly upbeat. Itâs a party you wonât want to leave.â â Calvin Wilson, St. Louis Post-Dispatch 616 <br /><br /> 617âA wild and mind bending mix of cultures delights at New Line Theatre as the recent Broadway smash musical Head Over Heels keeps the audience rocking and laughing. . . Special props to the mind boggling choreography by Michelle Sauer and Sara Rae Womack who also are part of the eight person chorus. Not only is the dancing complicated and dazzling, but is executed so well by this talented cast that it really makes you take special notice. . . Co-directors Scott Miller and Mike Dowdy-Windsor have brought this trippy mix of the 16th and 20th century together in fine fashion with action, comedy and a group of actors who can pull off both with one of the strongest sung shows youâll ever see or hear. And, of course, a nod to the powerful New Line Band under the direction of Nicolas Valdez who manage to keep up with the incredible nonsense swirling around on stage. Not to be missed, Head Over Heels is one of the best shows youâre likely to see all year (and itâs only March!). Get thee to New Line Theatre.â â Steve Allen, StageDoorSTL 618 <br /><br /> 619âWho better to pick up a wildly fun show like this than New Line? . . . Head Over Heels is a plethora of riches for the senses. There is so much to take in at all times, and itâs an absolute blast. The bright and colorful costumes are beautifully designed by the talented Courtney Gibson and Sarah Porter â some of their best work yet. The music, as mentioned previously, is sensational â thanks to the New Line Band, lead by Nicolas Valdez and Cullen Curth. And Rob Lippertâs scenic design is terrific as always â complete with great pillars and a cave of skeletons who were once unlucky explorers. And the choreography by Michelle Sauer and Sara Rae Womack is probably the best I have ever seen from the companyâ â Kevin Brackett, ReviewSTL 620 <br /><br /> 621âAs is to be expected at New Line, the casting is strong, and the singing is especially impressive. Everyone from the leads to the ensemble puts in a winning, energetic performance, . . Overall, the look and feel of this production is in keeping with the catchy, bright pop score and the general comic tone that blends the classical and the modern in a cleverly inventive way. Head Over Heels is another example of one of those shows that seems to fit better in a smaller setting like New Line than on Broadway. Staged at New Lineâs home base, the Marcelle Theater, this show makes the most of the space and the closeness to the audience, who are seated on either side of the performance area here. Itâs a fun, colorful, energetic and thoroughly winning production that marks another success for New Line Theatre.â â Michelle Kenyon, Snoopâs Theatre Thoughts 622 <br /><br /> 623âNew Line Theatre's current production Head Over Heels, directed by Scott Miller and Mike Dowdy-Windsor, is a winning show about love, forgiveness and finding one's true self in a
623non-binary world. It also shows just how good the Go-Go's were as songwriters, as the New Line Band delivers absolutely crackling versions of the score's seventeen songs.â â Paul Friswold, The Riverfront Times 624 <br /><br /> 625âNew Line Theatre's hilarious Head Over Heels should not be missed! . . Itâs flat out great â Reeseâs Peanut Butter Cup great â the highest form of flattery one can give a mash-up product like this . . . Head Over Heels features a tremendous cast from top to bottom. . . this might be the best choreographed production New Line has done yet.â â Jeff Ritter, Critical Blast 626 <br /><br /> 627âThe music of the â80s all-girl rock group The Go-Goâs is joyfully incorporated into this offbeat jukebox musical given an endearing interpretation in its current incarnation at New Line Theatre. . . itâs definitely a good time, indeed.â â Mark Bretz, Ladue News 628 </p> 629 </div> 630 </div> 631 </div> 632 633 <div class="panel panel-default"> 634 <div class="panel-heading" role="tab" id="headingNinetyTwo"> 635 <h4 class="panel-title"> 636 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetyTwo" aria-expanded="false" aria-controls="collapseNinetyTwo"> 637 CRY-BABY (2019) 638 </a> 639 </h4> 640 </div> 641 <div id="RcollapseNinetyTwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetyTwo"> 642 <div class="panel-body"> 643 <p>âI think it's important to mention upfront that New Line Theatre's current production of Cry-Baby is one of the most flat-out entertaining musicals you're ever likely to see. In fact, it's such a rambunctious good time that it's easy to overlook its sharper points about the dangers of blindly following the rules, the perils of failing to question why things are the way they are and the absolute mortal peril of settling for a stable sort of unhappiness when you could have true joy. That's a great deal of very serious subtext for a show that is essentially about a greaser and a good boy fighting over the same girl. New Line Theatre has been doing this exact sort of musical for 29 years, and if you think co-directors Scott Miller and Mike Dowdy-Windsor can't hide any number of satirical razor blades inside a delicious caramel apple, you haven't been paying attention. New Line's Cry-Baby is as intelligent as it is beautiful.â â Paul Friswold, The Riverfront Times 644 <br /><br /> 645âIt is a smart and ridiculous comedy, well-executed by its talented cast and crew, under the expert direction of Scott Miller and Mike Dowdy-Windsor. . . It is ludicrous, supremely entertaining, and leaves the entire audience laughing. But in case you didn't get your fill of humor, the New Line Band throws in a little extra cleverness as the audience exits. . . What Miller and Dowdy-Windsor are doing at New Line Theatre is something special to be sure. They are known for breaking the rules of musical theatre, for being the bad boys, and the result is a fresh, progressive theatre experience. If you like art that is in-your-face, not shy, and politically provocative, you'll want to invest your time and resources supporting their work.â â Tanya Seale, BroadwayWorld 646 <br /><br /> 647âNow and then, the sequel (or the remake) is better than the original: in the case of Cry-Baby the Musical, much better. Drop everything and go see New Line Theatre's return to Cry-Baby, the unmistakably John Waters musical, for a prime example of something that's vastly improved with age. . . This new production is a pitch-perfect comedy from start to finish. It ripples with laughter and pulses with exciting songs. . . Somehow, all the subtle cues of a John Waters film are lovingly reincarnated into this grand stage production.â â Richard Green, TalkinBroadway 648 <br /><br /> 649âDespite its slyly simplistic conflict and Happy Days vibe you may find yourself pondering the surprising depth of this show long after youâve left the Marcelle Theatre in Grand Center. That squeaky clean veneer hides a relevant allegory of modern America, where the truth is obscured at all cost, where people who are a little different from the accepted norm are marginalized or shunned, and where the worst offenders are the ones who have claimed responsibility for upholding and protecting the moral fabric or our neighborhoods, our cities, our states and our nation, for protecting the truths we hold self-evident while doing everything they can to deny some slice of the great American pie chart their rights to life, liberty and the pursuit of happiness. Look at those people through the Cry-Baby lens and youâll realize just how many Baldwin Blandishes there are in positions of power, and how exceedingly rare a Wade Walker-style rebel truly is. I bet most folks think John Waters is just a dapper fellow with a pencil-thin mustache who writes funny little films, but donât let him fool you. He knows. He deftly painted the fundamental truth of his tale over with broad strokes of comedy, knowing that most people will be satisfied with a few good laughs and a happy ending. I think he also invites you to look deeper, if you dare. Look no further to see for yourself why New Line Theatreâs presentation of Cry-Baby should not be missed, whether youâre a contented theatre fan or a dedicate truth-seeker.â â Jeff Ritter, Critical Blast 650 <br /><br />
651âHigh-spirited and hilariously engaging . . . Cry-Baby rocks. Directors Scott Miller and Mike Dowdy-Windsor apply the trademark, lightheartedly irreverent New Line touch to the show, which the company first produced in 2012. And they elicit spot-on performances â particularly from Caleb Miofsky and Grace Langford, who play off each other wonderfully. Also contributing significantly to the showâs success are the choreography by Michelle Sauer and the music direction by Nicolas Valdez and Marc Vincent. Some musicals enter the theatrical canon â a shortlist might include Cabaret, Oklahoma! and West Side Story. Others merely aspire to leave audiences smiling, and on that level Cry-Baby the Musical delivers.â â Calvin Wilson, St. Louis Post-Dispatch 652 <br /><br /> 653âNew Line Theatre brings John Watersâ quirkily appealing movie from screen to stage in an energetic production that features a clash between cultures â social and musical â that points out, in not so subtle ways, that the more things change, the more things stay the same. The production bristles with energy and hormonal frenzy thatâs played for laughs, but delivers plenty of commentary on everything from classism to our definition of beauty.â â Tina Farmer, KDHX 654 <br /><br /> 655âNew Line Theatre gets its 29th season of adult, alternative musical theatre off to a smart, high-stepping start with the return of its delightful 2012 regional premiere of the rockabilly musical, Cry-Baby. . . Fast times in Baltimore and the clashing of cultures rule the day in this high-spirited, joyful romp of a musical. Youâll shed nary a tear for Cry-Baby but likely instead laugh and tap along in unison with its appealing music.â â Mark Bretz, Ladue News 656 <br /><br /> 657âOnce again, directors Scott Miller and Mike Dowdy-Windsor have put together a youthful cast that sparkles with energy as they sing and dance their way through one hilarious song after another. The last time that New Line staged Cry-Baby in 2012, I wrote that youâll laugh too hard to catch all the clever lyrics. Thatâs still true. . . . If you go for smart fun with a contemporary edge, this is the musical for you.â â Judy Newmark, All the Worldâs a Stage 658 <br /><br /> 659âA rousing, fun new production. Itâs one of those shows that seems made for this company, and the excellent cast of veteran New Liners and talented newcomers makes the most of every moment. . . .Overall, this is a great looking and sounding show with a satirically upbeat 50s flavor and broadly comic tone. With some truly great performances and a memorable score, Cry-Baby is a hit. Itâs another example of a show that works better at New Line than it probably would (and did) on Broadway. Itâs also (if I havenât mentioned this before) a whole lot of fun!â â Michelle Kenyon, Snoopâs Theatre Thoughts 660 <br /><br /> 661âCry-Baby offers a fresh take on the cult classic film that translates wonderfully to the musical stage. Directors Scott Miller and Mike Dowdy-Windsor do what they do best, and breathe fresh life into a show that was taken from Broadway far too soon. The show will have you laughing non-stop, with terrific performances and great songs that are sure to stick in your head.â â Kevin Brackett, ReviewSTL 662 <br /><br /> 663"Boy, is it fun. . . This all sounds relatively wholesome except for the sideburns and leather jacket. But itâs John Waters, so be assured that itâs not. The songs range from the opening number âThe Anti-Polio Picnicâ to âGirl, Can I Kiss You with Tongue?â. (And this is before the MeToo era, very responsible of him to ask.) Scott Miller and Mike Dowdy-Windsorâs direction gives quite a bit more than a generous amount of very wet osculation, making this pretty much a not-for-little kids show, no surprise at New Line. . . A delightful piece of work, escapism in a very fine form.â â Ann Pollock, St. Louis Eats and Drinks 664 </p> 665 </div> 666 </div> 667 </div> 668 669 670 <div class="panel panel-default"> 671 <div class="panel-heading" role="tab" id="headingNinetyOne"> 672 <h4 class="panel-title"> 673 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinetyOne" aria-expanded="false" aria-controls="collapseNinetyOne"> 674 BE MORE CHILL (2019) 675 </a> 676 </h4> 677 </div> 678 <div id="RcollapseNinetyOne" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinetyOne"> 679 <div class="panel-body"> 680 <p>âOne of the coolest, freshest comedic musicals in years. . . what makes Be More Chill work stunningly (stunningly, I tell you) is that it is
680wholly relatable to a new generation of theatre patrons. It includes edgy, modern pop references and sharp humor that extends all the way to Sarah Porterâs fantastic costuming and Kimi Shortâs spot-on props. It features modern-day teen characters who speak modern-day lingo, who dress in modern-day fashion, and who cleverly and intriguingly use modern-day technology onstage. . . And really there are so many juicy, poignant, and truly funny moments in this fast-moving musical, youâll want to lean in and listen hard so you wonât miss a single line. . . I canât even begin to convey just how refreshing it was to see an audience respond so enthusiastically to musical theatre. It was almost as if the teenagers in the house were calling out, âThank you! You see us!â Productions like this are exactly what contemporary theatre needs to cultivate new audiences and Be More Chill certainly delivers on that tall order.â â Tanya Seale, BroadwayWorld 681 <br /><br /> 682âBe More Chill is the perfect show for New Line. It has the rock spirit of American Idiot, and the high school drama of Heathers â two shows they have staged incredible productions of in the past. Throw in some sci-fi and technological elements, and you have a kick-ass rock musical about growing up in modern times. If Iâve said it once, Iâve said it a hundred times â Artistic Director Scott Miller has a seemingly supernatural ability to find the best shows and bring them into the spotlight. In the case of Be More Chill, it was already rediscovered â but not before Scott got his hands on it. With Mike Dowdy-Windsor, who he co-directed the musical with, they staged one of their best productions in recent history.â â Kevin Brackett, ReviewSTL 683 <br /><br /> 684âUnder Mike Dowdy-Windsor and Scott Millerâs bright direction, New Lineâs Be More Chill is a startlingly fresh musical that avoids cliche to tell an exciting and at times very funny story about modern teenagers with a sci-fi twist. . . . As good as Joe Iconisâ songs are (and the New Line band, led by Marc Vincent, plays them very well indeed), Joe Traczâ book is equally compelling. An off-hand factoid about stagnating human evolution dovetails quite tidily with the Squipâs motivations for disseminating more of itself through the school. This is the real menace of life lived by remote control, and everything in Be More Chill hinges on someone âjust saying noâ to technology-laced drugs. For all its charms and honesty about the bad decision-making of high schoolers, Be More Chillâs gripping conclusion proves that not everyone takes the easy way out. It takes only one brave teen armed with a fondness for retro â90s culture to stop the madness. Uncoolness never looked so good.â â Paul Friswold, The Riverfront Times 685 <br /><br /> 686âBe More Chill, the nonstop hilarious musical. . . is a perfect match for the playfully exuberant New Line style. Co-directors Mike Dowdy-Windsor and Scott Miller establish and explore a groove in which the energetic songs and irreverent humor create an atmosphere of sheer exhilaration. And the cast is outstanding. . . Teen angst has rarely been so entertainingly outrageous.â â Calvin Wilson, St. Louis Post-Dispatch 687 <br /><br /> 688âEvery generation has a musical that captures the zeitgeist of the moment, that speaks to them in a special way. My generation of Baby Boomers had Hair, Gen X had Rent, Millennials had Spring Awakening and now Generation Z has the current cultural sensation Be More Chill. Itâs fierce, fun and frisky. . . The well-cast ensemble, playing 11 characters, sparkles. Each one has taken this
688show to heart with so much enthusiasm that it carries over to the audience, which included many young fans expressing their delight at every opportunity on opening night. Their joyous embrace of a show that defines how they feel, look and act is refreshing. The powerful connection between actors and theatergoers is electric and palpable. The performers feel every word and the audience responds in kind. . . Be More Chill is fresh and funny, and not in a jaded âweâre so clever and smartâ way, but with real heart, and that may be the most important aspect â the emphasis on real. The musical, in lyrics and book, speaks to us in a captivating way that transcends labels and genres. It targets our humanity. To make people feel less alone in this world is a remarkable thing.â â Lynn Venhaus, St. Louis Limelight 689 <br /><br /> 690âNew Line Theatre takes on teen angst and social anxiety with a spectacular production of Joe Iconis and Joe Tracz musical interpretation of the young adult novel Be More Chill by Ned Vizzini. Directors Scott Miller and Mike Dowdy-Windsor have assembled a phenomenal cast, headed by Jayde Mitchell, Kevin Corpuz and Grace Langford, and ensure that every detail supports the compelling story. Musical director Nicolas Valdez and conductor Marc Vincent provide driving arrangements that keep the pace quick while complementing the individual voices and shared harmonie
690s. Though the plot trajectory is familiar, the results are relatable, funny and thoroughly captivating. . . . The energetic musical rides through the highs and lows of teenage emotion like a multistory roller coaster through a dense forest â youâre never 100% certain which way the storyâs going to twist and it might fall off the rails at any moment, but the ride is a total blast.â â Tina Farmer, KDHX 691 <br /><br /> 692âBe More Chill is a compelling excoriation if youâre young, and a sort of vintage/antique shop of the mind if youâre old, as we all struggle to understand this brave new world. . . . Be More Chill is built around the classic conflict of individualism and the pressure to conform to a group identity, which seemed to delight the younger members of the audience opening night. And the struggle between those two forces becomes unexpectedly wrenching and dark near the end....â â Richard Green, TalkinBroadway 693 <br /><br /> 694âThis is a perfect New Line show, and how Scott Miller managed to present it so soon after its Broadway opening (in March) is a wonder. Once again, Miller and co-director Mike Dowdy-Windsor have pulled together a young, talented cast, still scratchy around their rough edges, to tell a story almost anybody who went to high school can appreciate. . . the intimate, bare-bones style of New Lineâs production truly suits a show about a situation that everybody goes through but that each of us has to experience alone.â â Judith Newmark, All the Worldâs a Stage 695 <br /><br /> 696âBe More Chill should be on everybodyâs radar. I am sure a lot of other local theatre groups will be performing it over the next few years, but the regional premiere run at New Line is truly special.â â Jeff Ritter, Critical Blast 697 </p> 698 </div> 699 </div> 700 </div> 701 702 <div class="panel panel-default"> 703 <div class="panel-heading" role="tab" id="headingNinety"> 704 <h4 class="panel-title"> 705 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseNinety" aria-expanded="false" aria-controls="collapseNinety"> 706 LA CAGE AUX FOLLES (2019) 707 </a> 708 </h4> 709 </div> 710 <div id="RcollapseNinety" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingNinety"> 711 <div class="panel-body"> 712 <p>âLa Cage aux Folles can be presented as simply a frothy, weightless farce, but here, directors Scott Miller and Mike Dowdy-Windsor opt to show how love deepens over time, which gives their La Cage both weight and depth. That depth burnishes the laughs and sweetens the froth immeasurably. . . Itâs no mistake that the strongest family in the show remains the aging gay couple who get their groove back, even as the man who stands for âfamily, morality and traditionâ gets his comeuppance.â â Paul Friswold, The Riverfront Times 713 <br /><br /> 714âStylish, spirited and spectacular, La Cage aux Folles is the kind of show at which New Line Theatre excels. Co-directors Scott Miller and Mike Dowdy-Windsor elicit laughs and whip up an atmosphere of barely controlled hysteria without shortchanging the more poignant moments in the book by Harvey Fierstein (Kinky Boots) and music and lyrics by Jerry Herman (Hello, Dolly!). And music director Nicolas Valdez and choreographers Michelle Sauer and Sara Rae Womack are thoroughly in sync with the showâs madcap demands. . . La Cage aux Folles premiered on Broadway in 1983. Decades later, the show continues to thrill and delight â and hasnât aged a bit.â â Calvin Wilson, St. Louis Post-Dispatch 715 <br /><br /> 716âThis was my first time seeing La Cage aux Folles, and I was blown away. There is so much packed into this show â singing, dancing, romance, humor, emphasis on family and being yourself. And La Cage never ceases to entertain while developing these complex characters and their compelling story. . . Directors Scott Miller and Mike Dowdy-Windsor do what they do best here, which is take an already brilliant show and somehow make it even better. The staging is perfect, with great c
716asting and direction which makes these characters come to life in a lovable and believable fashion. Iâve seen several versions of this story now, but I have certainly found my favorite one at New Line.â â Kevin Brackett, Review STL 717 <br /><br /> 718âWhen New Line Theatre sets aside its Sondheim and puts on a bright and florid Jerry Herman show like 1983âs La Cage aux Folles, director Scott Millerâs expertise tempers the entire project â underpinning a delirious drag fantasia with moments that can be heartbreakingly grim, and which are deeply authentic. And by making the lows so resonant, the high moments gain an almost crystalline clarity. Thanks to music director Nicolas Valdez, choreographers Michelle Sauer and Sara Rae Womack, and the back-up singers (Les Cagelles) on stage, La Cage still sings and dances and shrieks like mad.â â Richard Green, TalkinBroadway 719 <br /><br /> 720âOne the one hand, La Cage aux Folles is a celebration of being who you are and finding someone you love enough to want to grow old together, no matter gender or age difference or political background. On the other, itâs a night at a swanky music club, complete with a big band, led by Nicolas Valdez, and belted out show tunes all dressed up in sparkle and big hair. . . .Scott Miller and Mike Dowdy-Windsor keep the focus on delivering entertaining big numbers and touching scenes driven by deep love and affection â both for the show and its quirky, heartwarming characters.â â Tina Farmer, KDHX 721 <br /><br /> 722âIâve seen Zachary Farmer in many New Line productions and have always been impressed. His voice is simply sublime: rich and smooth as warm cream, with a power that never seems even to approach its limits. A rather portly, slightly balding gent of middle years, he was perfect six years ago in the role of Charles Bukowski, the drunken derelict âpoet laureate of low-lifeâ. How could such a man become an icon of real feminine glamour? How could Farmer be âZazaâ? Amazingly he triumphs in it! Sensationally gowned and wigged, with quite superb make-up and just a pinch of corsetry, he attains that strong-jawed Joan Crawford beauty â but instead of the hard cruelty of Crawford, Mr. Farmer fills Zaza with deep love and genuine emotion. Heâs stunning. He makes La Cage aux Folles belong to Zaza as much as Gypsy belongs to Mama Rose â but unlike Mama Rose, Zaza is a character we can readily love.â â Steve Callahan, BroadwayWorld 723 <br /><br /> 724âYears ago, New Line founder and artistic director Scott Miller branded his troupe âthe bad boy of musical theatre.â Miller co-directed La Cage aux Folles with Mike Dowdy-Windsor, and in its way itâs just as surprising as some of the more subversive works the troupe has presented: Itâs probably the least-queer show in the New Line canon. . . Why see it again? Because New Lineâs production at the Marcelle gives La Cage an intimacy that seems just right for a little family story. And because it gives a performer with a lot of New Line fans a role they had never imagined for him. Itâs a treat all around.â â Judith Newmark, All the Worldâs a Stage 725 <br /><br /> 726âNew Line Theatre has staged another remarkable production with their rendition of the modern classic musical La Cage aux Folles. As often happens at New Line, this production distills the essence of the show and brings out its human drama, emphasizing character and relationships, along with the excellent singing that Iâve come to expect from this company. In addition, itâs also sparkly and dazzling, with a strong ensemble and a truly stunning performance from one of New Lineâs most recognizable players. . . I hadnât seen it on stage until New Line brought it to the stage with its usual insightful, inventive style. This is a fun show with a lot of flash, but itâs also a very human show, with poignancy and wit and charm. Itâs another winning production from New Line.â â Michelle Kenyon, Snoopâs Theatre Thoughts 727 <br /><br /> 728âNew Line Theatre offers its take on the venerable, Tony Award-winning musical by Harvey Fierstein and Jerry Herman, delivering a crowd-pleasing rendition led by Zachary Allen Farmer in a triumphant performance as the charming and resilient Albin/Zaza. . . La Cage aux Folles can be both naughty and nice. New Lineâs presentation, under Millerâs and Mike Dowdy-Windsorâs studied direction, succeeds at both.â â Mark Bretz, Ladue News 729 <br /><br /> 730âLa Cage Aux Folles remains timely, and important, and most importantly, fun. As always, La Cage boldly stands up to hypocrisy, ignorance and self-righteous prigs with sharp social commentary wrapped in light-hearted comedy and hummable music. This delectable confection as a crowd-pleaser is a brilliant offense, and Fiersteinâs smart script is redolent with both zingers and heartfelt moments. But this cast emphasizes it with their own perceptible feeling of family, that intangible quality that sells the show, and underlined by the confident directors. . . There is an obvious joy and compassion in this work, and because everyone involved is having such a good time, it carries over to the audience. After all, love is love is love is love. None of us need permission to be who we are, but La Cage Aux Folles reminds us that we are all free to be you and me. And thatâs mighty fine any time.â â Lynn Venhaus, St. Louis Limelight 731 </p> 732 </div> 733 </div> 734 </div> 735 736 737 <div class="panel panel-default"> 738 <div class="panel-heading" role="tab" id="headingSeventyNine"> 739 <h4 class="panel-title"> 740 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventyNine" aria-expanded="false" aria-controls="collapseSeventyNine"> 741 THE ZOMBIES OF PENZANCE (2018) 742 </a> 743 </h4> 744 </div> 745 <div id="RcollapseSeventyNine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventyNine"> 746 <div class="panel-body"> 747 <p>âThe Zombies of Penzance may be the funniest show that New Line Theatre has ever mounted â and, among its original offerings, the one with the brightest future. . . Truly, you have never seen anything like this. Thatâs not hyperbole. Itâs a fact.â â Judy Newmark, All The Worldâs a Stage 748 <br /><br /> 749âNew Line Theatreâs The Zombies of Penzance adds a dark tinge of horror to Gilbert and Sullivanâs classic operetta of jolly pirates raiding the upper class, and the result is both a nightmare and a delight â letâs call it a âdelightmare.â The songs are ripping, the performances are outstanding and the philosophical questions raised by the undeadâs increasing dominance are chilling. . . But it's not all fun and pop-culture riffs. Despite his lethal nature, the Major-General has a most troubled conscience. The second-act song âWhen the World Went Madâ cracks open the show's candy coating to reveal the darkness within. Stanley sings of his fears about the forces bringing the dead to life, and worries about the coarsening of his soul. Is he less moral than the Zombie King, who spares some people (albeit under false pretenses)? The Major-General kills them all, and then shakes with terror and remorse late at night. Is he worse than what he hunts? . . . Things become very dark indeed. But you know
749what they say: It's always darkest before the dawn of the dead.â â Paul Friswold, The Riverfront Times 750 <br /><br /> 751âItâs amazing just how effective the changes are, while still paying tribute to the classic text. And Arthur Sullivanâs fantastic music is left unharmed, while meshing perfectly with the updated lyrics. . . The Zombies of Penzance is absolutely hilarious right from the start. Itâs the juxtaposition of zombies singing opera (and quite beautifully, I might add), and the subtle changes in dialogue which make it impossible not to crack a smile. The reworked plot is so absurd, but in the best way possible. Because of how the adaptation is handled with such care, the show is able to tell a just as entertaining and compelling story as the original. And I can honestly say I enjoyed it even more. . . New Line Theatre has chosen the perfect musical for the Halloween season, after carefully incubating it with love for several years until it was ready to make its debut. The Zombies of Penzance will change the way you think about the music and characters forever, as its updated message of female empowerment and inclusivity is undeniably relevant today. The show is so much fun, and there is much to be appreciated by both fans of Gilbert and Sullivanâs original work and newcomers to this fresh new story.â â Kevin Brackett, ReviewSTL 752 <br /><br /> 753âWe are swept away in a wonderful whirlwind of apocalyptic delight that is both fresh and familiar. . . With smart dialogue, clever lyrics, and rapid-fire jabs at conservative Christianity, I dare you to keep up with the pace here. This show is wholly entertaining starting with the first overture notes from the New Line Band and continuing until the very last hysterical twist as the lights go dim at the end. This wild, wonderful adaptation closely mimics the original, only this version is darker, edgier, weirder, and paradoxically funnier. Plus, there are dancing zombies! . . . Itâs charming. Itâs cheeky. Itâs a super fun pre-Halloween show for those looking to laugh, or for anyone who enjoys The Pirates of Penzance. Trust me on this one. Gilbert and Sullivan would be amused.â â Tanya Seale, BroadwayWorld 754 <br /><br /> 755âThis new version of The Pirates of Penzance, titled The Zombies of Penzance, comes beautifully alive. . . All of a sudden itâs a modern show, but with an incredibly lush musical sound we scarcely deserve, here in this modern, profane age. . . So thank God (and George Romero) for The Zombies of Penzance. . . I really feared it was going to be a one-joke show. But itâs deliciously rich, and a great tribute to the originalâskewering the zombie genre and subtly reviving the bygone art of light operatic romance in the bargain. . . itâs undeniably the perfect marriage of creative minds, across more than a century. And with all those brilliant choristers on stage, you just canât kill it.â â Richard Green, TalkinBroadway 756 <br /><br /> 757âIf youâre in the mood for theater that will make you laugh while still delivering the pleasure of a high quality score, you wonât want to miss New Line Theatreâs latest production. Reverently irreverent and witty, Gilbert & Sullivanâs The Zombies of Penzance, or At Night Come the Flesh-Eaters is a rollicking good time of a zombie musical. . .New Line hits all the right notes with an abundance of sharp, insidious comedy and a touch of political commentary. The world premiere combines the efforts of W.S. Gilbert and Scott Miller on book and lyrics and Arthur Sullivan and John Gerdes on music, with orchestrations by Gerdes. The clever show is a fast-paced satire thatâs at times adroitly bookish and at times total fanboy â of Gilbert and Sullivan⦠and Romero. George A. Romero that is, the acknowledged patriarch of the modern zombie canon. . . a delightfully fun, pointedly funny musical.â â Tina Farmer, KDHX 758 <br /><br /> 759âItâs a rollicking musical filled with mirthful mayhem, just in time for Halloween. . . Miller and Dowdy-Windsor keep the show moving at a sprightly pace under their careful direction, pretty much guaranteeing a jolly good time for all. A pinch of Gilbert & Sullivan humor along with a sprinkling of Romero shivers blend well for a Halloween holiday treat.â â Mark Bretz, Ladue News 760 <br /><br /> 761âAnother triumph for New Line, a theater company with a disarming sense of fun. . . itâs a hilariously inspired joke, and just what theatergoers need in these often troubling times.â â Calvin Wilson, St. Louis Post-Dispat
761ch 762 <br /><br /> 763âIf youâre looking for an uproarious way to spend a couple of hours, Gilbert & Sullivanâs The Zombies of Penzance or At Night Come the Flesh Eaters is a no-brainer!â â Jeff Ritter, Critical Blast 764 <br /><br /> 765âAnother example of the excellent casting and top-notch singing thatâs come to be expected from New Line. Itâs also a whole lot of fun to watch, but especially so if you like zombie stories, Gilbert and Sullivan, or both. . . In terms of humor and sheer musicality, itâs remarkable. Ultimately, though, this show is a witty, hilarious show that has a lot of fun with its concept and features a first-rate, enthusiastic cast. Itâs not âtraditionalâ Gilbert and Sullivan, but thatâs really the point. Itâs another excellent, thought-provoking show from New Line.â â Michelle Kenyon, Snoopâs Theatre Thoughts 766 <br /><br /> 767âLet the wackiness ensue with Millerâs smart book and quick-witted lyrics, using Gilbertâs template. Listen carefully for laugh-out-loud humor, utilizing contemporary snarkiness. . . These zombies might not terrify, after all, but they certainly provide a fun, frothy look in a lighter vein â at both vintage opera and the horror archetypes who proliferate this time of year. Barbara, they are coming, only armed with songs, dances and feelings. One canât resist the pull of brainy and talented people who set out for a road not taken before.â â Lynn Venhaus, St. Louis Limelight 768 </p> 769 </div> 770 </div> 771 </div> 772 773 <div class="panel panel-default"> 774 <div class="panel-heading" role="tab" id="headingSeventyEight"> 775 <h4 class="panel-title"> 776 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventyEight" aria-expanded="false" aria-controls="collapseSeventyEight"> 777 YEAST NATION (2018) 778 </a> 779 </h4> 780 </div> 781 <div id="RcollapseSeventyEight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventyEight"> 782 <div class="panel-body"> 783 <p>âNew Line has long been home to weird shows â and this one, from the creators of Urinetown, might be the weirdest yet. Single-cell organisms, singing and dancing in the primordial ooze, more of less simultaneously discover love and dynastic tragedy. The voices are terrific, and the tie-dyed costumes are a hoot; who knew microbiology could be so entertaining?â â Judith Newmark, St. Louis Post-Dispatch 784 <br /><br /> 785âThe production is absolutely spellbinding. . . For those who are familiar with New Line, Yeast Nation features an all-star cast of actors. . . Yeast Nation is probably considered odd by Broadway standards, and most likely why it never found a home there. But that is more the reason to love it, as it epitomizes the creativity we yearn for when discovering new art. The show is very smart, and surely benefits from a second viewing to truly appreciate all of the clever writing. Yet at the end of the day, the sights and sounds will have you captivated â all while having a lot of fun.â â Kevin Brackett, ReviewSTL 786 <br /><br /> 787âItâs a big goofy summer musical, delightfully performed, full of silly pastiche song and dance, thatâs somehow just a little too snarky and ironic for the Muny. . . Come for the nonsense, stay for the soaring musical artistry. . . You havenât heard Motown and doo-wop spoofs till youâve heard them in the swoon-worthy richness of a New Line show.â â Richard Green, TalkinBroadway 788 <br /><br /> 789âNew Line Theatreâs current production of the show is directed by the accomplished team of Scott Miller and Mike Dowdy-Windsor, and it moves from strength to strength. The cast is sharp, Rob Lippertâs set and lighting design are both attractive and effective (sitting in The Marcelle is like being inside a human-scale, high-dollar aquarium), and most importantly, I cared about some of these genderless, biologically identical yeasts and their plight. Personal investment is the ultimate goal of every show, but itâs a big ask when youâre talking about yeasts who all share one name.â â Paul Friswold, The Riverfront Times 790 <br /><br /> 791âIs it New Line turned up to eleven, zany and shocking and well-acted with music and songs that are, dare I say it, infectious? Yes, indeed! Yeast Nation is easily the most bizarre musical youâll see this year and perhaps for many years to come. . . and yet it completely works. . . There is an incredible amount of live theatre in St. Louis, and some companies are producing challenging and decidedly different fare. With Yeast Nation, Scott Miller, co-director Mike Dowdy-Windsor and the whole New Line crew remind everyone why they are the bad boys of musical theatre. Yeast Nation is the funniest cautionary tale youâre likely to ever see. The basic premise alone of yeast reminding humans that in many ways we arenât as evolved as we think we are should make this a hot ticket.â â Jeff Ritter, Critical Blast 792 <br /><br /> 793âYeast Nation rocks the ocean floor. New Line Theatre embraces the odd and evolving world of Yeast Nation, giving it vibrant color and effective performances that are delightfully engaging and thoroughly satisfying. You might learn a little science if you listen closely, but youâre sure to leave the theater with a smile, a melody in your head and a new appreciation for our distant neighbors those salt-eating yeasts.â â Tina Farmer, KDHX 794 <br /><br /> 795âItâs something doubtless unlike anything most audience members have ever seen, albeit with its own quirky charm. . . Directors Scott Miller and Mike Dowdy-Windsor and their performers bring out the zany silliness of the concept. . . New Lineâs production has fun stretching out the showâs central joke, showing how far humanity has come and how far it may yet need to advance.â â Mark Bretz, Ladue News 796 <br /><br /> 797âIn typical fashion, the New Liners bring us a wonderful production full of energy and singing and acting skills that are stellar. . . The usual outstanding ensemble does a wonderful job in backing up all this insanity. . . A nice way to while away a couple of hours with the enormous talent on stage, some good music and a few laughs along the way.â â Steve Allen, Stagedoor St. Louis 798 <br /><br /> 799âYeast Nation is a fun, funny show with a theme thatâs novel and a message thatâs more than timeless. At New Line, itâs given a production that emphasizes the comedy, musicality, and most of all, the heart of the story. . . The musical elements, as is usual for New Line, are top-notch. . . this production is a lot of fun, and another example of the strength and ingenuity of New Line Theatre.â â Michelle Kenyon, Snoopâs Theatre Thoughts 800 </p> 801 </div> 802 </div> 803 </div> 804 805 <div class="panel panel-default"> 806 <div class="panel-heading" role="tab" id="headingSeventySeven"> 807 <h4 class="panel-title"> 808 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventySeven" aria-expanded="false" aria-controls="collapseSeventySeven"> 809 ANYTHING GOES (2018) 810 </a> 811 </h4> 812 </div> 813 <div id="RcollapseSeventySeven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventySeven"> 814 <div class="panel-body"> 815 <p>âAt New Line, Anything Goes looks funnier, sharper and smarter than you may remember. . . a spectacular treat for lovers of modern musical theater. . . .Anything Goes is not to be missed. A must for New Line fans and a great introduction to the troupe for newcomers, this spirited, in-your-face production of the Cole Porter classic feels as sharp as the needle on a new Victrola. . . The whole cast shines in this laugh-out-loud production, frequently punctuated by music (thanks to conductor Nicolas Valdez and a smart little band) and dance (thanks to choreographers Michelle Sauer and Sara Rae Womack). From the evangelism parody 'Blow, Gabriel, Blow' to the hilarious encouragement Moonface offers Billy in 'Be Like the Bluebird,' New Line's Anything Goes provides non-stop entertainment without ever getting serious.â â Judith Newmark, St. Louis Post-Dispat
815ch 816 <br /><br /> 817âDirectors Scott Miller and Mike Dowdy-Windsor have a gift for finding the most talented performers for their productions, and this show is no exception. The entire cast of Anything Goes is simply marvelous. . . The New Line Band sounds great as they honor Cole Porter with their performance of his best work. And the cast looks great as the dance to the terrific choreography of Michelle Sauer and Sara Rae Womack. Everything about the show is extraordinary, and I couldnât wipe the silly grin off my face until long after the final number. New Line has yet another hit on their hands, as they introduce audiences to a version of Anything Goes that they are not likely to have seen before. And in my opinion, the very best version possible.â â Kevin Brackett, ReviewSTL 818 <br /><br /> 819âIs Scott Miller finally mellowing out after all these years doing shows like Bloody Bloody Andrew Jackson, Celebration, and Jerry Springer the Opera? In a word, noâthe New Line Theatre motto is alive and well. Think of a veteran baseball pitcher renowned for a nasty curve. Time and time again the hitter comes to the plate knowing that heâs going to see that hook. This time, Scott surprises the hitter with a fastball down the middle. . . As usual, New Line gets it right. . . this is Anything Goes as itâs meant to be performed and witnessed.â â Jeff Ritter, Critical Blast 820 <br /><br /> 821âIt's a strange choice for St. Louis' self-proclaimed 'bad boy of musical theater,' New Line Theatre. And yet, here we are, with directors Scott Miller and Mike Dowdy-Windsor charging right up the gangplank of the S.S. Fantasy America. Working with the 1962 version of the script and incorporating Miller's standard deep research into the original show's origins, the boys have found an Anything Goes that's sharper, tarter and more satisfying than you'd think possible. In all honesty, I haven't laughed so much at any play in quite some time. And it's not just the zany comedy that gets you; it's the skewering of the super-rich, talentless celebrities, the British and indeed anything else that walks across the ship's deck.â â Paul Friswold, Riverfront Times 822 <br /><br /> 823âWith a smart, energized supporting cast deftly directed by Scott Miller and Mike Dowdy-Windsor, New Line Theatre blends silly comedy, stylish music and effervescent performances in a winning combination which cleverly utilizes all hands on deck. . . Cole Porter knew how to write tunes with smart lyrics and snappy music, and New Line Theatre finds the heart in this 1962 version of the good-humored Anything Goes.â â Mark Bretz, Ladue News 824 <br /><br /> 825âThose clever lyrics and dynamite book work perfectly for this always inventive local treasure that is New Line. . . As usual, Artistic Director Scott Miller, with co-director Mike Dowdy-Windsor, has put together a superb cast of actors/singers who carry off the powerful music with strict attention to the charm and wit of the dialogue. . . Miller and company have proven once again that they can make their own imprint on any musical -- even a revered classic like this one.â â Steve Allen, Stagedoor St. Louis 826 <br /><br /> 827âA full moon illuminated the Friday night sky, and that moonglow permeated New Line Theatreâs production of Anything Goes, giving this timeless screwball comedy extra oomph. Two obvious takeaways from opening night: Never take this old warhorse for granted, and the frisky ensemble is having tons oâ fun pretending to set sail.. . . Kicky and kooky, this Anything Goes is a buoyant blast from the past that revitalizes one of the great, grand old musicals with charm, humor and style.â â Lynn Venhaus, St. Louis Limelight 828 <br /><br /> 829âNew Lineâs staging of the showâs 1962 version, energetically directed by Scott Miller and Mike Dowdy-Windsor, includes a song list jam-packed with Porter standards and a strong cast to make those numbers soar. Though the bookâs greatest strength may be its role as a vehicle for the tunes, it does offer a keen depiction of an America where gangsters are worshipped like celebrities and evangelism is akin to show business. Not much has changed on that score. . . Between the unlikely pairings and the trashy fun, this low comedy classic is bound to leave you with a smile on your face.â â Andrea Torrence, St. Louis Theatre Snob 830 <br /><br /> 831âDirectors Scott Miller and Mike Dowdy-Windsor make sure that everyone has a good time in this very broad comedy whose social impl
831ications â lionizing people who are criminals, religious hypocrisy â are easily relatable in todayâs world. . . it surely is a great deal of fun, especially if you have the least bit of romantic in you.â â Ann Pollock, St. Louis Eats and Drinks 832 <br /><br /> 833âThey're doing Anything Goes? Really? How can they get an ocean liner and those big dance numbers on that little stage? Well, somehow New Line Theatre's Scott Miller and his team have done it, and done it superlatively well. . . Anything Goes is a triumph!â â Steve Callahan, KDHX 834 <br /><br /> 835âAnything Goes is Anything Goes no matter who produces it, right? Well, maybe not. New Line Theatre, known for its productions of edgier and lesser known shows, has taken this classic, 'fun' show and given it a presentation thatâs in several ways different than whatâs come to be expected as usual. Thereâs an emphasis on satire and less of an emphasis on dance than other productions Iâve seen, but still, itâs Anything Goes, and the overall effect is energetic, smart, and very very funny. . . Here at New Line, what we get to see is a sharp, witty, tuneful, and well-cast production thatâs a delight from start to finish. . . . This is a slightly different Anything Goes than you may be used to, but thatâs a good thing. Itâs a fresh look at an older show, with a bright, memorable score of hits by a legendary composer, as well as delightful moments of broad comedy and some pointed satirical touches. And the cast is great, as well. It might not be the type of show one might expect from New Line, but the level of excellence is certainly on par with New Lineâs best. Itâs refreshing, bold, and lots of fun.â â Michelle Kenyon, Snoopâs Theatre Thoughts 836 <br /><br /> 837âThe New Line production exhibits the insight into the text and the context of the show that is par for the course when this company presents a classic. Directors Scott Miller and Mike Dowdy-Windsor have cultivated a performance style that is well-suited for a show that originated in the 1930s.â â Gerry Kowarsky, Two on the Aisle 838 <br /><br /> 839âThe good news: this show holds up reasonably well, thanks to smart, funny cast members who do well with comedy and singing; and thanks to those towering, songs from my grandfather's age. But those songs, by Cole Porter, speak a streamlined, universal language of love. And that makes this 1962 version of Anything Goes a huge departure from what we've come to expect from the New Line Theatre in the past: a great company that readily supplies a stunning 'deep dive' into rich, complex character; and the search for meaning in a world gone dangerously wrong. Even so, this famed musical is still an interesting bit of dash, and in some ways actually does fit the profile of this excellent local company, at The Marcelle Theatre. . . It's a show full of schemers and marks, so conceptually, it measures up nicely to past New Line shows like The Sweet Smell of Success, and Jerry Springer the Opera...â â Richard Green, TalkinBroadway 840 </p> 841 </div> 842 </div> 843 </div> 844 845 <div class="panel panel-default"> 846 <div class="panel-heading" role="tab" id="headingSeventySix"> 847 <h4 class="panel-title"> 848 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventySix" aria-expanded="false" aria-controls="collapseSeventySix"> 849 LIZZIE (2017) 850 </a> 851 </h4> 852 </div> 853 <div id="RcollapseSeventySix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventySix"> 854 <div class="panel-body"> 855 <p> 856âLizzie explodes on the stage with a ferocious, hard rock energy that suits the murderous tale. New Line Theatre takes a boisterous swing at the legend of Lizzie Borden with Lizzie, a rock ânâ roll musical thatâs one part horror story, one part rock opera, and all riot grrrl fury. The all-female cast attacks the concept with zeal and the result is hard rocking storytelling that grabs you by the collar and doesnât let go until the final chord. . . Theatergoers who enjoy a driving beat, insistent melodies, and powerful vocals will find the show easy to embrace and a lot of fun to experience. From the haunting opening notes to the final anthemic rendition of â40 Whacks,â New Line Theatreâs Lizzie, grabs your attention and compels you to listen. â â Tina Farmer, KDHX 857 <br /><br /> 858âLizzie is a unique musical experience, and I was absolutely blown away by it. . . New Line Theatre has put together a production thatâs like the coolest rock concert ever, and I cannot recommend it highly enough. . . New Line Theatreâs production of Lizzie is a creative and imaginative juggernaut that is led by a stellar creative team, and some magnificently talented actresses and musicians. I say it all the time with New Line shows, but this one rocks especially hard. Get out and see it, repeatedly!â â Chris Gibson, BroadwayWorld 859 <br /><br /> 860âDirector Mike Dowdy-Windsor helms this raucous production, which fuses a punk rock attitude with slashing, guitar-driven rock. . . All four power the second act to its conclusion, which hints at happiness but ultimately implies that Lizzie Bordenâs life was forever shadowed by the events of that day. The final song is an audie
860nce singalong of the playground ditty âForty Whacks.â Itâs a solemn reminder that a woman can get away with murder, but she can never escape societyâs judgment.â â Paul Friswold, The Riverfront Times 861 <br /><br /> 862âA stylish, engrossing two-act show. Through director Mike Dowdy-Windsorâs new staging of Lizzie at the Marcelle Theatre, the 1892 mystery gets a great rock-opera treatment â but one thatâs also drenched in psychological pathos â with a lot of fine visual and musical elements, and (more importantly) with New Line Theatreâs trademark soaring singing harmonies, from four first-rate actresses. . . Itâs very compelling in this intimate setting, with a six-person band and lots of colorful, smoky rays of light pouring down, helping fill out the rock-concert motif. And it all becomes a great moral cause for for the audience, as a psychologically wounded Lizzie takes justice into her own hands â in a pounding, exciting, and beautifully assembled musical production, with lots of surprisingly good rock anthems and ballads.â â Richard Green, TalkinBroadway 863 <br /><br /> 864ââA sizzling, sensational rendition of a rock musical built around the infamous 19th century murder case that became a cause celebre and part of American folklore. . . Lizzie is full of energy, lively and extremely likable music and a quartet of engaging, appealing performances by its players. Add Lizzie to the rich artistic trove of adaptations and interpretations of one of Americaâs enduring criminal stories.â â Mark Bretz, Ladue News 865 <br /><br /> 866âNew Line Theatreâs Lizzie Is The Rock Musical At Its Absolute Best. . . if the cast of New Line Theatreâs hard rock musical Lizzie was an actual band theyâd be number one with a bullet...or more accurately a hatchet. . . The fun is in watching these four supremely talented actresses pour everything they have into a collection of original songs. . .Director Mike Dowdy-Windsor has put together a hit show that will be talked about for years to come by anyone who sees it. Memorable songs belted out by four voices that would make âThe Red Rockerâ Sammy Hagar green with envy makes this production the must see event of the fall in St. Louis. Get your tickets now because I predict that the entire run of Lizzie will sell out as the buzz makes its way through St. Louisâ ever-expanding theatre scene.â â Jeff Ritter, Critical Blast 867 <br /><br /> 868âTake one lurid unsolved mystery â the notorious Lizzie Borden case. Smash conventions. Add four fearless females with punk rock energy, raging hormones and righteous anger, and the result is the bold, bewitching headbangersâ ball Lizzie. These rebels with a cause are a fierce force, and grab hold with gusto from the start. They feel these roles in every molecule of their being, unleashing fury and outrage as oppressed women who discover their own voices. . . Donât think for a second that Lizzie is one note. It has surprising depth, and thatâs a credit to the well-rounded skills of its cast. Four of my favorite actresses in town seize the night, and own that stage. New Line Theatre resists any attempt to go for gimmicks, instead presenting passionate performances that ring true.â â Lynn Venhaus, Belleville News-Democrat 869 <br /><br /> 870âThere are lots of musicals that deal with disturbing subject matter, and New Line Theatre makes it its business to track them down. But Lizzie is in a class by itself â a hard-rocking, riot-grrrl explosion of rage, nerve and the best goth/steampunk/rollerchic costumes ever flaunted on a St. Louis stage.â â Judith Newmark, St. Louis Post-Dispatch 871 <br /><br /> 872âThe story still captivates more than a century later, and New Line Theatre seems a fitting company to stage this defiant, mostly sung-through musical inspired by her, told in the language of unchecked rebellion â straight-up rock. . . No one will ever know precisely what went down in the House of Borden back in 1892, but this heady retelling will force any condemnation to the back seat. Basking in the glow of Lizzieâs liberation is much more gratifying. Donât walk, run to see it.â â Andrea Torrence, St. Louis Theatre Snob 873 <br /><br /> 874âLizzie Slashes Its Way Across The New Line Stage With Powerful Performances. . .Now, four wonderful performances by four stunning ladies brings that story to life. . . Lizzie is more than a musical; itâs an event of epic proportions. These four women simply hew their way through a rock-perfect score and strike fear, terror and a bit of humor through the audience. This one is a no-brainer â you must see it and savor it.â â Steve Allen, St. Louis Stage Door 875 <br /><br /> 876âA narrative of gory murder, burlesque costuming, and musings on gender and class are not all that Lizzie provides its audience, however. Despite or (depending on how much you love the horror genre) perhaps because of, its thematic and narrative darkness, it is, above all, fun. Backed by a hard-rocking, talented band, the cast seem to have enjoyed themselves as much as the audience did. . . A punk musical that draws as much on horror movie tropes of family dynamics gone horribly wrong as it does on the Victorian news story that helped usher in our
876contemporary fascination with media accounts of domestic murder and the trials that follow, Lizzie may not appeal to everyone. It is unapologetically feminist in an all-but-academic way, and those who think feminism is still a dirty word might want to go elsewhere. But for the rest of us, Lizzie gives us 90 minutes of heart (and Heart), style, and high-energy, darkly funny (and sad and angry) entertainment just in time for Halloween.â â Rachel Lewis, The Scene Shop 877 <br /><br /> 878âIt works. It actually does. . . There actually is something rather Gothic, in the earlier sense of the word, about all this. Nevertheless, seeing it in visual contemporary Goth, is invigorating. Is the play historically accurate? Well, since we had no forensics teams then, there are few absolute answers. Authors Steven Cheslik-deMeyer, Tim Maner and Alan Stevens Hewitt do utilize several intriguing, yea, even titillating theories that have been floated over the years. . . Director Mike Dowdy-Windsor has done a superb job of casting.â â Ann Pollack, St. Louis Eats & Drinks 879 <br /><br /> 880âThat is a hard-rocking, badass dark comedy. . . I love rock operas. I love rock music. And clearly I am a fan of musicals. This show has everything that I could ever ask for. The cast, comprised of only four extremely talented actors, are so strong in their roles. Not only can they sing and act, obvious prerequisites for starring in a musical, but they can rock! At times I wasnât sure if I was in a play, or a rock concert. And I loved every minute of it. Not rocking out to the show, and shaking the row of chairs I was seated in, was honestly one of the hardest things Iâve had to do at a theatrical performance.â â Kevin Brackett, ReviewSTL 881 <br /><br /> 882âWhatâs given here is a concert of relationships, finely crafted, shockingly portrayed, and effectively humanized, played with energy, grit, and magnetism by the first-rate New Line cast. . .You think you know what youâre getting â the Lizzie Borden story with rock music â and that is what New Line presents, but there is a lot more to it than that simple premise describes. The format here is a particular strength in that it takes subject matter thatâs been talked about and presented in many different ways before, and brings it to the audience in a way that at once sets it apart and makes it more accessible. This Lizzie is loud, but itâs also incisive. The story is old, but itâs also new. Itâs a story thatâs been told, but not in this way. Itâs New Line at its bold, brash, thought-provoking best.â â Michelle Kenyon, Snoopâs Theatre Thoughts 883 </p> 884 </div> 885 </div> 886 </div> 887 888 <div class="panel panel-default"> 889 <div class="panel-heading" role="tab" id="headingSeventyFive"> 890 <h4 class="panel-title"> 891 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventyFive" aria-expanded="false" aria-controls="collapseSeventyFive"> 892 OUT ON BROADWAY: THE THIRD COMING (2017) 893 </a> 894 </h4> 895 </div> 896 <div id="RcollapseSeventyFive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventyFive"> 897 <div class="panel-body"> 898 <p> 899 900 âNew Line Theatre loves setting convention on its ear, so this selection of brassy, sassy, tender, and touching songs is a refreshing summer tonic, a valentine to âLove is Love is Loveâ.â â Lynn Venhaus, OnSTL 901 <br /><br /> 902âCount on New Line to bring forward what others have overlooked. . . The return of Out on Broadway is a rewarding opportunity to reflect on social progress.â â Gerry Kowarsky, Two on the Aisle 903 <br /><br /> 904âSomehow, under the direction of New Line founder Scott Miller, we end up teetering on the brink of some new discovery, as yet unknown, with a silvery-voiced anthem of unity and understanding. . . as bracing as anything you'll see on stage this happy summer. . . looking into the hidden reaches of the soul, speaking truths that may best be expressed in song. . . So if you've ever been in love with musicals, don't miss this show. ... It's a thoughtful and kind evening of rare songs and fine performancesâwith a lot of unexpected hilarity thrown in.â â Richard Green, TalkinBroadway 905<br /><br /> 906âDirector Scott Miller has once again put together a show that transcends simply good music and talented performers. The most important takeaway is that love is universal, and n
906o matter who the songs were written for â they all apply to people in love. Never does a number fail to work because of the casting â forget that they are all talented â but that they are all male. It doesnât matter, and never does a song not feel right because it was originally performed between a man and a woman. And that is a perfect example of how love works between all people. The humanity of the show shines throughout, and it is a wonderful evening of musical theater for all to enjoy.â â Kevin Brackett, ReviewSTL 907 <br /><br /> 908âItâs as stripped down to the bone as a New Line production will likely ever get, and thatâs perfectly fine, because the music is pretty great. . . As a straight man, there were no moments lost on me because I donât âgetâ gay culture. Thatâs the biggest takeaway from Out on Broadway: The Third Coming â there really isnât that much difference between hetero or gay couples in love. Love is just love. Thatâs why you can pick songs from all over the musical map and still feel the relevance and the emotion even if theyâre sung by or to a different gender than originally performed. If anything, Iâd say this production would appeal mostly to well-versed fans of musical theatre as much as appealing to your romantic preferences.â â Jeff Ritter, Critical Blast 909 <br /><br /> 910âOut on Broadway: The Third Coming lights up The Marcelle with music and love. . . The show loosely traces the progression of love, beginning with the idea of loving and accepting oneself before loving others, but there's nothing heavy handed or preachy in the message. The selected songs, primarily lesser known musical gems that deserve a listen, complement each other well while adding humor and genuine pathos to the evening. For the 2017 edition of the revue, company artistic director Scott Miller added numbers from recent shows that prove a surprising fit. . . the men interpret every song well, with intention and perspective that's clear, genuinely expressive, and uniformly well performed.â â Tina Farmer, KDHX 911 <br /><br /> 912âIf you didn't catch it you really missed an exceptional theatrical cabaret of sorts, which was truly wonderful, and which I hope sparks a fourth coming! . . . New Line Theatreâs Out On Broadway: The Third Coming was filled with shimmering and beautiful tunes from shows, many of which, New Line produced over the years.â â Chris Gibson, BroadwayWorld 913 <br /><br /> 914âOut on Broadway: The Third Coming is a pleasant little evening that puts the focus â albeit from a different angle â on a collection of songs which underscore the ever-changing musical vitality of Broadway.â â Mark Bretz, Ladue News 915 <br /><br /> 916âScott Miller and Nate Jackson, the pianist and music director, give the show an easygoing mood, favoring sophistication over splash. Out on Broadway: The Third Coming feels as if it could have played a supper club, but of course it could not have existed in the days when supper clubs flourished. The Marcelle makes a good alternative.â â Judith Newmark, St. Louis Post-Dispatch 917 <br /><br /> 918âThereâs a great collection of songs here, and seeing them presented in a new context, and with the overall theme of the lives and loves of gay men in America in 2017 is an illuminating experience. This being âpart 3,â I found myself watching the show this time wishing I could have seen parts 1 and 2, especially considering how much culture has changed in the last 20 years. Overall, Out On Broadway: The Third Coming is a great opportunity to hear from these talented men and see life through their eyes, and hear it through their voices. And what impressive voices they are, as well.â â Michelle Kenyon, Snoopâs Theatre Thoughts 919 <br /><br /> 920âOut On Broadway: The Third Coming is not only a whole new experience with brand new Broadway hits, but also has added a jewel in its crown thanks to the premiere of the original new song, âHopeâ by Jason Robert Brown. . . The charm of the production is how Scott Miller bends and shapes some songs that are otherwise sung by females in their original shows, to being sung by the men in the company, giving a whole new meaning to the experience. . . Out On Broadway: The Third Coming comes together thanks to the well-disciplined velvety voices of the cast, which includes Dominic Dowdy-Windsor, Mike Dowdy-Windsor, Ken Haller, Sean Michael and Keith Thompson, who all sang their hearts out for a very appreciative audience, especially those who have had the joy of experiencing all three incarnations of the production.â â Keaton Treece, St. Louis Limelight 921 </p> 922 </div> 923 </div> 924 </div> 925 926 <div class="panel panel-default"> 927 <div class="panel-heading" role="tab" id="headingSeventyFour"> 928 <h4 class="panel-title"> 929 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventyFour" aria-expanded="false" aria-controls="collapseSeventyFour"> 930 SWEET SMELL OF SUCCESS (2017) 931 </a> 932 </h4> 933 </div> 934 <div id="RcollapseSeventyFour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventyFour"> 935 <div class="panel-body"> 936 <p> 937âNew Line Theatre sizzles with Sweet Smell of Success. . . The show casts unflattering shadows on the underside of fame, but the musical is spectacular theater and visually gorgeous. The story is compelling and captivating, the performances are uniformly strong and harmonically on point, and attention to detail adds the finishing touch on New Line Theatre's entertaining production.â â Tina Farmer, KDHX 938 <br /><br /> 939âThere are so many things to love about New Line Theatre's latest production, Sweet Smell of Success, that this review is certain to be filled with superlatives. . . Superior performances, a great band, and sharp direction make this show a must-see. . . a joy to behold. It's smartly conceived and executed, and completely engrossing. What's more, it's totally relevant to events we see transpire in the world of journalism today. â â Chris Gibson, BroadwayWorld 940 <br /><br /> 941âSweet Smell of Success is a string of firecrackers that detonates at dangerously close range. It's dark, it's dirty and it somehow tricks you into believing in the petty dreams of an ambitious scumbag, at least for a little while. And the best part? While those little explosions are still ringing in y
941our ears, you realize exactly how you were duped â and your own complicity in the game Sidney and J.J. play with other people's lives.â â Paul Friswold, Riverfront Times 942 <br /><br /> 943âIn a sense, the stage has never been so empty. It's fully peopled, but it's a late night world of smirking nightclub owners and press agents and would-be ingénues, all starved for success, leaving humanity in short supply. It's the opposite of Our Town, where only the set pieces are meant to look fake. But don't worry, there's also a beautiful love story growing up between the cracks, like some defiant orchid. Romance, in fact, gains synergy under the direction of Scott Millerand Mike Dowdy-Windsor: the dominant, grueling cynicism of Sweet Smell of Success only makes the romantic subplot more compelling. . . It's a show that's full of kind-hearted people showing their tough edge, and tough-hearted people striving to show a kindly façade. The trick, as in real life, is in telling the difference between the two.â â Richard Green, TalkinBroadway 944 <br /><br /> 945âNew Line Theatre's Sweet Smell of Success Is disturbingly brilliant . . Iâve covered New Lineâs show for a long time, and co-directors Scott Miller and Mike Dowdy-Windsor do two things exceptionally well: find great material that may be better suited for their black box theatre at The Marcelle than the glitzy, over-produced attempts on Broadway, and cast some the best and brightest up and coming actors in the St. Louis area to perform it. . . When the acting in any show is so good you forget youâre merely observing the show and arenât actually in it, theyâve got you. The entire cast of Sweet Smell of Success got me big time. . . tremendously entertaining. The plot is intricate without being difficult to follow, the songs are memorable, and the acting is top notch.â â Jeff Ritter, Critical Blast 946 <br /><br /> 947âA smart, intriguing, and endlessly entertaining story . . . Once again, New Line has produced a show full of incredible songs that Iâve never heard of â yet instantly fell in love with. Hats off to the New Line Band, directed by Jeffrey Carter, who beautifully transports the audience to â50s New York with their endless talent. . . Directors Scott Miller and Mike Dowdy-Windsor bring home another winner with this twisted tale of success, and the rise and fall that inevitably comes with it. The music is fantastic, as the intriguing story pulls you in and doesnât let go until the very end. The entire cast â from the principals to everyone in the ensemble â is extremely talented, and does a terrific job in bringing this tale to life.â â Kevin Brackett, Review STL 948 <br /><br /> 949âItâs a blue world at New Line Theatre: kind of sad, kind of dirty, kind of blue in Marvin Hamlischâs jazzy score for Sweet Smell of Success. . . That mood is established from the get-go by music director Jeffrey Richard Carter and the New Line Band. They sound as if theyâre appearing at the Marcelle via time travel, on loan from a midcentury hot spot in Greenwich Village.. . .its smoky atmosphere thrives at New Line.â â Judith Newmark, St. Louis Post-Dispatch 950 <br /><br /> 951âThe musical version of Sweet Smell of Success opened big on Broadway. . . Scott Miller, the founder of New Line Theatre, saw it, loved it â and realized it didnât belong in a big Broadway house. He was right. Much of it takes place in smoky nightclubs of the 1950âs and in the equally smoky offices of press agents. Intimacy is good for the music, itâs good for the actors and itâs good for its effect. The only thing New Lineâs current production lacks in reproducing that intimacy is actual cigarette smoke. . . Jeffrey Carter and the New Line band take good care of the score and the sound from Elli Castonguary is nearly perfectly balanced. Taylor Pietzâ choreography â and this is a dance-heavy version of the show â is fun, especially with the chorus, which has some folks who would have been right at home in Guys and Dolls. Theyâre a delight. Much credit to Miller and co-director Mike Dowdy-Windsor for this show, which manages to be a romp despite its very serious story.â â Ann Pollack, St. Louis Eats and Drinks 952 <br /><br /> 953âThis is the kind of show that New Line does especially wellâa show that might have been too âsmallâ in a sense for Broadway. Itâs the kind of show where an intimate presentation in a venue like New Lineâs Marcelle Theatre can be ideal, to scale this story down to its most important elementsâthe characters, the raw emotions, and the key concepts at play in this seedy, sultry, and sometimes downright scary morality tale that focuses on the down side of the quest for fame. . . This is a challenging, incisive story with an incisive message, richly drawn characters, and even more richly drawn
953settings. Itâs an homage to Film Noir, tied to its time in one way, but surprisingly timeless in another, since the modes of communication and the names may change over the years, but human nature hasnât changed, and neither have the temptations that come with the thirst for knowledge, influence, and especially power and control. Sweet Smell of Success isnât always sweet, but at New Line and with this cast and creative team, itâs certainly a success.â â Michelle Kenyon, Snoopâs Theatre Thoughts 954 <br /><br /> 955âNew Line Theatre captures the rhythm of Marvin Hamlischâs jazz/rock musical score as well as the biting social satire about the dark side of the 1950s in John Guareâs book in its current production of Sweet Smell of Success. . . a well-wrought execution of a fascinating look at what some people remember as the âgood old daysâ.â â Mark Bretz, Ladue News 956 <br /><br /> 957âSet in rollicking jazz clubs in 1950s New York, the current staging of Sweet Smell of Success at New Line Theatre pulses with a live jazz ensemble and excellent singing.â â Rosalind Early, St. Louis Magazine 958 <br /><br /> 959âIt's a must-see this summer!â â Lynn Venhaus, OnStL 960 </p> 961 </div> 962 </div> 963 </div> 964 <div class="panel panel-default"> 965 <div class="panel-heading" role="tab" id="headingSeventyThree"> 966 <h4 class="panel-title"> 967 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventyThree" aria-expanded="false" aria-controls="collapseSeventyThree"> 968 ZORBA (2017) 969 </a> 970 </h4> 971 </div> 972 <div id="RcollapseSeventyThree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventyThree"> 973 <div class="panel-body"> 974 <p> 975 âFilled with passion and genuine exuberance, Zorba is the most beautifully hopeful tragedy I've seen in quite some time. The score and dancing are evocative, drenched with the sounds of Greek folk music. The lyrics are filled with exposition and storytelling reminiscent of the classics. The musical tackles the story of humanity as told through the eyes of an aging man determined to squeeze every last ounce from his own life. . . Thankfully, New Line Theatre has produced a deeply satisfying and effective show that resonates with hope. Zorba is a compelling story. The performances are sharply executed and endearing, and, though the ending is sad, it is filled with joy and gratitude.â â Tina Farmer, KDHX 976 <br /><br /> 977âNew Line Theatre's production is a real revelation, because even though this show received its fair share of award nominations, it's really not revived that often. Perhaps it's the darker shades that pervade the show that turn some people off, but then life isn't always sunshine and roses, so I like that that those elements are present. This kind of presentation is something that New Line does better than anyone else, and that's to revive a neglected or forgotten show for a new audience to appreciate, and their track record is impeccable in this regard. This show is a genuine must see. . . Directors Scott Miller and Mike Dowdy-Windsor find the heart and humor that define this piece, and they have their cast deftly bring it to life for another generation to enjoy. . . Don't miss New Line Theatre's Zorba! It's not only tuneful, but it provides food for thought. A nice combination.â â Chris Gibson, BroadwayWorld 978 <br /><br /> 979âFor nearly all of New Line Theatre's existence, Scott Miller has brought a piercing, keen intellectual meaning to his shows; and now in the last couple of years there have been added layers of warmth and kindness and heart, thanks to this extremely knowledgeable director/producer/author, now working in tandem with co-director Mike Dowdy-Windsor. Plus, here, some pretty over-qualified actors on stage, and the songs of Kander & Ebb, from 1968, right after their blockbuster Cabaret.â â Richard Green, TalkinBroadway 980 <br /><br /> 981âA lesser known musical by lyricist Fred Ebb and composer John Kander, Zorba demonstrates the duoâs remarkable talent for creating intriguing and intoxicating musical stories. Directors Scott Miller and Mike Dowdy-Windsor take this rarely performed work and mine its rich potential in a highly entertaining presentation by their energized cast in the current New Line Theatre production. . . The productionâs success is due in no small part to the exhilarating musical accompaniment of conductor/pianist Sarah Nelson and her band. . . Zorba the musical will lift your spirits with its wisdom and its zest and make you appreciate what you have all the more.â â Mark Bretz, Ladue News 982 <br /><br /> 983âThe show is directed by Scott Miller and Mike Dowdy-Windsor, a winning combination that started a couple of seasons ago. . . Their work on this production is another home run for New Line, packed full of great choreography and stage direction. . . Zorba is a musical that you may
983not yet know, but one that you will never forget. The songs are brilliantly crafted, telling a story of an unlikely friendship and the ups and downs that come with life. There is a significant lesson behind the catchy songs and wonderful performances that should not be ignored. Life is both good and bad, and you have to embrace everything that it entails to fully appreciate it. The show does an incredible job of teaching this lesson, and is non-stop fun at the same time.â â Kevin Brackett, ReviewSTL 984 <br /><br /> 985âNew Line Theatreâs newest production, Zorba, is a perfect example of the unpredictability of the one commodity that everyone holds most precious. . . Kent Coffel showed once again why heâs one of the best local actors in the St. Louis area. . . he can grab the attention of an audience in so many ways: booming voice, fantastic facial expressions, and deep characterization. . . His Zorba feels completely realized, more than just an actorâs notion of who the character is. To what extent heâs traversed the globe, how many unique adventures heâs had throughout his life, I couldnât say. Kentâs gift as an actor is making you forget the actor completely and only see, in this case, Zorba. Every actor strives for that but not everyone achieves it. I tip my hat to Mr. Coffel on a job most beautifully done. . . I also tip my hat to the always sensational New Line Band....â â Jeff Ritter, Critical Blast 986 <br /><br /> 987âThankfully, New Line Theatre's current production of this rarely produced classic is a lived-in marvel of beauty and honesty. And it has a lot of bouzouki, which is always nice (the stringed Greek instrument is criminally underused in musicals). Much of the credit should be heaped upon the shoulders of Kent Coffel, who plays Zorba as an aged rake who loves sharing an instructive story almost as much as he enjoys pursuing women and breaking into dance. . . Zorbá is a show that leads you into deep waters.â â Paul Friswold, The Riverfront Times 988 <br /><br /> 989âNew Line Theatre has given us a solid production with Kent Coffel in the title role and a solid supporting cast. Mr. Coffel has the zest and charisma needed for such an overpowering personality. He unabashedly swaggers into every situation, woos the women as if he knows they canât resist him and handles the delightful music with a singing voice that matches the confidence of the character. . . A wonderful supporting cast who double up some pivotal roles are remarkable as well. Scott Miller and Mike Dowdy-Windsor co-directed and they bring out the unusual story line and odd mix of characters full of life -- and even a few deaths -- with satisfying results...â â Steve Allen, Stage Door St. Louis 990 <br /><br /> 991âWhile John Kander and Fred Ebbâs celebrated masterpiece Cabaret plays the Fox Theatre, New Line Theatre offers up a gemlike production of one of the teamâs later, lesser-known musicals, Zorba. New Line has previously staged Cabaret, as well as Kander and Ebbâs Chicago and Kiss of the Spider Woman â all three with flair and intelligence. But with this zesty new production, New Line asserts a particular advantage that a small, idiosyncratic theater can bring to its community. It can mount the shows it chooses, shows we donât see anyplace else. In this case, the gamble really pays off.â â Judith Newmark, St. Louis Post-Dispatch 992<br /><br /> 993âItâs a good show for the intimate confines of the Marcelle Theater, full of story-telling and vivid characters. . . New Line always seems to cast first on the basis of musical talent and other considerations after that, and hereâs another place where itâs rewarded, the chorus sounding really great. Directors Scott Miller and Mike Dowdy-Windsor have carried this off well, and Rob Lippertâs set and lighting work well. . . Despite the funny lines, this is ultimately a serious, thoughtful show and itâs given a good showcase here.â â Ann Pollack, St. Louis Eats and Drinks 994<br /><br /> 995âAfter seeing Zorba at New Line Theatre last week, I decided to quit my job. Instead of work, I would go wherever my feet would take me, making my living with odd jobs, beholden to no one. By the time I got home, I had sobered up (or chickened out). But thatâs the kind of impact Zorba can have. From the early assertion that 'life is what you do while youâre waiting to die,' through the penultimate song 'I Am Free,' Zorba sells a vision of life thatâs not necessarily new (live every moment to the fullest and like itâs your last), but is extremely seductive. . . By the end of the show, when he says 'I fear nothing, I hope for nothing because I am free,' you may find yourself dreaming about starting a new life as a vagabond on the Greek Isles. Just give yourself a night to think it over before you quit your job.â â Rosalind Early, St. Louis Magazine 996 <br /><br /> 997âSarah Nelsonâs music direction is impressive, as is the bandâs impeccable work. . .Co-directors Scott Miller and Mike Dowdy-Windsor emphasize the showâs âlive in the momentâ philosophy, which is always good to be reminded of, and this production is all about living out loud. . . Zorba has the kind of message that makes us appreciate life as it is.â â Lynn Venhaus, Belleville News-Democrat 998<br /><br /> 999âA celebration of the beauty and messiness of life itself. At New Line, this show is brought to the stage with energy, intelligence, and an especially strong cast in the leading roles. Itâs definitely a show worth seeing.â â Michelle Kenyon, Snoopâs Theatre Thoughts 1000 </p> 1001 </div> 1002 </div> 1003 </div> 1004 <div class="panel panel-default"> 1005 <div class="panel-heading" role="tab" id="headingSeventyTwo"> 1006 <h4 class="panel-title"> 1007 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventyTwo" aria-expanded="false" aria-controls="collapseSeventyTwo"> 1008 CELEBRATION (2016) 1009 </a> 1010 </h4> 1011 </div> 1012 <div id="RcollapseSeventyTwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventyTwo"> 1013 <div class="panel-body"> 1014 <p> 1015 âA sort of deconstruction and laying bare of the elements that make life so fantastic and worth living. New Line Theatre, in its visual and titillating production of Celebration, embraces the conceit with skill and fluidity. . . All the details fit together well and the effect is marvelous, creating the atmosphere of an exclusive party at a decadently fading disco. . . The songs are showy and catchy and the dialogue witty, allowing lead actors Larissa White, Zachary Allen Farmer, Sean Michael and Kent Coffel to shine. A little quirky and weird, Celebration is a delightfully provocative musical gem filled with intentional pomp and theatrical circumstance.â <br />â Tina Farmer, KDHX<br /><br /> 1016 âIâm so glad New Line Theatre opened their 26th season with this fanciful and tune-filled musical. Through their superlative efforts weâre able to see the premiere of a version thatâs been revised by Tom Jones. Iâm not sure what was changed, but what weâre privy to is a very engaging and entertaining production that will make you wonder why it isnât performed with more regularity. The score itself is gorgeous, and I cannot recommend this neglected gem highly enough. . . a genuinely fun experience. . . With a truly memorable score and many amusing moments, one wonders why this musical isnât more well known and successful. Thatâs why I urge you to check out New Line Theatreâs wonderful production of Celebration.â <br />â Chris Gibson, BroadwayWorld <br /><br /> 1017 âCo-directors Scott Miller and Mike Dowdy-Windsor have assembled an amazing cast to add polish and luster to Tom Jonesâ and Harvey Schmidtâs musical. But theyâve also resurrected the forgotten style of a more beautiful time in this delightful piece. Aging hippies take note, your heart will find a home in Celebration. . . Part fable, part love triangle, and part 1960s hippie/Brechtian/Fantasticks-style love-in, this seldom-seen show succeeds brilliantly thanks to its post-Vietnam urgency, its post-Civil Rights egalitarianism, and perhaps even a soupçon of pre-Watergate naivetéâalong with excellent leads and the sheer wit and exuberance of the whole ensemble.â <br />â Richard Green, TalkinBroadway<br /><br /> 1018 âIn a world full of remakes, rip-offs and rehashes, itâs nice to know that there are still surprises. . . New Line Theatre has proven time and again that what stumbles on the big stage can spring into life in a black box theater. Under the direction of Scott Miller and Mike Dowdy-Windsor, New Lineâs current staging of Celebration is a mystical journey that brings rebirth and rejuvenation.â <br />â Paul Friswold, The Riverfront Times<br /><br /> 1019 âNew Line Theatreâs world premiere of the revised Celebration features fantastic performances. . . This is a show that is a bit shocking, very funny and ultimately speaks volumes about the human condition. . . Once again, Scott Millerâs cast is top-notch. . . Iâm extremely excited and honored to have been among the first few people in the world to see his revised version. I wouldnât want to see it done any other way.â <br />â Jeff Ritter, Critical Blast<br /><br /> 1020 âThe rediscovery of neglected work is one of New Lineâs strengths, and this jazzy life-cycle fable has a lot to re
1020commend it. . . .Co-directors Scott Miller and Mike Dowdy-Windsor make everything sing with the winsome, alluring voice that weâve known and loved since The Fantasticks debuted in 1960.â <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1021 âBrisk and lightweight in appearance but abetted by universal themes of hope and beauty, age and death, Celebration is an intriguing musical written by the creators of The Fantasticks, which it strongly resembles in style and execution. The two-act story, first performed in 1969 and recently revised by bookwriter Tom Jones for New Line Theatre, is breezily performed by New Lineâs cast within the cozy confines of the companyâs Marcelle Theater under the watchful direction of Scott Miller and Mike Dowdy-Windsor. . . Itâs rarely performed by professional companies in America, so do yourself a favor and make a resolution to experience the seasons of Celebration at the Marcelle Theater while thereâs still time.â <br />â Mark Bretz, Ladue News<br /><br /> 1022 âBeing an allegory, itâs a plot that must be experienced to be appreciated. Add the bouncy, cynical, often jazzy score and youâve got the makings of yet another musical that fits perfectly into the black box of the Marcelle that is the home to New Line. . . Sarah Nelson leads a strong band which brings out the clever and exciting score. Scott Miller and Mike Dowdy-Windsor co direct and set the mysterious and sometimes eerie feel of the story beautifully to stage.â <br />â Steve Allen, Stagedoor St. Louis<br /><br /> 1023 âNew Line Theatre is the first to premiere this revised version. Under the lively direction of Scott Miller and Mike Dowdy-Windsor, the intimate black box space at the Marcelle seems like a marvelous fit.â <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1024 âUnder the innovative co-direction of Scott Miller and Mike Dowdy-Windsor, this restless relic gets a new dawn, and a swell cast seizes the day, strange as it may seem. . . Music Director Sarah Nelson crisply leads four other superb musicians in Schmidtâs unmistakable compositions. . . While the show was created in turbulent times, pleading for a sliver of hope to emerge, its message â to survive in a very cold, cruel world is tough, but the noble choice, no matter how hard the struggle â remains timeless.â <br />â Lynn Venhaus, Belleville News Democrat<br /><br /> 1025 âThe theme and mood of the production is stylishly presented, lending much to the overall entertainment value of the production and augmenting the performances of the excellent cast. Celebration is an entertaining production inventively staged. Itâs not for everyone, as like almost all of New Lineâs shows, this is for mature audiences. For the most part, Celebration is a witty, energetic, and extremely well-cast show thatâs well worth checking out.â <br />â Michelle Kenyon, Snoopâs Theatre Thoughts<br /><br /> 1026 </p> 1027 </div> 1028 </div> 1029 </div> 1030 <div class="panel panel-default"> 1031 <div class="panel-heading" role="tab" id="headingSeventyOne"> 1032 <h4 class="panel-title"> 1033 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseSeventyOne" aria-expanded="false" aria-controls="collapseSeventyOne"> 1034 TELL ME ON A SUNDAY (2016) 1035 </a> 1036 </h4> 1037 </div> 1038 <div id="RcollapseSeventyOne" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingSeventyOne"> 1039 <div class="panel-body"> 1040 <p>âNew Line's Tell Me on a Sunday is surprisingly moving. . . as intimate as a handwritten letter, and as welcome, too. It's a surprising change of pace for the man who ambushed the world with the monstrous Starlight Express. Of course it's no surprise that New Line Theatre's season-closing production of the show wrings so much joy from Tell Me on a Sunday; the company has a way with musicals . . . a lovely little show that celebrates our human need for love. It's an undeniable winner...â <br />â Paul Friswold, The Riverfront Times<br /><br /> 1041 âThis newest production's director, Mike Dowdy-Windsor (who's made this show deeply personal and witty and strangely enlightening), says this batch of songs, united by a single, complex character, is what Sir Andrew calls 'the definitive version.' The well-known composer is probably right: Sarah Porter has four or five necessary costume changes, and about as many (unseen) lovers through the roughly 70 minute musical. But what makes it definitive is that it's all so psychologically clear and enthralling, full of twists and turns and self-deceptions that we laugh at how deep it all goes, into Emma's dreams, and (often) into her scorn as well. It's like Sex And The City, without the sex; or Bridget Jones' Diary, with more than twice as many lovers. And in lieu of sex (and in lieu of Hugh Grant or Colin Firth), we get a boatload of great songs that take us on one stirring emotional journey after another, thanks to Ms. Porter's searching soul. It's a very fair trade.â <br />â Richard Green, TalkinBroadway<br /><br /> 1042 âI was thoroughly enthralled and impressed by the production. The performance, transitions, and direction ensure the show is an absolute delight while establishing Sarah Porter as a rising star in St. Louis theater. . . Porter expertly handles the vocals and, under the direction of Mike Dowdy-Windsor, deftly navigates the emotional context of the story. . . What captivated and mesmerized me was Porter's remarkable performance, and for that I could watch the show again and again.â <br />â Tina Farmer, KDHX<br /><br /> 1043 âThis production by New Line Theatre is probably the closest you'll find to its original vision. . . it radiates perfection under Mike Dowdy-Windsor's direction, and in the process, provides actress Sarah Porter with an excellent vehicle to showcase her exceptional talents. . . a one person show would seem to be a rather daunting task for any performer to undertake. But Porter has the chops and the seasoning to completely personify Emma, making her character fully realized, and giving incredible voice to the beautiful score that flows constantly through the show. There are some truly special tunes among Webber and Black's compositions, and Porter completely inhabits each and every one of them, making us laugh at times, but more often, touching our hearts in a deeply personal way. . . I recommend that you see it as soon as possible. It's a real treat!â <br />â Chris Gibson, BroadwayWorld<br /><br /> 1044 "Heartaches and hope are the recurrent themes of the Andrew Lloyd Webber one-act musical, Tell Me On a Sunday, which has been ferociously tackled by New Line Theatre. . . A feisty Sarah Porter, who has brought a number of independent, willful and lively women characters to vivid life for New Line, fearlessly seizes the intimate stage at The Marcelle Theatre, grabbing our hearts as
1044she commands our attention for a 23-song cycle without an intermission. . . Porter gives a virtuoso performance, a marathon of mettle â a testament to her talent but also her ability to courageously show us every facet of this ordinary woman. . . This show is a stripped down, change of pace for New Line, and appealing summer fare to close their vibrant 25th anniversary season.â <br />â Lynn Venhaus, Belleville News-Democrat<br /><br /> 1045 âNew Line Theatreâs local premiere of this one-act is an enjoyable and entertaining evening thanks to the sweet, clear voice and animated expressions of Sarah Porter as Emma. Furthermore, sheâs given substantial support by the muscular musical accompaniment of the New Line Band under Nate Jacksonâs disciplined musical direction. . . The tunes range from thoughtful ballads to spirited, body-swaying numbers which demonstrate Webberâs considerable musical range, while Blackâs easy-going lyrics prove a wise match for the infectious melodies. . . a touching presentation of one young womanâs search for fulfillment in an often indifferent and complicated world...â <br />â Mark Bretz Ladue News<br /><br /> 1046 âSarah Porter is pure magic . . . Gifted with beautiful eyes that capture your attention and a smoky voice that can crack wise one moment and make your lower lip quiver with deep emotion the next, Sarah is the perfect choice to play Emma as she owns the stage and the audienceâs attention for a little over an hour with no intermission. . . a brisk but brilliant experience that cements Sarah Porter as a hometown star . . . Iâm telling you right now to plan to see New Line Theatreâs production of Andrew Lloyd Webberâs Tell Me on a Sunday as soon as possible.â <br />â Jeff Ritter, Critical Blast<br /><br /> 1047 âThe show is not about incidents. Itâs about feelings. Which Sarah Porter embodies with total conviction. She and her director Mike Dowdy-Windsor have thoroughly explored Emmaâs psyche, and they bring an abundance of drama and variety to the piece, along with vivid characterization and lively movement. Porter pleases eyes with her costumes and ears with her singing.â <br />â Gerry Kowarsky, Two on the Aisle<br /><br /> 1048 âSarah Porter shines in Tell Me on a Sunday . . . As a member of the New Line Theatre ensemble, Porter has shown plenty of range in role after role, season after season. . . But she takes on her biggest challenge in New Lineâs latest production. . . She meets that challenge with aplomb â and charm to spare.â <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1049 âSarah Porter nails it, kills it and every other theatrical cliche you can think of with a stellar breakout performance. . . Sarah Porter not only sings the role with perfection, her acting is superb and she maintains that British accent throughout in a show thatâs completely sung. Facial expressions, body language and the range of disappointment, hope and joy
1049in her voice make for a character and a show that you canât help but fall in love with. What a stunning performance.â <br />â Steve Allen, Stage Door St. Louis<br /><br /> 1050 âPorter certainly does shine. Itâs a remarkable performance, played out with an impressively believable English accent, as well. . . This is a show that could easily come across as more of a concert than a play, but thanks to the clever, dynamic staging of director Mike Dowdy-Windsor and Porterâs superb performance, that doesnât happen here. This is a fully staged, fascinating story, centered around a complex character who is learning about herself as she learns about her world and her relationships. Thereâs a lot to talk and think about, as well as some real humor and drama.â <br />â Michelle Kenyonâs Snoopâs Theatre Thoughts 1051 </p> 1052 </div> 1053 </div> 1054 </div> 1055 <div class="panel panel-default"> 1056 <div class="panel-heading" role="tab" id="RheadingTwo"> 1057 <h4 class="panel-title"> 1058 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseTwo" aria-expanded="false" aria-controls="collapseTwo"> 1059 ATOMIC (2016) 1060 </a> 1061 </h4> 1062 </div> 1063 <div id="RcollapseTwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingTwo"> 1064 <div class="panel-body"> 1065 <p>âNew Line Theatreâs Atomic is thrilling. . . It is a complex story that presents multiple viewpoints on the purpose of applied science, the ethics of war, the depths of the human conscience and the dangers of bureaucracy. Thatâs a heavy load for a musical to carry, but New Line Theatreâs current production of the show makes it look effortless. . . What could be a play bogged down in conceptual arguments is instead a very human story about our best and worst tendencies as a species. Ambition, curiosity and altruism jostle with overweening pride, blind obedience and vengeance.â <br />â Paul Friswold, The Riverfront Times<br /><br /> 1066 âFull of surprisingly humor and heart, this is great theatre, and I could tell from the discussions that happened during intermission, one that will surely provoke a lot of lively debate. Itâs essentially must-see entertainment that will have you pondering many of its myriad of aspects and points of view long after the lights have dimmed. . . Itâs the thoughtful and touching book and lyrics by Danny Ginges and music and lyrics of Philip Foxman that will really grab you. And, also the performances of a splendid cast. . . Atomic is an artistic triumph! New Line Theatre has succeeded in putting together a production that does this piece the justice it deserves. Thereâs warmth, humor, tension, and pathos to be found here, and itâs all been done with precision and care.â <br />â Chris Gibson, BroadwayWorld<br /><br /> 1067 âAtomic is a musical blast with persuasive power. . . A fascinating, riveting examination of the moral quandaries faced by a group of brilliant scientists whose pursuit of knowledge had terrifying consequences. . . A musical score that fuses driving rock with pop melodies and well-placed ballads makes Atomic a sobering, compelling and engrossing story that blends facts with philosophy and morality in a reflective and intriguing way. . . this revised version of Atomic is gripping, gritty stuff...â <br />â Mark Bretz, Ladue News<br /><br /> 1068 âHistory comes to life with a strong cast and an intriguing script in New Line Theatreâs production of Atomic, a musical account of the Manhattan Project. . . Atomic is a strong production and audiences who appreciate theaterâs ability to spur conversation may particularly enjoy this thought-provoking show.â <br />â Tina Farmer, KDHX<br /><br /> 1069 âA long forgotten but important historical figure gets his due in the zealous rock musical Atomic, which bursts with passionate performances, an expressive score and combustible conversations. New Line Theatreâs smart production features a synergetic ensemble fully committed to telling this complex, fascinating story about Leo Szilard. We Americans should know of him, but unfortunately many of us donât. Call this thoughtful, accessible work by Australian book writer/lyricist Danny Ginges and composer Philip Foxman a noble public service and a surprising, welcome eye-opener. . . Atomic is a highly dramatic equation that adds up to an insightful and reflective show, allowing New Line to reveal another facet of its range, this time focusing on scie
1069nce while projecting a very powerful, bigger picture.â <br />â Lynn Venhaus, Belleville News Democrat<br /><br /> 1070 âIf you think the theatre season in St. Louis is pretty much over when spring rolls around, think again. Atomic is âthe bombâ and well worth checking out. . . This cast is, quite frankly, ridiculously talented. Iâd be happy to watch a production with any one of these fine actors, but all eight at once is a must-see event. . . Towards the end of the first act, the crowd started cheering and whistling after each song...â <br />â Jeff Ritter, Critical Blast<br /><br /> 1071 âItâs the most cerebral rock musical New Line has ever staged. It might be the most cerebral rock musical ever written. Thatâs a compliment to the show, its performers and its directors, Scott Miller and Mike Dowdy. . . Atomic is a dark play, in keeping with its subject matter. But when the Enola Gay reaches Hiroshima, lights seem to explode above and all around us. Thatâs the darkest moment of all.â <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1072 âYou really have to give credit to the authors on one major point: they bring clarity and thoughtfulness to the complex problems of making the bomb, the terrible pressures to complete the task, and the social issues raised by all of this. Even in act one, great moments emerge again and again. . . Thereâs really no shortage of compelling performances, but each of their greatest moments come when theyâre reduced to utter simplicity, in grief or ponderous shame, or in the wake of betrayal. . .Here, science is the language of the future, holding out the promise of the endless power of the atom. But these scientists will only be listened to when the talk turns to mass-murder. In New Lineâs staging, itâs a time of impossible dreams and impossible choices.â <br />â Richard Green, TalkinBroadway<br /><br /> 1073 âDirectors Scott Miller and Mike Dowdy have energized the story by casting powerful singers and actors and bringing out the heart of the story without getting too sappy or preachy. . . As always, New Lineâs musical maestro, Jeffrey Carter has put a splendid band together. . . Rob Lippertâs set and lighting design is spectacular.â <br />â Steve Allen, Stagedoor St. Louis<br /><br /> 1074 âitâs an interesting show, far more about moral dilemmas than anything else, a good portrayal of near-unanswerable questions about justification for nuclear war. How far do we go, and what does it take to stop us? . . . Itâs a good score, melodic and generally quite winning. . . Not easy theater. But quite interesting and very different.â <br />â Ann Pollack, St. Louis Eats & Drinks<br /><br /> 1075 âAtomic is still early in its life, only having had a handful of stagings after an off-Broadway run a couple of years ago, and though New Lineâs run is over, itâs exciting to know that contemporary shows like this are being produced right in our own backyards.â <br />â Andrea Torrence, St. Louis Theatre Snob <br /><br /> 1076 âAn extremely well-staged, well-cast, compelling piece of theatre. . . New Lineâs production of Atomic is the showâs St. Louis debut, and only the fourth overall production of this intense, intriguing show. In the hands of directors Scott Miller and Mike Dowdy, along with the first-rate cast and crew, the show is a fascinating examination of the history of nuclear development as well as a stirring examination of the moral dilemmas inherent in the project. Itâs a story thatâs sure to provoke much thought and conversation.â <br />â Michelle Kenyon, Snoopâs Theatre Thoughts 1077 </p> 1078 </div> 1079 </div> 1080 </div> 1081 <div class="panel panel-default"> 1082 <div class="panel-heading" role="tab" id="RheadingThree"> 1083 <h4 class="panel-title"> 1084 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseThree" aria-expanded="false" aria-controls="RcollapseThree"> 1085 AMERICAN IDIOT (2016) 1086 </a> 1087 </h4> 1088 </div> 1089 <div id="RcollapseThree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingThree"> 1090 <div class="panel-body"> 1091 <p>"Where does Scott Miller find so many appealing young performers for his New Line Theatre shows? American Idiot is no exception. The large cast â a mix of New Line veterans and newcomers â delivers passionate performances, sings with authority and moves (you canât exactly call it dancing) with hormone-fueled abandon. Itâs just the cast that Miller â the companyâs artistic director, and co-director of this show with Mike Dowdy â needs for this angry and melancholy musical. . . But the show is at its strongest when the whole ensemble is onstage, a living force-field of alienation." <br />
1091â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1092 "It's the perfect musical for New Line, and for directors Scott Miller and Mike Dowdy: gritty and real, and entirely propelled by great music and magnificent singing under the baton of Sue Goldford. So many moments of outstanding vocal artistry come roaring out at us in the dark, sculpting (through punk rock!) and defining barely formed youth, that the characters become real in a way that reaffirms the highly poised ârealitiesâ of opera itself. . . somehow, both the popular and the classical merge seamlessly, getting their full due in this very intricately sung yet captivatingly natural and highly compelling production.â <br />â Richard Green, TalkinBroadway<br /><br /> 1093 âEntertaining and effective, American Idiot is a sensory onslaught that flashes with brilliance. . . A captivating reinterpretation of the American Dream. . . New Line Theatre mines these themes in a deeply satisfying production that features an abundance of young talent. . . The cast are uniformly strong singers and the interpretations of the songs are spot on. . . The themes resonate with contemporary audiences, and the talented cast invites them along for a nihilistic-tinged roller-coaster ride that entertains at every turn, making a show not to be missed.â <br />â Tina Farmer, KDHX<br /><br /> 1094 âThe disconnect I felt with the touring production vanished in the cozy confines of The Marcelle. . . This is a real hit, that genuinely rocks the house! . . . Scott Miller and Mike Dowdy dynamically reshape this show in a way that brings it right up in the audienceâs face. Thereâs no disconnect here; youâre always plugged in. Itâs an complete assault on the senses. . . Go see New Line Theatreâs production of American Idiot while you can!â <br />â Chris Gibson, BroadwayWorld<br /><br /> 1095 "American Idiot is a show about youth and raging against a world you live in but arenât old enough to shape. . . The New Line Band rocks the shit out of the music, particularly guitarists D. Mike Bauer and Aaron Doerr. Directors Scott Miller and Mike Dowdy went with a narrow stage and a deep riser for the audience, more in line with a rock show than a play. The result is a close, sweaty show that feels alive at all times.â <br />â Paul Friswold, Riverfront Times<br /><br /> 1096 "Some insanely entertaining and thought-provoking musical theater is happening at New Line Theatre. . . Shows like this donât often make it to venues in St. Louis, so take advantage of the opportunity to see this adrenaline fueled show before itâs gone..." <br />â Donald Miller, Alton Telegraph<br /><br /> 1097 âWith conductor Sue Goldford and her band delivering a raucous and resonating interpretation of Green Dayâs music, meshed with boisterous performances by the cast under the careful direction of Scott Miller and Mike Dowdy, this American Idiot makes sense of the disaffection of youth in the post 9/11 United States. . . New Lineâs presentation superbly captures the musical essence of the album and show as well as making the most of the straightforward plot. . . Youâll likely find yourself swaying and tapping along with the many infectious tunes by Green Day that are well adapted to the stage.â <br />â Mark Bretz, Ladue News<br /><br /> 1098 âThe fury that simmers within generations of young adults is nothing new, but New Lineâs current production of Green Dayâs American Idiot, adapted from the bandâs 2004 concept album of the same name, is painted in sharp-edged, pop-punk strokes that strike a familiar chord, particularly now. With the country in the midst of a divisive political season, Billie Joe Armstrong and Michael Mayerâs rock opera about coming of age in a post 9/11 world of uncertainty, taps into an angry restlessness thatâs as palpable today as itâs ever been. . . This fully executed musical is magnetic, whether youâre a Green Day fan or not. With doses of surprising introspection, a dedicated cast and heart-pumping music, youâll leave the theatre with a memorable high.â <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1099 âNew Line Theatreâs American Idiot is a sly but powerful wake up call . . . New Lineâs dynamic directing duo of Scott Miller and Mike Dowdy has assembled another sterling cast of local and regional actors backed by the always excellent New Line Band.â <br />â Jeff Ritter, Critical Blast<br /><br /> 1100 Generation X has something to say in American Idiot, and goe
1100s straight for the jugular to get our attention. New Line Theatreâs art provocateurs shake the rafters in the explosive regional premiere of the 2010 Tony-award winning musical, an in-your-face introspection for anyone disillusioned, submissive or seething in post-9/11 USA.â <br />â Lynn Venhaus, Belleville News-Democrat<br /><br /> 1101 âThanks to the New Line corps of young talent, it works beautifully with singers that are actors leading the way and the pulsing sounds of the Green Day score carrying us along. . . Directors Scott Miller and Mike Dowdy bring their usual spirit and flair to the proceedings and keep the show moving at a frenetic pace.â <br /><br />â Steve Allen, StageDoorStL<br /> 1102 âThe musical based off of the Green Day album American Idiot is rocking the Marcelle Theatre in Grand Center here in St Louis. New Line Theatre is known for producing edgy and hard hitting shows. This show is no exception. From the start to finish the show is a train ride that doesnât slow or show mercy.â <br />â Erin Karll, Onstage<br /><br /> 1103 âAmerican Idiot was an album first, and then it was a musical. Now, itâs on stage at the Marcelle Theater in Grand Center in a big, loud, angry, and extremely thoughtful production from New Line Theatre. With the first-rate singing that New Line is known for, as well as a stellar cast and striking physical production, American Idiot makes a strong impression. . . Itâs a gritty, high powered, emotionally charged rock opera that presents a compelling picture of the lives of three young men on a journey for fulfillment in difficult times. Itâs definitely not for kids, but for adults and older teens, this is a show that provides a lot to think about. It presents a striking auditory and visual tableau of life in early 2000âs America, with a soundtrack by a band that helped define the cultural atmosphere of that era.â <br />â Michelle Kenyon, Snoopâs Theatre Thoughts blog 1104 </p> 1105 </div> 1106 </div> 1107 </div> 1108 <div class="panel panel-default"> 1109 <div class="panel-heading" role="tab" id="RheadingThreeA"> 1110 <h4 class="panel-title"> 1111 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseThreeA" aria-expanded="false" aria-controls="RcollapseThreeA"> 1112 HEATHERS (2015) 1113 </a> 1114 </h4> 1115 </div> 1116 <div id="RcollapseThreeA" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingThreeA"> 1117 <div class="panel-body"> 1118 <p>"Laurence O'Keefe and Kevin Murphy's witty, and at times beautiful, show goes deeper into the mindset of heartthrob killer J.D. than the film does. The original's dark and subversive edge is still present â hoo-boy, is it present â but there is also a tenderness that wasn't really possible in Reagan's America. In New Line Theatre's production (the show's regional premiere), directors Scott Miller and Mike Dowdy nurture that tenderness without shying away from the darkness. The result is a show that is sharp and unflinchingly honest in its depiction of high school killers, even with the remove afforded by satire. It is as entertaining as it is terrifying." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1119 "Now you can see [Heathers] in all its pitch black glory with New Line Theatre's amazing production, which opens their 25th season. Not only is it a fantastic and edgy show, but it also marks their first presentation in their new venue, the Marcelle Theater (lovingly designed by Rob Lippert). This is a dazzling and intense show that features a smartly crafted book and score, courtesy of Laurence O'Keefe and Kevin Murphy, as well as an excellent cast and expert direction. This is beyond must-see entertainment. This is an accomplishment you absolutely have to check out. You'll be dazzled by its brilliance, and completely floored by the wonderful performances you'll be witness to." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1120 "A racy rock score drives 120 mph into the dark, libidinous story with a narrative intelligence reminiscent of Gilbert and Sullivan on coke. This deeply disturbing story of bullying and the pressures of forced teen adulthood unfolds with truth and consequences, authentic sadness, and eventually, more hope than the mov
1120ie was ever able to muster. . . This quirky, seductive rock operetta, with satiric teeth, tasteful tongue-and-cheek titillation and societal timeliness, is performed with musical intelligence and dramatic enthusiasm by a robust cast, many of whom seemed fresh and new to St. Louis." <br />â Chris Limber, Buzz On Stage<br /><br /> 1121 "It is an overwhelming experienceâadmirably put forth, but ruthlessly intense in the final twenty minutes or so. . . In the upside-down world of teenagers, where belonging is more important than almost anything else, the wicked girls' entrance is greeted with a heavenly choir of harmonies from the rest of the ensemble. Their overall musicianship, and the various forms of artistry that blossom throughout this Heathers, may be the greatest achievement of all. . . a rarely produced show that's challenging, lovingly produced and bitchy fun, as fans of New Line Theatre have come to expect." <br />â Richard Green, TalkinBroadway<br /><br /> 1122 "New Line Theatre kicks off its season, the first at their new home in the smartly renovated Marcelle Theater on the east end of Grand Center, with a bang. A little poison and a big bomb are also included in the dark comedy, but it's the heart, and a prescient message about teen isolation, mental health and violence, that may stay with audiences. . . The most surprising aspect of New Line Theatre's excellent production of Heathers may in fact be the insidious way the show cheerfully turns from dark humor to intense pathos -- the story is affecting and the storytelling completely effective. The result is a spectacular production, with a breakout performance by [Anna] Skidis, that celebrates the company's 25th anniversary and new home." <br />- Tina Farmer, KDHX<br /><br /> 1123 "In New Line Theatreâs bold regional premiere, a fearless cast and crew is able to achieve a balance in tone that transcends vulgar lyrics and shock-value scenarios. . . co-directors Scott Miller and Mike Dowdy frame this jagged little pill in Reagan-Era Me Decade ephemera and infuse the characters with plenty of attitude. They understand that in order for the dark material to mean more than a typical coming-of-age flashback, the characters canât be caricatures, and consciously steer away from camp. That gives the youngsters more emotional depth than initially drawn, resulting in dynamic performances and a show that doesnât only entertain. The pair have harmoniously collaborated on a number of neglected musicals that needed New Lineâs nurturing to thrive, and with their astonishing attention to detail, polish Heathers into a bright-colored gem. . . itâs indeed one of the standouts of the year." <br />â Lynn Venhaus, Belleville News-Democrat <br /><br /> 1124 "Heathers The Musical is an amazing way to kick off New Line Theatreâs 25th season. Once again, theyâve taken a diamond in the rough and polished it into a magnificent gem for the audience to behold. The show is packed with serious topics and thought provoking subject matter, but also manages to provide us with laughs and plenty of catchy tunes. The entire cast is overflowing with talent, neâer a weak point to be found. This is one show that you do not want to miss while you have the chance." <br />â Kevin Brackett, ReviewSTL<br /><br /> 1125 "With sparkling performances by Anna Skidis and Evan Fornachon in the primary roles of Veronica and J.D., New Lineâs Heathers continues the companyâs rich history of bringing challenging musical theater to St. Louis audiences. . . Heathers is a good production of an offbeat little musical that typifies New Line Theatreâs strength: Offering a new look at established works or an introduction to little-seen gems that are revived with Millerâs innate insight." <br />â Mark Bretz Ladue News<br /><br /> 1126 "New Line Theatre kicks off its 25th anniversary in its new space at the Marcelle Theater with the premiere of the wickedly morbid and hysterical musical Heathers. Based on the 1989 cult film of the same name, this show has all the elements that theater-goers have come to expect from artistic director, Scott Miller: provocative themes, pathos, dynamic performances from its cast, and a cheeky sense of fun. . . Heathers is hysterically funny and outrageous and is a strong indicator that although the venue for New Line Theater has changed, its vision of entertaining and challenging audiences remains the same." <br />â Donald Miller, Alton Telegraph<br /><br /> 1127 "On Friday night, New Line Theatre celebrated its 25th anniversary in ideal fashion: It opened a smart new show, Heathers, in its sleek new theater, the Marcelle. . . Heathers â a hideous and hilarious musical inspired by the 1989 cult movie of the same name â continues New Lineâs long look at kids in some kind of trouble: emotional, social, political, sexual. In shows such as Hair, Grease, bare, Passing Strange, Cry-Baby and Rent, New Line has explored musicals about teens and young adults trying to figure out how, or even why, to live." <br />
1127â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1128 "New Lineâs anniversary kicks off with what they do best â providing hilarious, daring, sometimes unsettling, but always unflinching, insightful looks at the world we live in, and those on the fringes. Go see it."<br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1129 "Tightly directed by Miller and Mike Dowdy, and interlaced with choreographer Robin Michelle Berger's work, it fits together like Lycra. Scenic design by Rob Lippert and costumes from Sarah Porter make it feel pretty authentic. Very funny despite some of the subject matter, it's a great opening show, well crafted and well cast, for the brand-new Marcelle Theater." <br />â Ann Pollack, St. Louis Eats and Drinks<br /><br /> 1130 "Itâs a dark, sometimes brutal show, but with a surprisingly hopeful ending, and it takes the high school movie genre and examines it in intriguing ways. Itâs a spectacular production, highlighting the always excellent singing that New Line is known for, as well as some strong characterization and a great use of New Lineâs new theatre space. Heathers the Musical is a hit." <br />â Michelle Kenyon, Snoopâs Theatre Thoughts<br /><br /> 1131 "If Heathers makes you squirm a little, thatâs good â it means theyâre doing it right. . . Yes, Heathers â movie and musical alike â are shocking. Theyâre also cautionary tales about conformity, and morality plays about doing the right thing even if it makes you less popular. . . In many ways Heathers is more relevant now than it was in the late 80s." <br />â Jeff Ritter, Critical Blast<br /><br /> 1132 "Heathers is quite a feather is New Lineâs cap." <br />â Gerry Kowarsky, Two on the Aisle 1133 </p> 1134 </div> 1135 </div> 1136 </div> 1137 <div class="panel panel-default"> 1138 <div class="panel-heading" role="tab" id="RheadingFour"> 1139 <h4 class="panel-title"> 1140 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#RcollapseFour" aria-expanded="false" aria-controls="RcollapseFour"> 1141 THE THREEPENNY OPERA (2015) 1142 </a> 1143 </h4> 1144 </div> 1145 <div id="RcollapseFour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="RheadingFour"> 1146 <div class="panel-body"> 1147 <p>"Bertolt Brecht and Kurt Weill's The Threepenny Opera has everything you could want from a musical: a jazzy score, a diverse cast of shady characters and a ruthless compunction for wallowing in vice, sin and corruption. New Line Theatre mounted a savage production of the show that rubbed our faces in society's filth and failings, and made us enjoy it despite the horrors on display. Threepenny is a sharp, cynical work that subverts your expectations at every turn, and the New Line cast embraced this ethos thoroughly. Scenic designer Rob Lippert built a grimy nocturne for them to play in, and the cast gleefully cheated and backstabbed their way through it. Familiar tunes such as "Army Song" and "Jealousy Duet" sounded fresh and intoxicating â so fresh that Brecht's mordant lyrics were shocking all over again. Consistently surprising, eminently rewarding and endlessly fascinating, New Line's Threepenny Opera was the show that set a new standard for St. Louis musical theater." <br />â Riverfront Times, Best of St. Louis 2015<br /><br /> 1148 "New Line Theatre presents the show it was created to perform. . . The Threepenny Opera is the oldest show New Line Theatre has ever staged. It might also be the hottest, the sharpest and the best. The moment music director Jeffrey Carter and his sly ensemble begin the overture, a shudder of pleasure rips through the theater. Whether or not you know
1148whatâs coming, the music seems to announce, this is going to be an evening to remember. Director Scott Miller founded New Line 24 years ago precisely to do shows like this, shows that squeeze modernity in a ruthless musical vise. Though itâs set in Victorian London and debuted in Weimar Berlin, The Threepenny Opera feels as raw as your butcherâs best â or as an open wound. Itâs also very funny." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1149 "For the next three weeks you have a choice in how you stay informed about current events: You can either suffer through another local newscast as the tone whiplashes between banal levity and grim images of oppression, crime and human misery -- or you can soak up the horrible truth at New Line Theatre's near-perfect production of The Threepenny Opera. <br />â Paul Friswold, The Riverfront Times<br /><br /> 1150 "It very well could be some awful commentary on recent news events that led to riots in St. Louis and New York and Baltimore. But it's also a Threepenny that doesn't seem to give a pfennig or a fig what you think of it. And, you have to admit, that's pretty Brechtian right there. This latest New Line musical is faithful to the original, in that it's very much a haughty celebration of the lowly, who've been failed by life again and again. Then, by adding a snarky, playful vision, the production becomes more like a gleeful victory lap for cause of social liberalism â a modern American show in venerable trappings, that shouts, 'I told you so' to all those who refuse to acknowledge the shoddiness of 150 years of do-it-yourself Reconstruction in the U.S. It's not a hopeless modern black America, of course â but the stage is populated by the utterly bereft (the denizens of London dockyards) who live by their own rules, and avoid the law at all costs. From a director who usually looks backward in time for context, and also revels in the shocking, we now get the biggest shock of all: that this 1928 show, one of the highlights of the German Weimar period, seems to have snapped out of hopelessness and morphed into the first rebellious musical of the 'post-Ferguson' era." <br />â Richard Green, TalkinBroadway<br /><br /> 1151 "New Line Theatre gives us this stage noir classic with all its wickedness intact. It's a pitch-black masterpiece that sucks you in with its nightmarish charms. This is the Marc Bliztstein translation, and I only mention that because there have been numerous attempts at re-imagining the work over the years. New Line Theatre gives us the Brecht/Weill collaboration I've imagined in my mind after only hearing select musical pieces, and watching a fuzzy copy of G.W. Pabst's 1931 film. This is true art, and a show that you absolutely need to see! . . . New Line Theatre has put together a compelling and completely engaging production of The Threepenny Opera. So few have seen in all its dingy glory, and this is your chance to do so." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1152 "The granddaddy of dark, decadent musicals, The Threepenny Opera still packs a punch with its biting social commentary that has remained relevant through the ages. The current production being staged by New Line Theatre is fresh, vital and deliciously subversive, underscoring author Bertolt Brechtâs sly observations that crime does indeed pay, whether for a rogue like Macheath or for the pillars of a society that diminishes the humanity of the less fortunate. . . Director Scott Millerâs two-act presentation has a spring in its seditious step that keeps this interpretation amusing and entertaining throughout. The look of the show, with wildly eccentric characters that populate the fringes of the stage, gives it a humorously decadent texture that permeates the performances and accentuates the wry commentary in Brechtâs script." <br />â Mark Bretz, Ladue News<br /><br /> 1153 "A wicked good time . . . Director Scott Miller clearly understands the social commentary, wickedly dry humor, and musical intricacies of the show. His guid
1153ance and insight clearly benefit the production, as does his ability to assemble a cast capable of handling the themes and complexity with the appropriate touch." <br />â Tina Farmer, KDHX<br /><br /> 1154 "The best actors in St. Louis, and a top notch band. . . The show was written nearly a century ago, and it may never be more relevant than it is right now. The world's in chaos and it's our fault. Maybe we're all Mack the Knife! The show was great, well acted and sung . . . So if you're looking for a fun yet challenging show, check out New Line's Threepenny Opera. It might just change how you look at life!" <br />â Jeff Ritter, Critical Blast<br /><br /> 1155 "The appeal of the piece is its ability to offer a blistering commentary on the evils of unbridled capitalism while retaining a strong sense of humor about itself. While itâs never preachy, the message here is clear â when options are severely limited, the poor and powerless often turn to less than admirable methods to survive. Itâs no coincidence that one of the few remotely sympathetic characters is a prostitute who betrays Macheath. The three-act show moves along fairly briskly, in large part due to its talented cast and tight direction. If you seek an evening of dark but entertaining musical theater, this is the show for you." <br />â Donald Miller, The Telegraph<br /><br /> 1156 "Standing on its own, the New Line production flavors The Threepenny Opera with broad comedy and wields its pointed barbs very sharply. . . New Line is challenging us to get up, go out, and do something about the sorry state we see." <br />â Lynn Venhaus, Belleville News Democrat<br /><br /> 1157 "A fine cast all around. . . a 7-piece house band handles the score with élan,. . . Scott Miller's done a good job directing it, and given his love for Stephen Sondheim, perhaps the Sweeney Todd inference isn't accidental. A worthwhile evening." <br />â Ann Pollack, St. Louis Eats and Drinks<br /><br /> 1158 "The Threepenny Opera is a contradiction in several ways. Itâs simultaneously comedic and bleak, energetic and gloomy. Itâs a story without any real heroes, but where some villains are more villainous than others. Itâs a classic that Iâd never seen before, and New Lineâs latest production has proven to be a memorable introduction. . . New Lineâs production brings the show to the St. Louis audience in a vivid and highly accessible way." <br />â Michelle Kenyon, Snoopâs Theatre Thoughts<br /><br /> 1159 "You'll find much to enjoy in New Line's Threepenny Opera." <br />â Bob Wilcox, KDHX-TV 1160 </p> 1161 </div> 1162 </div> 1163 </div> 1164 <div class="panel panel-default"> 1165 <div class="panel-heading" role="tab" id="headingFive"> 1166 <h4 class="panel-title"> 1167 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFive" aria-expanded="false" aria-controls="collapseFive"> 1168 JERRY SPRINGER THE OPERA (2015) 1169 </a> 1170 </h4> 1171 </div> 1172 <div id="collapseFive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFive"> 1173 <div class="panel-body"> 1174 <p>"Director Scott Miller's take on the lowbrow show lives up to the promise in both halves of its name. There are Springer's startling revelations, dirty secrets and white-trash fights, but in the play, this human misery is actually a battle for the soul of mankind played out across Earth and Hell (with a special guest appearance from God). Richard Wagner himself would high-five Springer after witnessing the audacity of this production, which is both hilarious and surprising in its gravity. . . The bulk of the score is sinewy and stabbing, a complex network of point and counterpoint that creates constant tension, emulating the atmosphere of a typical Springer episode. . . Scott Miller embraces both the scatological and the philosophical elements of the show, weaving them together into a unified whole that entertains and enlightens in equal measure." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1175 "With Jerry Springer: The Opera, New Line brings us the St. Louis premiere of a musical that has actually achieved a modicum of success, but it's not a choice that you're likely to find anywhere else in this region due to its adult nature and content. New Line is dedicated to taking those kind of risks. And, I'm so glad they are, because I love seeing presentations that push the envelope, especially when they're done so brilliantly. . . I really loved this show, and I think you should see it. It has a kind of artistic 'shock value' that you won't find anywhere else." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1176 "A few weeks ago, I asked Scott Miller what was redemptive about Jerry Springer. Now, that I've seen it, I can say 'just about everything.' And yet this play about the human condition made me laugh more than I've ever laughed in a theater before. And I'll never again hear the F-word without imagining an operatic delivery!" <br />â Nancy Fowler, KWMU<br /><br /> 1177 "Superficially, of course, this show belongs on a shelf in a 'place of honor' with John Waters' outrageous Pink Flamingos and its competition to be named 'the filthiest person in the world'. . . . But look a little deeper and you'll find something enduringly beautiful and simple also running through, in structure and style. Because there may be a river leading back to Thornton Wilder'
1177s Our Town underneath it all. . . John Waters would be proud. So would Thornton Wilder." <br />â Richard Green, TalkinBroadway<br /><br /> 1178 "With a sure hand and acerbic wit, New Line Theatre's artistic director Scott Miller once again stages a thoroughly enjoyable evening of musical entertainment and humor. . . The guests and audience members handle the vocal gymnastics of opera well. . . Their interpretations were uninhibited and their songs and interactions delightfully energetic, with chaotically choreographed numbers and unexpected quiet moments that added brief introspection to the exhibitionistic spectacle on stage. . . a quality production with strong direction and spot-on performances, and I applaud the company for the bold and daring theater they produce." <br />â Tina Farmer, KDHX<br /><br /> 1179 "For those who aren't squeamish about such depravity -- especially set to music -- itâs a joy ride that keeps you laughing and gasping throughout the three acts. Thereâs even a moral or two of sorts."<br /> â Steve Allen, Stagedoor St. Louis<br /><br /> 1180 "While this isn't a musical for the faint-hearted, honestly, there is something disarming and inherently funny about the pairing of operatic music with dirty lyrics, and with this ensemble, under Scott Miller's zestful direction, the emotion churning below the surface of these outrageous stories goes a long way in making the profane more palatable. . . these people aren't freaks. They're all yearning for their Jerry Springer Moment -- bigger than life characters that get bigger than life numbers." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1181 "In St. Louis, thereâs only one theatre and one director that I can think of with the audacity to even attempt to do this nutty show: Scott Millerâs New Line Theatre. As usual, his troop of fine thespians is not shy about performing edgy material. If you blanch at Avenue Qâs full frontal puppet sex and masturbation songs or feel ill at ease with the irreverent humor of The Book of Mormon, then Iâd encourage you to get your fix of operatic theatre at the Fox this weekend. If, however, you like your theatre bold, if youâre the type of person who stretches their neck to see the body when you pass a car wreck, or if you have a peculiar predilection for adult diapers, Jerry Springer: The Opera is for you. . . New Line Theatreâs production of Richard Thomas and Stewart Leeâs Jerry Springer: The Opera was filthy fun. Itâs also completely uncensored. You have been warned."<br /> â Jeff Ritter, Critical Blast<br /><br /> 1182 "Jerry Springer: The Opera, which makes The Book of Mormon look like Kiss Me, Kate, is not for everybody. It is in fact the most vulgar musical I have ever seen. Thatâs not a knock, though, merely a description. Director Scott Miller and his cast roll in the gutter with unbridled zeal, singing about infidelity, the Ku Klux Klan and, oh, yeah, 'adult babies' who choose to wear diapers. . . The combination of outrageous staging, foul language, and stabs at religion shove Jerry Springer the Opera to the edge of musical theater." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1183 "There's mention of sex, of course, in multitudinous variations, and other bodily functions, addictions, strange personal, uh, preferences, and antiestablishmentarianism, both political and theological. It's a veritable encyclopedia of offensiveness. What fun! The opening is a choral work, beautiful music, exquisitely sung. Then one begins to pay attention to the lyrics, and there's the contrast. . . Another trait of Miller is his seeming habit of casting gifted singers even though they don't resemble television anchors. This reflection of real life is one of his most endearing qualities, and this show is a great example of how that benefits the audience." <br />â Ann Pollack, St. Louis Eats and Drinks<br /><br /> 1184 "What New Lineâs rendition does have is a number of performers whose strong, crystalline clear voices adapt well to an operatic style on the many clever arias written by the composers. . . Jerry Springer: The Opera is juvenile, rude, crude and lewd, but also a lot of fun."<br /> â Mark Bretz, Ladue News<br /><br /> 1185 "This modern work is as cheeky as John Watersâ film canon, and as tawdry as the sleaziest current reality shows. Copiously laced with profanity, the show gleefully shocks and offends. If you are a Judgy McJudgerson, stay away. If you are adventurous, can withstand swear words, and appreciate the fearlessness of the New Line regulars, it can be an interesting night of theater. . . Co-directors Scott Miller and Mike Dowdy swiftly move the piece, maintaining the high jinks spirit and allowing the characters to have their moments of infamy. In turn, the tight cast immerse themselves in this gaudy, bold show. They all have a blast, and want us to be entertained by the shenanigans. They follow Jerryâs advice: Take care of each other."<br /> â Lynn Venhaus, Belleville News-Democrat 1186 </p> 1187 </div> 1188 </div> 1189 </div> 1190 <div class="panel panel-default"> 1191 <div class="panel-heading" role="tab" id="headingSix"> 1192 <h4 class="panel-title"> 1193 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSix" aria-expanded="false" aria-controls="collapseSix"> 1194 BONNIE & CLYDE (2014) 1195 </a> 1196 </h4> 1197 </div> 1198 <div id="collapseSix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSix"> 1199 <div class="panel-body"> 1200 <p>"If you live in New York or London, you enjoy lots of opportunities to see new shows. . . In St. Louis, we have those opportunities as well â mostly because of Scott Miller, the artistic director of New Line Theatre. New Line has earned considerable attention over the years, originally for its scaled-down treatment of established musicals and in recent seasons for Millerâs smart presentation of rarely staged shows that are worth another look. Bonnie & Clyde is the latest of these offerings. . . The productionâs directors, Miller and New Line associate artistic director Mike Dowdy, tell this morally bankrupt story with plenty of flair. Matt Pentecost, as the sweet-faced Clyde Barrow, and Larissa White, as slithery Bonnie Parker, deliver their songs with bold, in-the-spotlight bravura. . . The whole score is treated well b
1200y the bluesy combo under Jeffrey Carter."<br /> â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1201 "New Line has once again seen the potential in an unappreciated show â and has given it a new and glorious life! . . . Bonnie & Clyde is a cool show, and yet another surprise from the company who knows how to keep their choices interesting. The entire cast does a terrific job in this public enemy period piece, bringing the story you think you knew to life through music and dance as only New Line can."<br /> â Kevin Brackett, ReviewSTL<br /><br /> 1202 "You have to check out New Lineâs current production of Bonnie & Clyde. Youâll be blown away by how engaging the story and characters are, and youâll be humming the score as you walk out the doors because itâs just so incredibly and infectiously catchy. . . Directors Scott Miller and Mike Dowdy interpret this piece with considerable style and energy, and the entire cast is fully invested in their vision. Musical Director Jeffrey Richard Carterâs contributions are inestimable, as Frank Wildhornâs delicious, genre-hopping, syncopated score gets completely stuck in your head. . . Donât miss out on a chance to see New Line Theatreâs brilliant and tuneful production of Bonnie & Clyde. I guarantee youâll be singing, whistling, or humming one of the songs from the score before the night is through."<br /> - Chris Gibson, BroadwayWorld<br /><br /> 1203 "A fast-paced, toe-tapping romp through the lives of these two outlaw lovers who captured the publicâs fascination during Americaâs depression and made heroes out of two inept, small time thieves who eventually became killers as well. . . . Directors Scott Miller and Mike Dowdy bring it all together for another entertaining and fun-filled show. . . an evening that is full of surprises and multiple magic moments." <br />â Steve Allen, Stagedoor St. Louis<br /><br /> 1204 "A joy ride of infectious music . . . With fine source material, directors Scott Miller and Mike Dowdy harness the energy and intelligence of their cast, coupled with the crackling chemistry between title performers Larissa White and Matt Pentecost, for an evening of engaging and thoughtful entertainment. . . Perhaps New Line has mounted a superior production to the Broadway version, because this buoyant, captivating rendition makes it puzzling to understand why Bonnie & Clyde met such a quick death on the Great White Way." <br />â Mark Bretz, Ladue News<br /><br /> 1205 "Bonnie & Clyde starts off New Line Theatreâs 24th season with a bang and some exciting new stars, notably Larissa White, Matt Pentecost and Brendan Ochs as well as giving relative newcomer Rey Arceno another opportunity to shine. If you havenât checked out a New Line show yet this would be a great place to start." <br />â Jeff Ritter, Critical Blast<br /><br /> 1206 "A sure-fire hit. . . Bonnie & Clyde is New Lineâs latest project, and with its excellent cast and dynamic, colorful staging, it proves to be a surprisingly resounding success. . . Iâve come to expect excellence from New Line, and my expectations have been met and exceeded by this impressive and memorable production. I like being surprised by great performances, and there are quite a few in this show. Bonnie & Clyde is a show thatâs compelling even as itâs unsettling and not a little disturbing, as two charismatic but unashamedly corrupt people rise to prominence quickly and then, even more quickly, fall. Itâs a truly memorable production." <br />â Michelle Kenyon, Snoopâs Theatre Thoughts<br /><br /> 1207 "Action alternates with introspection in the book by Ivan Menchell, as these folk heroes, their families and crime sprees are vividly brought to life by a superb cast. . . Bonnie and Clydeâs two years together are now part of American folklore, and New Lineâs take makes the characters indelible."<br /> â Lynn Venhaus, Belleville News-Democrat<br /><br /> 1208 "Fast-paced and lively (though it begins with a pair of gruesome deaths), the musicalization of these famous bank robbers delivers a reckless kind of delight, almost in spite of itself. . . [It] captures the deep moral friction of Texas and the suffering of the Depression, bristling all the while with the sharp elbows of defiance. Itâs full of fine love songs (appropriate to the era), and songs of rebellion and dire warning too. But itâs also a tragedy without remorse, and a comedy full of consequence. . ." <br />â Richard Green, TalkinBroadway<br /><br /> 1209 "Painstakingly directed by Scott Miller and Mike Dowdy, the New Line cast brings real soul to Frank Wildhornâs rockabilly- and gospel-inflected score. . . With lyrics by Don Black and book by Ivan Menchell, the performance is rounded out by a strong ensemble cast . . Rob Lippertâs smart set and creative lighting combine with several provocative directorial touches by Miller and Dowdy. . . This streamlined version of the tale makes for a fun, albeit gory, night of theater. . . This Bonnie & Clyde should be on anyoneâs Most Wanted list." <br />â Malcolm Gay, The Riverfront Times<br /><br /> 1210 "This production was fascinating to watch. . . the performances were powerful . . . When a production of this caliber can make me care less about playoff baseball, that is saying something."<br /> â Jim Ryan, Boom<br /><br /> 1211 "Tight and strong. . . While the huge appeal of the underlying story of Bonnie and Clyde largely escapes me, when it's treated as well as it is here, it does make a good show." <br />â Bob Wilcox, KDHX<br /><br /> 1212 "What better local company to snatch this show up and give it a fresh perspective, as itâs done many times in the past, than New Line Theatre? . . . Under Jeffrey Richard Carterâs musical direction, the New Line Band is tight, handling Wildhornâs score of depression-era blues, folk, gospel and rockabilly superbly. . . These details, along with Scott Miller and Mike Dowdyâs precise direction, work together seamlessly. Seeing this production makes it hard to understand why it didnât last longer in NYC." â Andrea Torrence, St. Louis Theatre Snob 1213 </p> 1214 </div> 1215 </div> 1216 </div> 1217 <div class="panel panel-default"> 1218 <div class="panel-heading" role="tab" id="headingSeven"> 1219 <h4 class="panel-title"> 1220 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSeven" aria-expanded="false" aria-controls="collapseSeven"> 1221 HANDS ON A HARDBODY (2014) 1222 </a> 1223 </h4> 1224 </div> 1225 <div id="collapseSeven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSeven"> 1226 <div class="panel-body"> 1227 <p>"The songs in this musical are so damn good. Itâs hard to find the words that will truly do them justice. . . With great music, a talented cast and a tremendous group of creatives, Hands on a Hardbody is the surprise hit of the year.â" <br />â Kevin Brackett, ReviewSTL<br /><br /> 1228 "In the case of the musical, Hands on a Hardbody, story, music and production all come together seamlessly in New Line Theatreâs brilliant and captivating presentation. . . considering that most of the performers spend most of their time literally standing around that cynosure vehicle, Hands on a Hardbody is deceptively exhilarating. . . If you like many musical styles all done impeccably, take this production for a test run." <br />â Mark Bretz, Ladue News<br /><br /> 1229 "Looking over a list of New Line Theatreâs shows for the past 23 years is a very telling experience. This is a group dedicated to restoring the old and embracing the new. Thatâs why their current production of Hands on a Hardbody shouldnât shock you that itâs so damn good (it really is), because this is exactly what they do so well. They take something tuneful and different, perform it enthusiastically in an intimate environment, and the audience is rewarded with a fresh and invigorating experience. Go see Hands on a Hardbody now!" <br />â Chris Gibson, BroadwayWorld<br /><br /> 1230 "Because of its big heart and real story, the theatrical experience is refreshing, an antithesis of spectacle. Itâs warm, funny and touching â clever showcasing, compassionate writing by Pulitzer Prize-winning Doug Wright and pleasing songs by Tony nominees Trey Anastasio and Amanda Green. . . This production features a vitality and nobility that makes it a must-see. You might not have heard of this show, but you definitely wonât forget it." <br />â Lynn Venhaus, Belleville News-Democrat<br /><br /> 1231 "The tender and often funny show comes off as the little show that could. There is nothing huge about it, except itâs packed with emotion and originality, and is a true treat for seasoned or new theater goers alike. Even the cynical will enjoy it. . . Perhaps this clever and heartfelt showâthat treats its characters with the utmost respectânever belonged on the Great White Way. It definitely belongs at New Line." <br />â Christopher Reilly, Alive Magazine<br /><br /> 1232 "This bittersweet musical considers the fragile state of the American Dream in the 21st century, with heartfelt songs and familiar characters. . . The result is a solid production, resonating with simple truths and honest, realistic characters who manage to find silver linings in their struggles. . . Scott Millerâs sharp eye and sure direction keep the show visually interesting; with a surprising amount of action considering most of the cast keeps one hand firmly planted on the large truck center stage. The result is an emotionally compelling show that pays tribute to the resilient spirit of the American people without relying on the potentially false promise of the American Dream." <br />â Tina Farmer, KDHX<br /><br /> 1233 "Director Scott Miller has a knack for bringing renewed life to musicals, old and new, and Hardbody is no exception. Sucking you in from the first extended number, âItâs a Human Drama Thing,â . . Your heart breaks a little each time someone takes their hand off of that truck. Go see it." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1234 "Itâs a pretty sure bet that in the next five years or so, weâll all have some gizmo called Google Maps of the Soul. And with that app, whenever youâre heading for abstract locations like the intersection of Hope and Despair, you can know about it well before you ever hit the off-ramp. The same advance notice would apply to the cerebral cross-streets of Laughter and Tears, and Faith and Skepticism, as well. But till then, you can just bookmark all those cataclysmic mental latitudes (with a lot of delicious jokes and songs, too) by making one stop at the regional premiere of Hands on a Hardbody, under the surprisingly lithe and dynamic direction of New Line Theatreâs artistic chief Scott Miller. . . And at precisely that moment, you realize you have reached your psych
1234ological destination: a crossroads of where we were, and where thought we had been going." <br />â Richard Green, TalkinBroadway<br /> 1235 "With some catchy songs, a strong cast and excellent staging, New Line brings this show to life in vibrant, life-affirming style. . . Itâs a stirring story of friendship, love, faith, disillusionment, fear, economic hardship, and the ever-enduring sense of hope that thereâs something better down the road. . . Itâs a vibrant, energetic, and deeply compelling production with characters just as full of vibrant color as the truck they are all vying for. Although that truck can ultimately only go to one person, everyone is a winner in the long run, and that includes the audience of this big, shiny, colorful prize of a show." <br />â Michelle Kenyon, Snoopâs Theatre Thoughts<br /><br /> 1236 "Last year, Hands on a Hardbody had just a short run on Broadway. New Line â which took similar chances on High Fidelity and Cry-Baby â gives the show its first production since then. Prediction: It wonât be the last." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1237 "Itâs been my experience that any musical in which lyricist and composer Amanda Green is involved is always a ton of fun. . . That seems to be Scott Millerâs specialty, finding discarded musicals in the Broadway junkyard, like High Fidelity, and turning them into regional theatre gold. Amanda Green was present for the opening performance and she appeared to enjoy herself immensely. Of course itâs easy to enjoy a production featuring so many of the top voices in the St. Louis theatre scene today." <br />â Jeff Ritter, The Trades<br /><br /> 1238 "There are plenty of bright spots to this quirky show, which, judging from the standing ovation it received Friday night, succeeds on the passion of its cast and singularity of its execution." <br />â Malcolm Gay, The Riverfront Times 1239 </p> 1240 </div> 1241 </div> 1242 </div> 1243 <div class="panel panel-default"> 1244 <div class="panel-heading" role="tab" id="headingEight"> 1245 <h4 class="panel-title"> 1246 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseEight" aria-expanded="false" aria-controls="collapseEight"> 1247 RENT (2014) 1248 </a> 1249 </h4> 1250 </div> 1251 <div id="collapseEight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingEight"> 1252 <div class="panel-body"> 1253 <p>"[New Lineâs] Rent is youthful, movingly raw, and unfailingly intimate; it doesnât smooth over the original workâs odd, form-bending structure. It feels almost as if itâs being made up on the spot, and that gives it a kind of immediacy it probably hasnât had much since its debut at Off-Broadwayâs New York Theatre Workshop." <br />â Rob Weinert-Kendt, American Theatre<br /><br /> 1254 "So how did co-directors Scott Miller and Mike Dowdy craft the hard-faceted and brilliant gem of a show I saw Friday night from the detritus that is Rent? The mind reels. Theirs is a Rent that is sharp, incisive and viscerally moving. These characters matter; their struggles to find themselves in the wastelands of their early twenties are a potent reminder of what it's like to feel lost in your own life, and that even small steps toward maturity can feel immense. In Miller and Dowdy's hands, Rent is a show that deserves every bit of its formidable reputation as the musical that revivified musicals for the next generation. . . It is a masterpiece of stagecraft, a composition as visually stunning as it is sonically powerful." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1255 "Jonathan Larson's 1996 rock musical unfolds to epic proportions in this lively new production. It's also sweet and funny and beautiful, under the direction of Scott Miller. . . It almost seems Mr. Miller is choosing his seasons nowadays for sheer emotional complexity, along with New Line's usual focus on strong musicianship. And the results have been enthralling. Rent continues the company's recent trend of bringing stunning characters furiously to life, in all their contradictions." <br />â Richard Green, TalkinBroadway<br /><br /> 1256 "An intimate, emotionally charged production filled with memorable performances. . . Director Scott Miller and assistant Mike Dowdy have assembled a uniformly talented, fearless cast, and the two excel in pulling out the small moments that illuminate character development. The presence of a guiding hand is clear throughout the production, yet the movements and character nuances feel almost organic, as if each actor pulled his or her role from the inside out. The result is a unified cast that creates a truly bohemian community on the stage. And this feeling is intensified in the group numbers, where layered harmonie
1256s blend seamlessly, rising and falling with the emotion of the story." <br />â Tina Farmer, KDHX<br /><br /> 1257 "With the current local production of Rent, the question was could New Line Theatre show me something the national tour hadnât? The answer came last Saturday night: Yes. Yes, they could. . . Undoubtedly, the intimacy of a small production helps to make the story more sincere, but itâs more than that. Director Scott Miller has removed sole focus on a handful of characters to focus on the cast as a whole, and this helps to view the work as a singular organism, with a singular meaning and purpose. Even the music seemed better, with the excellent voices and performances by the cast and the New Line band under the direction of Justin Smolik, two things you can always count on at New Line. . . Everything works together throughout the entire production, top to bottom, for a powerhouse evening of theater." <br />â Christopher Reilly, Alive Magazine<br /><br /> 1258 "If you think you've seen Rent before, you really haven't. . . This is a must-see show, and I cannot recommend it highly enough. . . Scott Miller's direction, with the able assistance of Mike Dowdy, is a revelation. . . Rent is a modern classic, and New Line's wonderful production shows us why." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1259 "This Rent has a completely different vibe from the big show that toured the country. Intimate and raw, this production makes the story coherent and the music effective, instead of merely loud. Yes, size matters â but not in the way we usually think it does." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1260 "Leave it to New Line Theater to give this seminal work a fresh spin. The result is an electric, enthralling presentation of the landmark Pulitzer-Prize, Tony-winning musical that ran for 12 years on Broadway. . . [The actors'] zeal propelled the show's intensity, and it seemed like we were seeing some of these characters for the first time."<br /> â Lynn Venhaus, Belleville News-Democrat<br /><br /> 1261 "The new concept and the advantage of intimacy that New Line always offers, makes this one a big, fat hit. . . Itâs a total effort that shows the diversity and depth of New Line talent. Scott Miller has once again put his personal stamp on a classic show and it turns out to be yet another audience pleaser. . . this score is pulsating, tender and just a pure delight. Now we have a production that matches these great songs and makes you actually like the people who populate the show. This oneâs a big hit, folks." <br />â Steve Allen, Stagedoor St. Louis<br /><br /> 1262 "I was admittedly one of those folks who didn't get all the hype around Rent after I saw it for the first time several years ago. Well, now I get it. The characters this time around, though dealing with major issues that would be tough for anyone, have an affable quality that was lacking the last time I saw it. Could it be because seeing a show like this in New Line's intimate space makes the theatre experience not just something you see, but something you feel? Yes. But it's also New Line's artistic director, Scott Miller's knack for gaining a deep understanding of whatever he puts his hands on, and translating that to his cast, who in turn translate that to us, reaching out to the audience, in this case literally, with invigorating connection. way better than the touring production. There. I said it." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1263 "Rent is being performed by New Line Theatre to sold-out houses, including a most appreciative audience. . . Seeing Rent up close and personal at New Lineâs theater is a definite improvement over the more impersonal venue at The Fox, where touring companies have done the show with seemingly less impact." <br />â Mark Bretz, Ladue News<br /><br /> 1264 "Iâm glad directors Scott Miller and Mike Dowdy have chosen to follow their own vision for the show. New Lineâs version is full of youth and energy. Itâs also staged with a sense of immediacy that brings a lot of life to the show. Although the passage of time has turned Rent into something of a period piece, New Line doesnât treat it that way, and thatâs as it should be. Itâs an iconic show made achingly real, with all the truth and energy brought along with its humanity. It may have taken New Line many years to finally do this show, but this production is well worth that wait." <br />â Snoopâs Theatre Thoughts (local blogger)<br /><br /> 1265 "As a first-time observer of this story, there was a lot to take in. Rent is the kind of show that rewards its audience with repeated viewings. I could see the show five more times and discover some new facet that I completely overlooked each time before. Itâs complex, funny, dark, thought-provoking and ultimately very entertaining."<br /> â Jeff Ritter, The Trades 1266 </p> 1267 </div> 1268 </div> 1269 </div> 1270 <div class="panel panel-default"> 1271 <div class="panel-heading" role="tab" id="headingNine"> 1272 <h4 class="panel-title"> 1273 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseNine" aria-expanded="false" aria-controls="collapseNine"> 1274 NIGHT OF THE LIVING DEAD (2013) 1275 </a> 1276 </h4> 1277 </div> 1278 <div id="collapseNine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingNine"> 1279 <div class="panel-body"> 1280 <p>"Stephen Gregory Smith and Matt Conner breathed new life into the tired zombie trope by going back to the source â George A. Romero's iconic film â and setting it as a hard-as-nails musical. The ensemble cast conjured all the fear and loss bound into the polyphonic songs, but Zachary Allan Farmer and Marcy Wiegert were the twin cores of darkness at the heart of it all. Farmer's heroic Ben, fighting to save everyone trapped in the farmhouse, could neither comfort nor crack Wiegert's Barbra, a near-comatose woman who emerges only sporadically from her stupor to prophesy everyone's doom like a bouffanted Sybil. Director Scott Miller steadily ratcheted the tension, and then broke it all open with the single most harrowing moment to happen onstage in St. Louis this year." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1281 "If you can really stand pure psychological terror, you can proceed west for the stunning power of Night of the Living Dead. . . It is, in fact, a play that had me looking over my shoulder for the rest of the night. The performances are so powerful, and so insistently based on maintaining an everyday frame of reference (in spite of an 'epidemic of murder' outside), that you carry the dread of it with you after the show, all the way to bedtime. Scott Miller: musical theater director and master of suspense. Who knew? . . . But this show is more emotionally focused, being all about that horrible, frozen moment, that deer-in-the-headlights sense of panic, telescoped to utterly take over these peoples' lives. And let me tell you, it's nearly unbearable. Thank God it's only 90 minutes long, at least for you and me." <br />â Richard Green, TalkinBroadway<br /><br /> 1282 "One of the most frightening evenings ever at a musical. . . Most of the pre-show talk with other audience members was whether weâd need plastic sheets for the splattering blood, but instead you had to get your mind wrapped around the terror of the unknown and unexpected as this amazing story unfolds in terrifying and compelling fashion. With the unusually beautiful score and the power of these fine actor/singers, Night Of The Living Dead is one musical you donât want to miss. Evidently this is only the second production of the show nationally but, like so many other Scott Miller productions, news of this one should spread fast and it could become the new cult favorite." <br />â Steve Allen, Stagedoor St. Louis<br /><br /> 1283 "New Lineâs take is intense, creepy and full of slow-building tension. . . The show is unlike anything I have seen in musical theater. Writers Matt Conner and Stephen Gregory Smith have found a way to translate the classic horror story into music and lyrics that are just as terrifying and suspenseful as the original film. . . For fans of musical theater, this is a show that you have never seen before. And although it is a musical, the subject matter is just as serious as the film it comes from. For fans of Romeroâs work, youâve never seen it like this â and itâs a must see. Expect to feel the tension and hopelessness fly off of the stage and into the seats, and hold on until morning." <br />â Kevin Brackett, ReviewSTL<br /><br /> 1284 "A sense of dread permeates New Line Theatre's
1284Night of the Living Dead from the very beginning, a chilling and haunting work in both expected and unexpected ways. This is the stuff nightmares are made of â a serious musical adaptation of a landmark horror film that still resonates today. I've seen the original movie countless times and yet I jumped and screamed, such is the intensity of this live theatrical production. What happens is familiar, but the fact that Scott Miller's shrewdly directed piece would pack such a powerful punch is testament to the strong ensemble who plunge us down the rabbit hole with them. Miller never resorts to cheap tricks, and the us. vs. them tension builds, almost unbearably at times, as the zombie apocalypse takes place outside the barricaded doors. . . In this Night of the Living Dead world, the terror is real, not manufactured or phony, for it is not aliens or chemically-altered monsters they are trying to survive â it is the human race." <br />â Lynn Venhaus, Belleville News-Democrat<br /><br /> 1285 "A+. I was captivated mere seconds into the production and by the time the cast took their bows I was out of breath." <br />â Jeff Ritter, The Trades<br /><br /> 1286 "A must-see for fans of daring musical theatre. . . All of the cast acquit themselves well vocally, and their intensity helps to maintain the suspense and tension of this entertaining and harrowing piece. . . New Line Theatre's production of Night of the Living Dead is a real winner, especially for those who like their horror without a constant barrage of one-liners." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1287 "This is no spoof, nor is it merely an homage; if you let it, it will lead you to think. . . The musicâand this superbly strong castâlift the piece into quite a different realm. . . By approaching these rather two-dimensional characters with such deep seriousness the cast leads us to consider some thoughts that make this show more than just a zombie thriller." <br />â Steve Callahan, KDHX-FM<br /><br /> 1288 "Itâs a straightforward, dramatic musical that relies not on blood or guts, but on the notion that the boogeyman is actually coming in from the dark. Youâre not paranoid if theyâre really out to get you. . . All the familiar New Line trappings are in full force: A strong cast singing the dickens out of a complicated score, a creative set, a tight and talented New Line band, plus the usual rock-solid staging by Scott Miller. . . With Night of the Living Dead, no blood and guts are necessary. Just bring your imagination." <br />â Christopher Reilly, Alive Magazine<br /><br /> 1289 "A taut, intriguing production. . . In gritty, sobering fashion director Miller guides his players across Romeroâs harrowing landscape as interpreted by Conner and Smith with intriguing and satisfying results. . . Absorbing food for thought, with a hearty portion of goosebumps on the side." <br />â Mark Bretz, Ladue News<br /><br /> 1290 "Like those old black-and-white horror films, Night of the Living Dead does more than scare â it will give you a chill. Bolstered by a score full of tight harmonies, surprising melodies, and a solid cast and crew, this regional premiere makes for another must see." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1291 "Itâs not a gory show at all. In fact, we never even see the âothers,â the rampaging zombies outside. But itâs a nightmare. Zombies start as regular people. In this world, whom can you trust? The survivors who take shelter in an abandoned house have nothing in common except, theyâre still human. Can that be enough?" <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1292 "In the hands of New Lineâs excellent cast and creative team, itâs a thoroughly compelling and riveting production. . . Yes, I was terrified, but thatâs the point of a show like this, and wow, was it done right! I was literally shaking in my seat, and the sense of terror was palpable in the audience. This is an old-fashioned suspense thriller in the very best sense. Kudos to New Line for scaring me out of my wits and showing me that a horror show well done can be an evening well spent." <br />â Snoop's Theatre Thoughts (St. Louis blogger) 1293 </p> 1294 </div> 1295 </div> 1296 </div> 1297 <div class="panel panel-default"> 1298 <div class="panel-heading" role="tab" id="headingTen"> 1299 <h4 class="panel-title"> 1300 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTen" aria-expanded="false" aria-controls="collapseTen"> 1301 BUKOWSICAL (2013) 1302 </a> 1303 </h4> 1304 </div> 1305 <div id="collapseTen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTen"> 1306 <div class="panel-body"> 1307 <p>"Let's hear it for the risk takers, for those who embrace originality, for entertainers who want to give audiences something different. Want to raise your eyebrows, laugh out loud and marvel at the chutzpah of creative minds? Fit the bold, brazen â and bewitching â Bukowsical into your schedule at New Line Theater during the next two weekends . . . it's unlike anything you have ever seen." <br />â Lynn Venhaus, Belleville News-Democrat<br /><br /> 1308 "I can't remember a show that ever creeped me out as much as it made me laugh. In fact, at the risk of sounding like a critic, I'll say that if you liked Book of Mormon, you'll love Bukowsical. In its own deeply personal style, it's just that great. It's that sensibility that says 'life is gross and people are mad, and any intelligent decision you may possibly dare to make will always be destroyed by corrupt authority figures so you might as well just jump on board the Hell-bound train and get it over with.' Plus, it's really funny and outrageous." <br />â Richard Green, TalkinBroadway<br /><br /> 1309 "For twenty-two years Scott Miller and his New Line company have been zapping the St. Louis musical theatre scene with bolts of energy. Off-beat, eccentric, sometimes dark, often hilarious, occasionally outrageous and always fresh, New Line productions are for folks who have accepted the fact that Rogers and Hammerstein are actually dead. . . Folks
1309will either see it as one of the most outrageously funny things ever staged, or it will offend every sense. (Or possibly both.)"<br /> â Steve Callahan, KDHX<br /><br /> 1310 "Scott Miller and his New Line Theatre never back down. Has a musical been a quick flop on or off Broadway? Heâll make it a hit and suddenly regional theatres are salivating to produce it. Is a musical considered too 'out of the mainstream?' No problem, letâs give our audiences a choice and see what happens. Is this one too rude, crude and obnoxious? Letâs do it! And now, combining all three of the above theatrical no-noâs, New Line presents Bukowsical, the musical." <br />â Steve Allen, Stage Door St. Louis<br /><br /> 1311 "New Line Theatre's production captures this drunken genius in all his splendor. You may be shocked by what you see or hear, but I guarantee you won't forget it. This is cutting edge theatre at its finest. . . Bukowsical is a rude crude, raucous, offensive and delicious musical that treads the line between biography and satire. New Line Theatre's production is an absolute blast. Go see it immediately!" <br />â Chris Gibson, BroadwayWorld<br /><br /> 1312 "Bukowsical is not for everyone. But if you are a fan of shows like The Book of Mormon, or Avenue Q, there shouldnât be anything you canât handle. New Line Theatre does what it does best, putting on a raw and uncensored show that never pulls any of its punches. With a fantastic cast, non-stop laughs, and many memorable songs â 'you can be Bukowsical too.' And you should." <br />â Kevin Brackett, ReviewSTL<br /><br /> 1313 "Bukowsical riffs on the life and work of Bukowski in the form of a wild musical bursting with simulated sex, four-letter words, and clever lyrics. It's the perfect piece of theater for a sophisticated urban crowd looking for pure ribaldry on a Saturday night. . . This is the sort of goofy, lead-with-your-pelvis, sharp late-night comedy thatâs perfect for a city with a thriving, risk-taking alt-theatre scene, like Chicago or New York. Weâd like more of this brand, please." <br />â Byron Kerman, St. Louis Magazine<br /><br /> 1314 "Musical theater has changed a lot since Bukowski came on the scene. Now 'Love Is a Dog from Hell' is actually the title of a song â and its author is the subject of the smoky, clever, amazingly foul-mouthed show at New Line Theatre. Its often-cheery homage to traditional styles darkens this show's material. From the ironic title to the hot little combo headed by Justin Smolik to choreographer Robin Michelle Berger's stylish ensemble work, this production was plainly the work of people who know musical theater." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1315 "This musical not only sheds considerable light on what went into making Charles Bukowski the artist he was, it also satirizes the conventions of musical theatre. It defies tradition by packaging foul lyrics about slimy behavior in these irresistibly tuneful, upbeat little songs. Under Miller's clear-sighted direction, the entire cast passionately embrace all kick-lines, key changes, and every instance of 'jazz hands.' Seeing these supposedly contradictory elements comb
1315ined with such enthusiasm is what makes it so funny. The profanity may offend your sensibilities, but with everything else this show has to offer, I bet you'll get over it after about 4 minutes." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1316 "Itâs definitely not family material and absolutely full of mirth and mayhem in equal doses. New Line artistic director Scott Miller and his notably energetic and fun-loving troupe make Bukowsical an evening you wonât soon forget and may actually enjoy quite a bit. . . Millerâs pace is brisk and witty, the action is amusing, the banter is brittle and the music direction by Justin Smolik is perfectly in sync with the performers. . . New Lineâs presentation of Bukowsical captures the musicalâs surprisingly engaging blend of sass and sweetness." <br />â Mark Bretz, Ladue News<br /><br /> 1317 "New Line Theatre Director Scott Miller never shies away from challenging material, whether it be darkly tragic like Next To Normal or hilariously over-the-top like Bloody Bloody Andrew Jackson. Bukowsical definitely falls into the latter category. . . Even the shocked first-time attendees were tapping their toes, laughing and clapping with each tragically absurd scene." <br />â Jeff Ritter, The Trades 1318 </p> 1319 </div> 1320 </div> 1321 </div> 1322 <div class="panel panel-default"> 1323 <div class="panel-heading" role="tab" id="headingEleven"> 1324 <h4 class="panel-title"> 1325 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseEleven" aria-expanded="false" aria-controls="collapseEleven"> 1326 NEXT TO NORMAL (2013) 1327 </a> 1328 </h4> 1329 </div> 1330 <div id="collapseEleven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingEleven"> 1331 <div class="panel-body"> 1332 <p>"I remember seeing Next to Normal at the Fox Theatre a while back and being impressed by the show. . . But New Line Theatre, for me, sets the local standard for musical theatre in our burgeoning arts community, and theyâve put together a superior staging of the play that hits even closer to the bone, and part of this is due to intimacy of the theatre itself, but a major reason is the fact that itâs blocked and staged in a manner that brings the message of the play clearly in focus. New Line Theatreâs production of Next to Normal is easily the best show Iâve seen this year so far. It has a terrific cast, a top notch band which is augmented with strings, and brilliant direction. This is a show you must see..." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1333 "Surprising and exceptional performances from the entire cast, in a story that will not settle for less. . . itâs a major leap forward in depth of characterization offered by New Line Theatre. Watch out, everybody, the âbad boy of musical theaterâ is growing up!" <br />â Richard Green, TalkinBroadway<br /><br /> 1334 "New Line Theatre presents the show in its St. Louis regional premiere with scorching intensity, dotted with dark humor. . . The opportunity to see this emotionally packed, captivating production in such an intimate space should not be missed." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1335 "The show made its St. Louis debut at the Fox Theatre. That production was fine. But Next To Normal tells such an intimate story that itâs actually a better fit for New Line, a small theater company in a small space. The play deals with serious mental illness, and New Line director Scott Miller marked out the psychological musical as his home terrain years ago, with his memorable take on Stephen Sondheimâs Into The Woods." <br />
1335â Judy Newmark, St. Louis Post-Dispatch<br /><br /> 1336 "New Line Theatreâs Next to Normal is nothing less than extraordinary . . . For those who enjoy live theater, but have never seen the show, I canât speak highly enough about it. The story is well written, the songs are fantastic, and the show is very honest and easy to relate to. New Lineâs production looks and sounds fantastic, and continues to impress upon me the power of local theater." <br />â Kevin Brackett, ReviewSTL<br /><br /> 1337 "Directors Scott Miller and Mike Dowdy were inspired in their casting of the show. . . amazing acting and singing by all members of the cast. . . an affecting and thought-provoking night of theatre." <br />â Laura Kyro, KDHX<br /><br /> 1338 "Next to Normal is a cerebral, up-close-and-personal account of mental illness, with a cast of six and a small accompanying orchestra that in New Lineâs presentation consists of a half-dozen musicians. Seeing it at the Washington University South Campus Theatre accentuates the personal nature of the work in a way the sprawling touring production could not do. . . New Lineâs artistic director Miller has a keen eye for what makes a particular musical work best, often finding hidden gems and mining their potential to sparkle. Even with this Pulitzer Prize-winning show heâs been able to accentuate the delicate emotions that are laid bare in Next to Normal." <br />â Mark Bretz, Ladue News<br /><br /> 1339 "New Line Theatre has brought an intimate and more accessible production to their stage and everything about it is outstanding. Kimi Short is simply sensational in the difficult role of Diana. . . The packed house on opening night leapt to their feet after the final strains of âLightâ to show their appreciation for a talented cast and crew and a most brave production." <br />â Steve Allen, StageDoorSTL<br /><br /> 1340 "New Line Theatre has crafted an edgy, thought-provoking production that does not sugarcoat the pain of a bi-polar disorder sufferer and her family. . . I hope the St. Louis theater audience gives Next to Normal a try. It isn't a simple way to pass a few hours, but like any challenging experience it is more rewarding for the difficulty." <br />â Jeff Ritter, The Trades<br /><br /> 1341 "This production encapsulates everything perfect about live musical theater. Pulled into the dysfunction of the family so perfectly, you feel as if there needs to be an empty seat at the dinner table for you. A set that is fairly minimalist and yet is disconcerting and haunting by itself, before a single actor has walked on stage sets the audience off kilter and prepares them to enter the world of the story dysfunction. The characters are priestly in the way they become arbiters between the physical and metaphysical crag the story treacherously sets as its path. The experience perfectly completes the circuit between stage and audience. . . There is no better description for this show than to refer to it as sacramental." <br />â Kevin J. Bowman, Dispossessed<br /><br /> 1342 "The Pulitzer Prize winning musical about mental illness, Next to Normal, has been given a strong staging by New Line Theatre, where this intimate drama works much better than it did last year at the Fox."<br /> â Bob Wilcox, Town and Style 1343 </p> 1344 </div> 1345 </div> 1346 </div> 1347 <div class="panel panel-default"> 1348 <div class="panel-heading" role="tab" id="headingTwelve"> 1349 <h4 class="panel-title"> 1350 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwelve" aria-expanded="false" aria-controls="collapseTwelve"> 1351 BLOODY BLOODY ANDREW JACKSON (2012) 1352 </a> 1353 </h4> 1354 </div> 1355 <div id="collapseTwelve" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwelve"> 1356 <div class="panel-body"> 1357 <p>"It's kind of hard to describe the new musical Bloody Bloody Andrew Jackson, but only because it's such a phantasmagorical journey through the life and presidency of Andrew Jackson. Parts of it are downright hilarious, while others are amazingly informative. Kind of like what Bill Cosby used to say during the opening credits of the Fat Albert show: âIf you're not careful, you might learn something before it's done.â New Line's current presentation of this wild and woolly excursion into history is a rockin' riot, filled with catchy tunes and funny, anachronistic humor that rarely misses the mark. . . It's a colorful and engaging tale guaranteed to delight even the most jaded theatre-goer. . . New Line Theatre's production of Bloody Bloody Andrew Jackson earns my highest recommendation, and it continues through October 20, 2012. This is must-see modern musical theatre at its finest (and weirdest)." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1358 "From its sensational opening number, âPopulism, Yea, Yea!,â this show presents its take on history without the reverence of old bio-pics (Abe Lincoln in Illinois) or the thoughtful British gloss of new ones (The King's Speech). According to Alex Timbers, who wrote the Bloody Bloody book, and Michael Friedman, who wrote the music and lyrics, our politics demand discussion in a truly American vernacular: rock 'n' roll. . . Looking at the past through a modern prism, Bloody Bloody Andrew Jackson reminds us that America is still a very young country. Of course we recognize Jackson and his contemporaries. As the great Southern novelist William Faulkner famously observed, the past isn't dead. It isn't even past."<br />
1358 â Judith Newmark St. Louis Post-Dispatch<br /><br /> 1359 "American politics was exposed as a combination of petty grudges, blind hatred and honest ignorance in Scott Miller's incendiary staging of the musical bio of Andrew Jackson (played with macho gusto by John Sparger) for New Line Theatre. It was thoughtful, thought-provoking and at times terrifying â how do you reconcile the whole "land of the free" thing with a president who tells his best friend, a Native American, "Yeah, you were totally here first, but we don't fucking care." And it always â always â rocked." <br />â Paul Friswold, The Riverfront Times <br /><br /> 1360 "When the 7th President of our United States, Andrew Jackson, swaggers out onstage, in eyeliner, black nails and with a microphone in his holster, telling the audience that they are sexy, you can bet that this is not gonna be your grandma's American History lesson. Not that we would really expect that â not from New Line Theatre. . . Scott Miller directs the insanity with abandon â adroitly melding the anachronistic profanely funny 2000s style comedy with a touching reality, especially where it counts: in scenes between Andrew and Rachel, and scenes between Andrew and Black Fox. Justin Smolik leads the tight band with D. Mark Bauer adding vocals. . . So if you like your history with a little hysteria, you should definitely consider checking out this rollicking rock musical at New Line Theater." <br />â Bob Mitchell, KDHX<br /><br /> 1361 "This is a New Line show if there ever was one. Itâs smart, sassy, political, and has a compelling score. . . The excellence of the material and the staging make this a vintage New Line production. [John] Sparger is a commanding figure as Jackson, and heâs surrounded by a terrific ensemble in which almost everyone plays multiple roles. We are treated to irreverent portrayals of some of the countryâs most revered politicians, including three presidents, a vice president, and a speaker of the house. Most of the performers are New Line regulars who remind us of how deep a pool of talent New Line has to draw from these days. . . This production is an ideal match of artists and material, and it gives us plenty to think about as the November election approaches."<br /> â Gerry Kowarsky, Two on the Aisle<br /><br /> 1362 "New Line Theatre, is presenting the regional premiere of this raucous, rowdy and rapacious one-act extravaganza, which is often rude, crude and lewd, so be wary of taking children for a âhistory lesson.â The arch, Goth style of this production, though, is brimming with energy. . . The show has so much vitality and dynamism. . . Bloody Bloody Andrew Jackson is frantic, antic and full of surprises as it speculates on how the west was really won and how America creates its heroes." <br />â Mark Bretz, Ladue News<br /><br /> 1363 "Bodacious and unconventional, Bloody Bloody Andrew Jackson is a turbo-charged history lesson in the guise of an emo-rock musical. Naturally, New Line Theatre would open its 22nd year as the region's first company to produce this irreverent work, especially fitting during an election year. The parallels between politics then and now are striking and a tad eerie. Liberty, what a concept! Director Scott Miller has long led the charge for alternative adult musicals, and he stretches the medium's boundaries while celebrating them, certainly admirable. Because he is fearless when pushing the envelope, Miller presents this snarky take on our seventh president with his tongue planted firmly in his cheek." <br />â Lynn Venhaus, Belleville News Democrat<br /><br /> 1364 "It's all handled in a very buoyant, funny, ironic, idiotic way, by the extremely knowledgeable producer/director Scott Miller. And most of his genuinely unbeatable 'all-stars' are along for the ride: the singers and actors who delightfully recur from show to show. John Sparger, in the title role, has never looked or sounded better, or been funnier. And then there's just this Costco-sized bundle of talented people backing him up." <br />â Richard Green, TalkinBroadway<br /><br /> 1365 "I can hardly think of a better way to catch a break from the onslaught of this year's presidential campaign than to check out this saucy, contemporary, in-your-face look at our seventh president. Bloody Bloody Andrew Jackson opens New Line Theatre's 22nd season, and this show is right up its alley. . . Under Scott Miller's high-speed direction and Justin Smolikâs tight direction of the New Line Band, this boisterous cast of New Liners deliver the musical numbers with their usual zest, and just enough cheek, complete with anachronisms like cell phones and cheerleaders. . . This is a history lesson that will prove much more interesting and entertaining than anything you've heard in school." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1366 "The satirical Bloody Bloody Andrew Jackson, directed by artistic director Scott Miller, lives up to its name with a stage awash with the blood of so-called "Indians," Spaniards and Jackson himself. The history books want to know: Was our seventh president a great leader who doubled our
1366countryâs land mass or a mass murderer, an 'American Hitler'? Sound like a comedy? Not really. But Bloody Bloody, written by Alex Timbers, is laugh-out-loud hilarious. Its humor is assisted by Michael Friedmanâs emo (emotional hardcore) rock score and in-your-face lyrics." <br />â Nancy Fowler, St. Louis Beacon<br /><br /> 1367 "It's quite an accomplishment for the St. Louis theater scene, and I readily recommend Bloody Bloody Andrew Jackson to my readers, especially those who are willing to try a production that may be outside of their usual comfort zone. To me, pushing the envelope and doing the unexpected is the most exciting aspect of acting, and you won't find too many musicals that push the envelope harder than this." <br />â Jeff Ritter, The Trades<br /><br /> 1368 "Itâs the most fun youâre ever likely to spend with a politician. Director Scott Miller has brought his magic touch into play milking the irony and laughs out of every line, pratfall and stage picture. . . If youâre in the mood for a bizarre look at this iconic period in American history, youâre in for a treat with Bloody Bloody Andrew Jackson. It should be required viewing for every college American History course." <br />â Steve Allen, Stagedoor 1369 </p> 1370 </div> 1371 </div> 1372 </div> 1373 <div class="panel panel-default"> 1374 <div class="panel-heading" role="tab" id="headingThirteen"> 1375 <h4 class="panel-title"> 1376 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirteen" aria-expanded="false" aria-controls="collapseThirteen"> 1377 HIGH FIDELITY (2012) 1378 </a> 1379 </h4> 1380 </div> 1381 <div id="collapseThirteen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirteen"> 1382 <div class="panel-body"> 1383 <p>"Earlier this season, New Line Theatre staged two regional premiers: the wry, insightful Passing Strange and the raucous, insightful Cry-Baby. High Fidelity â by turns wry and raucous, and maybe the most insightful of all â makes an inspired conclusion. . . When New Line artistic director Scott Miller first staged High Fidelity on the heels of its Broadway failure, he rescued it from obscurity; itâs gone on to a number of successful productions at colleges and small theaters around the country. This production, also directed by Miller, is a kind of victory lap: a showcase for the musicalâs clever songs, endearing characters and above all for the New Line gang. A talented bunch both onstage and behind the scenes, with High Fidelity they once again welcome theater-goers into their smart inner circle." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1384 "The Number One reason to see this revival production of High Fidelity: IT ABSOLUTELY ROCKS!" <br />â Chris Gibson, BroadwayWorld<br /><br /> 1385 "After four years, and rave reviews from critics, High Fidelity has returned to St. Louis. . . What stands out most about this production of High Fidelity is the passion that went into it. You can tell that these actors are singing and dancing their hearts out; you can feel the raw energy and emotion that they radiate with their performances. I listened to the original cast recording of the show, and I can honestly say that some of the recorded numbers couldnât hold a candle to the New Line versions. . . High Fidelity is a fantastic show, filled with pure rock energy and a myriad of memorable songs. It would truly have been a tragedy if it wasnât revived after being left for dead on Broadway. Instead of just taking the movie and slapping some songs into it, the cast and creatives really make it their own. With great performances and powerful rock music that is fondly familiar, it is a must see show that you donât want to miss." <br />â Kevin Brackett, ReviewSTL<br /><br /> 1386 "As always, Scott Millerâs direction is right on the money. He has found the secret of making this Broadway disappointment into a vehicle for fun and frenzy that you just wish wouldnât end. . . If youâre ready for flat-out fun, donât miss this terrific show. It bubbles with personality and just makes you feel good all over. Outstanding performances lead the way and the almost lost score with music by Tom Kitt and lyrics by Amanda Green along with the book by David Lindsay Abaire show that thereâs life in any musical as long as it has heart, desire and a little help from Scott Miller." <br />â Steve Allen, Stage Door St. Louis<br /><br /> 1387 "New Line Theatre artistic director Scott Miller saw the beauty and buoyancy behind the weak Broadway effort that introduced High Fidelity as a rock musical in a disappointing effort that folded after just 14 performances on Broadway in late 2006. Millerâs New Line Theatre mou
1387nted the first regional presentation in 2008, a glorious triumph that Ladue News cited as the best production of the year. . . Now, New Line has brought High Fidelity back to its greatest success in a presentation that, if anything, is stronger and more engaging than its 2008 predecessor. . . If you love rock music and feel-good stories, High Fidelity should top your charts." <br />â Mark Bretz, Ladue News<br /><br /> 1388 "In true New Line fashion, director Scott Miller pared the show down to what was necessary: the tale of a commitment-shy Gen-Xer struggling, buoyed by his love of music, to grow up and become a human â and by focusing on that, he made the show a hit of the 2008 season. Not resting on his laurels, though, in this production Miller opens up the space a little, allowing musical numbers to joyously jump out at you. . . The newly revived show has lost none of its original verve â in fact you could say this show is âre-masteredâ â in its new space, it takes the already clean master material and polishes it further, opening up the stage to let the âconfessional boothâ tone of this charged rock musical spill out into the laps of the audience and make us question our own behaviors in our relationships, and explore how to forgive and be forgiven. . . So if rockinâ music with a good story is your idea of great entertainment, plan on seeing New Lineâs High Fidelity." <br />â Robert Mitchell, KDHX-FM<br /><br /> 1389 "Right now, we can enjoy a second helping of Millerâs take on the show. Once again, the results are dazzling. . .The entire production is proof again that High Fidelity is a musical with a future." <br />â Gerry Kowarsky, Two on the Aisle<br /><br /> 1390 "I was glad to see it again. I think I enjoyed it more this time and got more out of it." <br />â Bob Wilcox, Two on the Aisle<br /><br /> 1391 "If you've ever found salvation in a used-record bin, poured your soul into a mixtape or sunk into deep neurosis over the state of your romantic affairs, there is plenty here to appreciate."<br /> â Mike Appelstein, The Riverfront Times<br /><br /> 1392 "Donât dismiss them as merely regional theater â when a production such as this nails it, Broadway takes notice. Director Scott Miller and his terrific cast have certainly made a believer out of me." <br />â Jeff Ritter, The Trades<br /><br /> 1393 "New Line Theatre has revived High Fidelity after giving this musical its first regional premiere in 2008. Based on the novel by Nick Hornby, High Fidelity suffered a short life on Broadway, but New Line's artistic director, Scott Miller, has a thing about reviving Broadway flops. Seeing the potential and the heart at the center of this rock musical, he and his trusty crew at New Line gave it a new life then, and it's even better this time around. . . .Under Miller's perceptive direction, just about every aspect of the show seems to have been brought up a notch, and Jeffrey M. Wright's portrayal of our hero Rob Gordon (one of many wonderfully reprised roles from 2008) has matured. . . Check it out for some great songs, great performances, and a very good time." <br />â St. Louis Theatre Snob 1394 </p> 1395 </div> 1396 </div> 1397 </div> 1398 <div class="panel panel-default"> 1399 <div class="panel-heading" role="tab" id="headingFourteen"> 1400 <h4 class="panel-title"> 1401 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourteen" aria-expanded="false" aria-controls="collapseFourteen"> 1402 CRY-BABY (2012) 1403 </a> 1404 </h4> 1405 </div> 1406 <div id="collapseFourteen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourteen"> 1407 <div class="panel-body"> 1408 <p>"If you liked New Lineâs productions of Return to the Forbidden Planet and Bat Boy, or if you just want to have a great time, then pick up tickets for its latest giddy extravaganza, Cry-Baby. You'll laugh too hard to catch all the hilarious lyrics. . . In fact, the whole ensemble captures the go-for-broke spirit that Miller, band leader Justin Smolik and choreographer Robin Michelle Berger relish. . . Now in its 21st season, New Line also stages serious musicals:
1408Evita, Love Kills, Kiss of the Spider Woman and many more. And it stages them beautifully, albeit with unexpected twists. But Miller's intimate musical comedies have a distinctive charm all their own, part sketch comedy, part witty spoofs of musical-theater tradition. They don't come up that often, but when they do, they last a long time in memory." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1409 "I couldn't stop smiling and laughing through this stage-musical version of John Watersâ film, though I have to admit I never really tried. From the opening chords, which (of course) sound like some 1950s movie about teen rebels, we know we're in for a counter-cultural extravaganza. Long and lanky Ryan Foizey is fantastic as a pacifist Elvis Presley in red-scare America, and director Scott Miller and crew surround him with a cast that bristles with talent and dance that crackles with excitement." <br />â Richard Green, TalkinBroadway.com<br /><br /> 1410 "Cry-Baby is a smash, a musical and cultural send up of drape and square mores, while at the same time, a parody of the typical âboy meets girl, boy loses girl, boy gets girl backâ scenarios that we've all been exposed to in more traditional shows. At times, itâs like watching a throwdown between Little Richard and Pat Boone over who really sings âGood Golly, Miss Mollyâ the best and most authentic. . . Scott Miller and New Line Theatre have once again given us something outside the norm, and it's a joyous ride. This revision of Cry-Baby is a sheer delight, full of characters and situations from the movie by filmmaker John Waters, but also standing on its own with a clever and hilarious score (music and lyrics by David Javerbaum and Adam Schlesinger), having jettisoned the tunes from the film itself. Go see this play now. Itâs wonderfully directed, smartly choreographed, and marvelously acted. . . This is a rave because this a rockinâ good show! Go see Cry-Baby and enjoy!" <br />â Chris Gibson, BroadwayWorld<br /><br /> 1411 "Four and half stars out of five. A glorious and infectious American regional premiere by New Line Theatre. Under Millerâs devoted and painstaking direction, this Cry-Baby rocks the room with an effervescent energy, exploding across the stage through an array of dazzling moves choreographed by Robin Michelle Berger. . . Miller has a penchant for mining rare musical gems and, sometimes, resuscitating them from their moribund beginnings. Such is the case with this Cry-Baby, which will leave you shedding only tears of laughter." <br />â Mark Bretz, Ladue News<br /><br /> 1412 Three and a half stars our of four. Thereâs an enthusiasm and energetic playfulness in New Line Theatreâs production of Cry-Baby that evokes some very clever laughs and lots of nostalgic friskiness. Itâs a hallmark of the kind of amicably provocative show New Line likes to produce. . . Scott Miller has developed an enjoyable niche for his theater that is unique, important and always fun." <br />â Harry Hamm, KMOX<br /><br /> 1413 "Under Scott Miller's bull's-eye direction, Cry-Baby is bolstered by New Line's consistently energetic cast, including newcomer Ryan Foizey in the title role. His charismatic Elvis Presley inspired Cry-Baby has just enough seeming volatility to make him seem dangerous, but all the heart to make him genuine. Doesn't hurt that he has a great voice, too." <br />â St. Louis Theatre Snob<br /><br /> 1414 "Scott Miller almost always settles into a high-octane groove with his productions at New Line Theatre. That's true of his current offering, Cry-Baby, the musical adapted from John Watersâ film of the same name."<br /> â Bob Wilcox, KDHX<br /><br /> 1415 "Scott Miller directs stylishly. . . Millerâs direction and the castâs talent make it a fine diversion, something to see if you need a break from preparing your taxes." <br />â Joe Pollack, St. Louis Eats and Drinks 1416 </p> 1417 </div> 1418 </div> 1419 </div> 1420 <div class="panel panel-default"> 1421 <div class="panel-heading" role="tab" id="headingFifteen"> 1422 <h4 class="panel-title"> 1423 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFifteen" aria-expanded="false" aria-controls="collapseFifteen"> 1424 PASSING STRANGE (2011) 1425 </a> 1426 </h4> 1427 </div> 1428 <div id="collapseFifteen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFifteen"> 1429 <div class="panel-body"> 1430 <p>FOUR STARS out of Four. "New Line Theater founder and artistic director Scott Miller has chosen the ideal show to launch their new season, a production that totally matches the charter of his young, energetic and sometimes feverish theater. Itâs called Passing Strange, and it is the familiar story of a young man in a search for himself and his future. . . . The energy and emotion of this production is potent. This cast displays enormous versatility & talent, and an obvious passion for the material. It is very involving for the audience. New Line knows what itâs doing and it shows. This is a terrific little show about a very personal journey that makes a night at New Line a very charged and involving experience." <br />â Harry Hamm, KMOX<br /><br /> 1431 "New Lineâs season opener rocks. Literally. Never letting you forget youâre watching a play, Passing Strange challenges the preconceptions about what a musical is â a musical for people who donât think they like musicals. Itâs a high-octane, allegorical, semi-autobiographical account of a musician, Mark Stewart, who goes by the single name, Stew, and his journey of self
1431-discovery. . . Itâs a brilliant show with memorable performances and amazing songs. Actually, Iâm buying the cast recording the second I post this entry. In short, go see it. Iâm not kidding." â Andrea Torrence, St. Louis Theatre Snob"Passing Strange is its own show, and an excellent one. . . Itâs an exciting mélange of musical styles, with seven outstanding performers sizzling across the stage. . . Itâs an interesting, fast-paced evening of musical theater with an exciting score, typical of the off-beat, difficult-to- characterize New Line productions."<br /> â Joe Pollack, St. Louis Eats and Drinks<br /><br /> 1432 "This production by New Line Theatre provides a passionate experience, emboldened by excellent performances and top notch direction, and driven by superb work from the musicians playing the tuneful score. . . Passing Strange is a must-see for all young artists, but itâs equally worthy of attention by the entire theatre-going crowd, since itâs incredibly captivating and involving, and filled with great music." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1433 "New Line Theatre has once again put a strong cast and a surprisingly good story on stage and makes us fall in love with musical theatre we may not be familiar with. In other words, Passing Strange is no Sound Of Music and the audience is better for it. . . You wonât find a more daring, unexpected or entertaining evening of theater anywhere else in St. Louis."<br /> â Steve Allen, Java Journal<br /><br /> 1434 "The musical Passing Strange takes the audience on a wild ride through sex, drugs and rock and roll. . . In director Scott Millerâs very capable hands, the show is poignant at times, angry at others, sometimes warm and very often hilarious."<br /> â Christopher Reilly, The Patch<br /><br /> 1435 "New Line rocks on in Passing Strange! Theater artists are almost useless in isolation. It takes at least a few people to put on the simplest and smallest of shows. Thatâs true even when a theater artist has a big personality and big hand in the work on stage. Stew is that kind of theater artist, and so is Scott Miller. Stew (aka Mark Stewart) wrote (and won a Tony for writing), co-composed (with Heidi Rodewald) and originally starred in Passing Strange, the exhilarating, hard-rocking musical that just opened here at New Line Theatre. Miller, who founded New Line in 1991 and remains its artistic director, has directed every show that it has staged, including this one. You can see their influences in this production, shimmering with Stewâs wit and shaking with Millerâs style. But it wouldnât matter if not for the other artists who contributed their talents, notably the band and the ensemble." <br />â Judith Newmark, St. Louis Post-Dispatch <br /><br /> 1436 "Passing Strange is an intoxicating, invigorating and beguiling piece as whimsical in its writing as in its lively and spirited music. . . A critical smash [on Broadway] but lukewarm box-office draw, it closed after just 165 performances. Perhaps if the incomparable Charles Glenn had been belting out Stewâs free-wheeling tunes as the Narrator on the Great White Way, as he is in New Line Theatreâs sparkling presentation, it might still be playing there. Glenn has a masterful, multi-textured voice, an instrument he utilizes with utmost finesse under Scott Millerâs loving, carefully crafted direction. From the high-flying starting number, "We Might Play All Night," to the bouncy, jaunty "Blues Revelation" to the beautiful ballad "Amsterdam" and the scintillating show tune, "The Black One," Glenn takes control of this breezy romp and fills its two hours and 30 minutes with bravado and syncopated gusto." <br />â Mark Bretz, Ladue News<br /><br /> 1437 "New Line is off to a flying start with the first local production of the musical Passing Strange . . . it has a marvelous score that comes to life with irresistible energy in the New Line production. Director Scott Miller is completely in tune with the showâs quest for artistic identity. . . Thereâs more in Passing Strange than I could take in, in one sitting. I hope this show wonât be a stranger to St. Louis theatres."<br /> â Gerry Kowarsky, Two on the Aisle<br /><br /> 1438 "In his program notes, director Scott Miller offers that he opted for a technically minimalist production to allow for the 'rich, rowdy music and lyrics.' Set by Todd Schaefer and costumes by Amy Kelly do their duty to stay out of the way. The little thatâs present does a lot to gently accentuate the show and its cast â a swirling psychedelic blue brick road underlies the journey, actors clothed in gray basics become colorful characters as they toss around bright accessories. Most importantly, Millerâs minimalism accentuates the talent of his cast. With little to distract in the intimate theatre, the space is quickly filled with the finest wrist flick or arched brow. The actors also have all the room they need to play, and easily fill the stage as they acid trip in LA and riot in Berlin." <br />â Emily Piro, KDHX <br /><br /> 1439 "Passing Strange, Stew and Heidi Rodewaldâs hybrid musical/rock concert experience, challenges the notions of identity and theatrical conventions even as its hero confronts the stereotype of the rock & roll bohemian as a strictly white creation." <br />â The Riverfront Times<br /><br /> 1440 "Everyone around me was raving about the singing, the story, everything. . . Overall, there is a lot to like here."<br /> â Rosiland Early, St. Louis Magazine 1441 </p> 1442 </div> 1443 </div> 1444 </div> 1445 <div class="panel panel-default"> 1446 <div class="panel-heading" role="tab" id="headingSixteen"> 1447 <h4 class="panel-title"> 1448 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixteen" aria-expanded="false" aria-controls="collapseSixteen"> 1449 BARE (2011) 1450 </a> 1451 </h4> 1452 </div> 1453 <div id="collapseSixteen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixteen"> 1454 <div class="panel-body"> 1455 <p>"New Line Theatre's current production of bare is a devastatingly powerful presentation that features a strong and talented cast performing at an exceptional level under director Scott Miller's sure hand. . . New Line Theatre's powerful and provocative production of bare: a pop opera is must-see theatre, providing the kind of experience that absolutely defines modern musical theatre, mixing c
1455atchy, open-ended compositions with an undeniably important subject matter. Make an effort to see it soon!" <br />â BroadwayWorld <br /><br /> 1456 "This month, the truth serum seems to come to us in live theater, in the form of the very entertaining teen-angst musical Bare. . . director Scott Miller draws both actors, and the entire cast, to performances that are strikingly real and compelling, in spite of all the possible pitfalls of the high school drama at hand. Itâs another remarkably solid cast for a New Line show. . . Bare is full of great story telling and fun music, rich characters and very fine performances."<br /> â Richard Green, TalkinBroadway.com<br /><br /> 1457 "A 4.5 on a scale of 1-to-5. Itâs smart, humorous and sophisticated, all elements readily observable in the regional premiere mounted by artistic director Scott Miller in New Line Theatreâs engaging and accessible presentation. . . Miller keeps the production moving briskly while also consistently bringing out the workâs sophistication, including guiding his players successfully through its complicated score. Really, thereâs little âbareâ about this rendition past its title. Quite the opposite, itâs an engaging evening of entertainment." <br />â Mark Bretz, Ladue News<br /><br /> 1458 "A Must-See. The 20-foot cross looming over the stage at New Line Theater was ominous, both in the minutes before the show began, and during the production. And it was hard to tell if it was intended to stretch wide, hugging the cast in an embrace, or to stand distant, arms akimbo in rebuke. Such thematic dualism reoccurs throughout Scott Millerâs production of bare." <br />â Darren Orf, St. Louis Magazine<br /><br /> 1459 "Go to New Line and plunge into this sad, dense, haunting pop opera. Yet for all its complexity, itâs emotionally bare. Created by composer Damon Intrabartolo and lyricist Jon Hartmere Jr., bare enjoys a cult following but not the kind of fame associated with, for example, Spring Awakening. But its similar story is equally powerful, conveyed not only by the director Scott Miller and the actors but through Intrabartoloâs romantic pop score, performed with passion by conductor Justin Smolik and the New Line Band. . . bare addresses a wealth of teen problems â substance abuse, pregnancy, questions of sexual identity, teen suicide â but it's no after-school special. It offers no answers, beyond an assertion that honesty is healthy and secrecy can be lethal." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1460 "The cast of New Line Theatre's production of bare is strong in terms of both acting and vocals. . . bare is an original show with complicated musical structure. The fine cast is able to produce some unique harmonies and chords that at first sound discordant. It is to their credit and director Scott Millerâs casting that they are able to pull it off. . . bare is a show that explores a myriad of problems facing young people and their struggle to learn from and overcome the obstacles they face. It's definitely a show worth seeing." <br />â Christopher Reilly, The Patch<br /><br /> 1461 "Itâs a strong, intelligent, interesting show that has played here and there around the country for more than a decade. This is its St. Louis premiere. . . Given the story and the setting, a number of younger actors (many students at Webster University) got the chance, and there are some splendid performances." <br />â Joe Pollack, St. Louis Eats and Drinks<br /><br /> 1462 "The cast of New Lineâs bare brings more power than is probably needed in the small space but the showâs powerful message comes through loud and clear. The cast is a good one and this cult musical makes an impressive local debut. . . Itâs all tied together with the great touch of New Lineâs artistic director Scott Miller. And the flawless work by the band led by Justin Smolik adds to the lovely evening. . . Itâs an adult production with some very provocative scenes and music that may not be to everyoneâs taste, but bare really makes for a delightful evening of musical theater."<br /> â Steve Allen, Java Journal 1463 </p> 1464 </div> 1465 </div> 1466 </div> 1467 <div class="panel panel-default"> 1468 <div class="panel-heading" role="tab" id="headingSeventeen"> 1469 <h4 class="panel-title"> 1470 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSeventeen" aria-expanded="false" aria-controls="collapseSeventeen"> 1471 TWO GENTLEMEN OF VERONA (2011) 1472 </a> 1473 </h4> 1474 </div> 1475 <div id="collapseSeventeen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSeventeen"> 1476 <div class="panel-body"> 1477 <p>"New Line Theatreâs Two Gentlemen of Verona is an enthusiastic, gutsy, spirited, humorous and totally entertaining show. New Lineâs cast is the ultimate in professional silliness. Shakespeare has never been this much fun!" <br />â Harry Hamm, KMOX<br /><br /> 1478 "It's a happy romp! It's a silly, illogical, lovely tale! And it's a hit! It's New Line Theatre's immensely enjoyable new offering, the musical comedy version of Two Gentlemen of Verona. . . The New Line cast is uniformly fine. There simply isn't a weak spot. It's full of New Line veterans brimming with talent and with that special kind of family love that Scott Miller has magically fostered in his company over the years. They all perform with such joy and confidence and generosity of heart. . . as a whole package â the show, the cast, the band, the production values â it all makes New Line Theatre's Two Gentlemen of Verona the most purely enjoyable evening of theatre I've had in a long, long time." <br />â Steve Callahan, KDHX<br /><br /> 1479 "New Line Theatre and director Scott Miller's current production of Two Gentlemen of Verona not only rocks, but it's hilarious as well, aided greatly by the spectacular efforts of an enthusiastic cast and a crack band. I honestly can't recall when I've ever witnessed an audie
1479nce laugh at and enjoy Shakespeare more; the resident Bad Boy of Musical Theatre has come through again. . . I really love the way director/music director Scott Miller makes the most of each comic moment, not milking it, but mining it for the richest results. . . New Line Theatre's production of Two Gentlemen of Verona is brilliantly executed and funny as hell. This terrific presentation continues through March 26."<br /> â Chris Gibson, BroadwayWorld.com<br /><br /> 1480 "Director Scott Miller's production just goes to show what you already know: That Shakespeare is so strong, a smart production can take his work in almost any direction, and it will flourish. Just take a look. . . We can identify with unfamiliar times, places or situations when theater artists help us draw fresh, imaginative connections. Miller, who often stages shows that aren't obvious or easy, not only seems to know that's possible, he appreciates how those unsuspected links can pay off in enormous theatrical pleasure. And that's exactly what Two Gents delivers." <br />â Judith Newmark, St. Louis Post-Dispatch 1481 <br /><br /> 1482 "This winsome work by MacDermot, Guare and Shapiro is a delightful romp that is much more than the sum of its parts. Scott Millerâs inspired version directed for New Line Theatre features an exuberant and engaging cast that thoroughly enjoys itself and infectiously spreads that fervor throughout its audience. . . With Millerâs flamboyant and spirited approach, though, itâs easy to sit back and enjoy these musical Gentlemen. A 4.5 on a scale of 1-to-5." <br />â Mark Bretz, The Ladue News<br /><br /> 1483 "New Line Theatre pushes the proverbial envelope to dimensions other theatres simply do not. If you want to see a show and feel like you're in New York or Chicago, go see a show at New Line. Go see Two Gentlemen of Verona. It'll be the most fun you have at the theater this year." <br />â Christopher Reilly, The Patch<br /><br /> 1484 "The familiar New Line crew never disappoints, and the ensemble members are always completely engaged and energetic. . . I was struck with how familiar the songs sounded and then I remembered, oh yeah, Galt MacDermot did the music for this. He also composed the music for Hair, and the music for Two Gents is very reminiscent of that (with a little Spanish spice thrown in) â engaging, groovy, and the New Line Band was tight and handled it well. . . After a while, you forget that it's Shakespeare. And I mean that in a good way."<br /> â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1485 "This is one you donât want to miss. Itâs really a piece of history and the infrequency of productions of Two Gentlemen of Verona makes it a true must-see." <br />â Steve Allen, Java Journal<br /><br /> 1486 "Mardi Gras in St. Louis turned cold and blustery, but spring is very much in the air, thanks to this bright, funny, beautiful show. And if you were expecting another New Line musical with a dark, cold edge to it, you'll be very pleasantly surprised by this thoroughly light-hearted adventure. Producer/director Scott Miller must be in love â or, at least, in love with this show." <br />â Richard Green, TalkinBroadway.com<br /><br /> 1487 "Itâs like the counter-culture that invaded the musical a few years earlier in Hair has now been integrated into the fabric of society. . . The New Line production is so much fun that no one with the least curiosity about this show should pass up the rare opportunity to see it." <br />â Gerry Kowarsky, Two on the Aisle<br /><br /> 1488 "It's bright and breezy in its current production by New Line Theatre. It opened last night and will run delightfully through March 26. . . Scott Miller's direction is solid, and Robin Michelle Berger did some charming choreography, well-handled by the cast. The acting also is strong. . . a highly enjoyable evening." <br />â Joe Pollack, St. Louis Eats and Drinks 1489 </p> 1490 </div> 1491 </div> 1492 </div> 1493 <div class="panel panel-default"> 1494 <div class="panel-heading" role="tab" id="headingEighteen"> 1495 <h4 class="panel-title"> 1496 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseEighteen" aria-expanded="false" aria-controls="collapseEighteen"> 1497 I LOVE MY WIFE (2010) 1498 </a> 1499 </h4> 1500 </div> 1501 <div id="collapseEighteen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingEighteen"> 1502 <div class="panel-body"> 1503 <p>"New Line Theater bows I Love My Wife, an often hilarious musical spoof of the so-called âfree loveâ era and how two married couples discover the truth about âfour play.â New Line Theatre al
1503ways does great work. When they perform, youâre always up close and personal. Sometimes the performers are only three to four feet from where youâre sitting, so you really get involved in the show. I Love My Wife also happens to be a very funny show. . . enjoyable and a nice start to New Lineâs 20th season." <br />â Harry Hamm, KMOX<br /><br /> 1504 "New Line, the little cutting-edge theater that could, is opening its 20th season with I Love My Wife. . . Leave it to Miller to rediscover this little gem. I Love My Wife turns out to be a clever, musically sophisticated and ultimately sweet show, intimate in every sense of the word. . . New Line has done well with Hair, which it has mounted several times. Itâs also staged strong productions of Grease and Chicago, the beat musical The Nervous Set, the slacker musical High Fidelity and Return to the Forbidden Planet, set either in the 1950s or the future, maybe both. Put them all together, and it's an era-by-era look at changing American mores. Millerâs anthropological twist on musical theater gives New Line a distinctive point of view, brainy and bold. I Love My Wife is an apt addition to that repertoire." <br />â Judith Newmark, St. Louis Post-Dispatch <br /><br /> 1505 "The swinginâ 70s were a nonstop, hedonistic thrill ride. Marriages were open, key parties were de rigueur, love was American Style â everybody got laid all the time and twice on Sunday. But all revolutions come to an end, especially sexual ones. The Michael Stewart and Cy Coleman musical I Love My Wife takes you back to the final spurts of the musky 70s with a jazzy tale of wife-swapping, sex and romance, and explores how maybe all that free love came with a hidden cost â and we ainât talkinâ about herpes." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1506 "This is a production that nobody who cares about musical theatre should miss, because if there ever is another local production, the passionate advocacy of the current production will be hard to match." <br />â Gerry Kowarsky, Two on the Aisle<br /><br /> 1507 "With their funky and fun production of I Love My Wife, New Line Theatre begins their 20th season with a trip back to the swinging seventies, when the last dying embers of the sexual revolution were still smoldering in the suburbs. It was a time when collars were broad, chests were hairy, and polyester was the fabric of choice. And though the obvious reference point for some might be Paul Mazursky's 1969 film Bob & Carol & Ted & Alice, the two are actually quite dissimilar, except for the fact that two couples wind up sharing the same bed. But, I Love My Wife is more concerned with friendships and making connections. New Line's presentation of this perfectly charming adult comedy is superbly cast and directed, and well worth your time and attention." <br />â Chris Gibson, BroadwayWorld.com<br /><br /> 1508 "Those who lived through the 1970s will nod familiarly at most of the lines and lyrics in I Love My Wife. Those too young to remember will understand why certain styles, certain moments, certain memories will bring goofy looks to their parentsâ faces. . . but it's an accurate view â and spoof â of an era that generated a movie called Bob and Carol and Ted and Alice, that still was enjoying the drug culture and sexual freedom that started in the 1960s. . . The tale of a husbandâs desire to join the sexual revolution he fears has begun without him, using his friendâs wife to help him get up to date, is bright and tuneful, well-paced under Scott Millerâs on-point direction. . . Itâs powerful, and itâs fun." <br />â Joe Pollack, St. Louis Eats and Drinks<br /><br /> 1509 "Top-notch performances highlight this New Line production . . . I Love My Wife is a nifty little musical that is given a first-rate production by the folks at New Line Theatre. Because of the subject matter, I would consider it adults only but youâll have a lot of fun and a lot of laughs at this one." <br />â Steve Allen, Java Journal<br /><br /> 1510 "Interesting and hilarious. Now, it's not as though there's a detailed plot for this show, but under Scott Miller and Alison Helmerâs direction, watching it all unfold and seeing how these individuals respond to the opportunity is an entertaining ride, well worth the price of admission. This show may be set in the 70s, but the themes are still relevant." <br />â Andrea Torrence, St. Louis Theatre Snob<br /><br /> 1511 "New Line Theatre jazzes up I Love My Wife. . . Having showcased their badness with Love Kills and The Wild Party, Scott Miller and his New Line Theatre, self-christened the Bad Boy of Musical Theatre, have decided to back off and just be a little naughty with their current offering." <br />â Bob Wilcox, KDHX 1512 </p> 1513 </div> 1514 </div> 1515 </div> 1516 <div class="panel panel-default"> 1517 <div class="panel-heading" role="tab" id="headingNineteen"> 1518 <h4 class="panel-title"> 1519 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseNineteen" aria-expanded="false" aria-controls="collapseNineteen"> 1520 EVITA (2010) 1521 </a> 1522 </h4> 1523 </div> 1524 <div id="collapseNineteen" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingNineteen"> 1525 <div class="panel-body"> 1526 <p>"Simply put, New Line Theatreâs current production of Evita absolutely rocks! Employing a more intimate staging and utilizing stripped down orchestrations acts to reinvigorate the work, personalizing the story and adding a real edge to the music. This is one of the chief reasons I'm always drawn to New Lineâs productions; they don't conform to the norm, offering regular theatre goers the opportunity to witness creative and imaginative takes on new works as well as more familiar ones. If you're already a fan of Evita (or musical theatre in general), or if you've only seen the misguided movie version with Madonna in the lead role, and you've been turned off to the subject as a result, then you owe it to yourself to check out New Line's darkly engaging presentation. . . Scott Millerâs direction is impeccable. The story moves along at a whirlwind clip, with seamless transitions allowing the action to flow unabated. The cast is sharp and focused throughout, and the ensemble singing is gorgeous." <br />â Chris Gibson, BroadwayWorld.com<br /><br /> 1527 "Tim Rice and Andrew Lloyd Webber come in for their fair share of criticism, but future historians may judge them a little more kindly than we now suspect, if this new Evita is any guide. True, we already know that Lloyd Webber can give us lovely musical passages. And here, director Scott Miller's excellent New Line chorus and band, featuring a fiery leading lady, sets our hearts marching into battle. . . . It's a perfect show for this moment in (North) America." <br />â Richard Green, TalkinBroadway.com<br /><br /> 1528 "I was intrigued because Scott Miller is the one director I can think of who would find the politics in Evita more interesting than the style. What New Line gives us is an Evita where the incrusted style has been stripped away and the politics have been beefed up. . . I really admire what Scott Miller and New Line found in Evita, and Iâm afraid the standard version is going to disappoint me even more when I see it next." <br />â Gerry Kowarsky, Two on the Aisle<br /><br /> 1529 "A 4.5 on a scale of 1-to-5. Having neither the space nor the quantity of musicians to present the full orchestration of Lloyd Webber's music, New Line Theatre artistic director Scott Miller wisely focuses instead on a sextet of players who provide passionate, intense support for the performers on stage. Aided by the delicious support of choreographer Robin Michelle Berger, who accentuates the array of musical motifs with an eclectic mix of terpsichorean moves, the result is an engaging and absorbing account of not only one manâs (lyricist Rice) interpretation of a time and place but a riveting theatrical experience. . . Millerâs Evita is visceral, raucous and always entertaining, bringing out the best in Lloyd Webberâs complex and diverse score and underscoring Riceâs sophisticated and compelling lyrics in clever fashion."
1529<br />â Mark Bretz, Ladue News<br /><br /> 1530 "Only two nights remain to see the New Line production of Evita, and it's worth trying to get there. Every performance for the last week has been sold out, so it may not be easy, but I highly recommend it. With John Sparger a wonderful, sardonic, sarcastic Che and Taylor Pietz a more-than-tyrannical Evita, this is a splendid production, and director Scott Millerâs direction is spot-on. His ideas work well, and his casting eye and ear have put together an exciting chorus that never falters. . . Robin Michelle Berger's choreography is splendid. . . The chorus is rich and powerful. . . Todd Schaefer's set, Thom Crain's costumes and Kenneth Zinklâs lights gave Evita a smooth and polished look, a strong contrast with the edgy score. The story of power, and its corruptive qualities, is as strong as it ever was." <br />â Joe Pollack<br /><br /> 1531 "With posters of modern political figures framing his production, New Line artistic director Scott Miller reminded everyone what an invigorating and provocative work this musical by Andrew Lloyd Webber and Tim Rice still can be. Drawing uncomfortable parallels between charismatic politicians and easily swayed followers, New Lineâs rendition featured a sizzling performance by John Sparger as the revolutionary Che, a deliberately toned-down Todd Schaefer as Argentine dictator Juan Peron and Taylor Pietz displaying a beautiful voice and haunting presence as Peronâs mistress-turned-wife Eva Peron. With the crisp accompaniment of the New Line band conducted by Chris Peterson, Millerâs Evita was visceral, raucous and always entertaining. " <br />â Mark Bretz, The Ladue News, "2010 Year-in-Review"<br /><br /> 1532 "Evita, the celebrated 1978 musical by lyricist Tim Rice and composer Andrew Lloyd Webber, is what might be considered a big undertaking for any theatre company, so not a lot of small groups in the St. Louis area have attempted to mount a production. But one such has taken on the challenge: New Line Theatre. What results is a impressive and entertaining." <br />â Laura Kyro, KDHX-FM<br /><br /> 1533 "Taylor Pietz is a riveting Evita. . . . The ensemble is just as impressive as the principals. Each memberâs many expressions manage to create a real human being with a back-story. We see a spectrumâs worth of feelings for Eva, from affection to unabashed adoration. How hopeful they look in âA New Argentina,â too."<br /> â Peter Filichia, TheatreMania.com<br /><br /> 1534 "New Line Theatre, a company that regularly turns its shoestring budget into vivid ribbons of musical theater art, is probably best known for offbeat, counter-cultural work. Shows like Bat Boy, Love Kills and Return to the Forbidden Planet seem to define the distinctive New Line brand, partly because they suit artistic director Scott Millerâs sensibilities and partly because New Line is the only place in town youâre apt to see them. But there's another important thread that runs through New Line's history: stripped-down performances of big-name musicals. In seasons past, New Line has produced shows like Camelot, Man of La Mancha, and Cabaret â shows that we associate with lush productions at the Muny, the Fox or Stages St. Louis. Evita, the latest New Line production, belongs to this adventurous tradition." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1535 TOP TEN SHOWS OF 2010: "While some might view a presentation of Tim Rice and Andrew Lloyd Webber's Evita as a safe choice, New Line Theatre's incendiary production was anything but, infusing this modern classic with a rock and roll edge that served the material particularly well. Taylor Pietz (Eva Peron), Todd Schaefer (Juan Peron) and John Sparger (Che) do stunning work under Scott Miller's direction, neatly bringing these characters to life with a genuine sense of enthusiasm and energy that I've found lacking in other productions. This stripped-down, rocking rendition of Evita was truly inspired." <br />â Chris Gibson, BroadwayWorld.com 1536 </p> 1537 </div> 1538 </div> 1539 </div> 1540 <div class="panel panel-default"> 1541 <div class="panel-heading" role="tab" id="headingTwenty"> 1542 <h4 class="panel-title"> 1543 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwenty" aria-expanded="false" aria-controls="collapseTwenty"> 1544 THE WILD PARTY (2010) 1545 </a> 1546 </h4> 1547 </div> 1548 <div id="collapseTwenty" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwenty"> 1549 <div class="panel-body"> 1550 <p>"They call themselves the bad boy of musical theatre in St. Louis and they are â this is a very adult show. . . If you like shows like Cabaret and Chicago, youâll like The Wild Party. . . Youâre going to see really good, well done adult theatre at New Line that nobody else really attempts here in St. Louis. . . Itâs a good strong cast with a couple of really, really, really strong individual performances." â Harry Hamm, KMOX 1551 "Andrew Lippa's musical adaptation of Joseph Moncure March's epic poem, The Wild Party, is a brilliant work, especially if you're anything like me, and you like your entertainment on the dark side. It's a decadent jewel gleaming with sinister possibilities, and thus, far removed from the current trend toward sunny shows with predictably happy endings. Though set in 1928, it manages to perfectly capture the current mood of cynicism that seems to have run rampant through our country over the course of the last fifteen years. New Line Theatre's current presentation of The Wild Party is a deliriously engaging experience, easily making it one of the best productions of the year so far."<br /> â Chris Gibson, BroadwayWorld.com<br /><br /> 1552 "Imagine a strobe-light flashing rapidly; or a coin flipping in the air, heads becoming indistinguishable from tails as it spins. Likewise, the flashing strobe creates an effect somewhere between bright light and pure dark, as the transitions themselves become a blazing, third state of energy. So it is with Scott Miller's fantastic new production of Andrew Lippa's The Wild Party. . . Thanks to the cast's combined expertise and with the help of director Miller, they turn in a solid-gold hit. It's almost like the American answer to Cabaret, leading us up to the edge of the Great Depression. But, like America itself, it keeps its brave face on, dancing right to the bitter end. Don't miss this excellent show." <br />â Richard Green, TalkinBroadway.com<br /><br /> 1553 "With so much blood and tawdriness as its inspiration, youâd think The Wild Party would celebrate the ugly side of humanity; it definitely doesnât shy away from sin and vice and everything nice, but thereâs a morality at the center of the play shining out from beneath the filth. . . By the end of the night, Queenie wonders how everything ended so poorly between her and Burrs; how did ugliness supplant their love? When was the first unkind word spoken? When was the first blow struck? When did it all turn to
1553shit? These are the questions not just of a failed relationship, but of the end of any gilded age. The Wild Party shows you in lurid detail the dying moments of just such a relationship and an age, and it's difficult if not impossible to ask the same questions of the first decade of the 21st century when the lights come back up." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1554 "A large number of fine performances, spot-on, rapid-fire direction by Scott Miller and plenty of sex make the show fast-moving, highly entertaining and oh, my goodness, bawdy and naughty. In other words, while there's no real sex and no nudity, there's a great deal of simulated sex that follows a large amount of foreplay, including much kissing while groping, stroking, squeezing, rubbing and other touchy-feely stuff. Not for the children and the easily embarrassed. " <br />â Joe Pollack, St. Louis Eats and Drinks<br /><br /> 1555 "A fascinating and absorbing show that capably showcases Lippaâs talent for interesting lyrics and lively music. New Line artistic director Scott Millerâs direction is disciplined, focused and consistent throughout, and he benefits from some exemplary technical support as well as solid portrayals by his large cast. The result is an ambitious and laudatory effort that is richly rewarding. . . The subject matter is definitely adults only material, but The Wild Party tells an interesting story in lively and engrossing fashion." <br />â Mark Bretz, The Ladue News<br /><br /> 1556 "If you like your tragicomedies with a dash of self-analysis and a heaping helping of sex, you'll want to RSVP in the affirmative to The Wild Party, produced by New Line Theatre. . . The play is a good fit for director Scott Miller and New Line, which bills itself as The Bad Boy of Musical Theatre.. . . âPeople die and parties fail,â Queenie notes in her finale. But even though her party ended badly, The Wild Party does not, leaving its audience entertained and with enough food for thought to last until the next New Line musical." <br />â Nancy Fowler Larson, St. Louis Beacon<br /><br /> 1557 "The Wild Party takes you on a wild ride. . . In 1928, writer Joseph Moncure March sketched the New York demimonde in an epic poem, The Wild Party. He might as well have wrapped it up in a package for Scott Miller, artistic director of New Line Theatre, to open 82 years later. . . Few musicals are so graphic as this one, which is absolutely not for the family. This time, Miller has spilled everything onto his stage: bootleg, blood and other bodily fluids. From the first scene, we can almost predict the outcome. Someoneâs bound to slip and get hurt." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1558 "New Line Theatre artistic director Scott Miller presented a provocative and compelling version of a show titled The Wild Party that had indifferent success off-Broadway in the 1999-2000 season, based on a narrative poem by Joseph Moncure March about an abusive clown and a showgirl dancer caught in their own fatal attraction in the waning moments of vaudeville, with masterful performances by Jeffrey Pruett and Deborah Sharn."<br /> â Mark Bretz, The Ladue News, "2010 Year-in-Review<br /><br /> 1559 TOP TEN SHOWS OF 2010: "If there's any group capable of generating sparks it's New Line Theatre, and their dark and decadent production of Andrew Lippa's The Wild Party blew me away. Scott Miller's impeccable direction, as well as his sharp work on the ivories pounding out this genre-hopping blend of space age bachelor pad music and cool jazz, brought this black comedy to life in fine fashion. Jeffrey Pruett's performance as the scary clown named Burrs was especially memorable." <br />â Chris Gibson, BroadwayWorld 1560 </p> 1561 </div> 1562 </div> 1563 </div> 1564 <div class="panel panel-default"> 1565 <div class="panel-heading" role="tab" id="headingTwentyone"> 1566 <h4 class="panel-title"> 1567 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentyone" aria-expanded="false" aria-controls="collapseTwentyone"> 1568 LOVE KILLS (2009) 1569 </a> 1570 </h4> 1571 </div> 1572 <div id="collapseTwentyone" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentyone"> 1573 <div class="panel-body"> 1574 <p>"Love Kills is a gripping and fascinating evening in the hands of director Scott Miller and New Line Theatre. . . Love Kills is not a comforting evening, not by a long shot. Identify too much with one couple or the other and you're bound to feel bad about yourself. But Jarrow keeps feeding you moments in which you want the four of them to achieve everything they desire, even when the characters are at cross-purposes. The end result is much like navigating love â how do you give yourself to someone else and hold on to yourself at the same time? Life is long; if you're lucky, long enough to figure it out." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1575 "I make it a point to seek out productions by New Line Theatre because I know Iâll see something edgy and original, and with the regional premiere of Kyle Jarrowâs provocative work Love Kills theyâve, once again, fulfilled that desire. Jarrowâs musical meditation on the relationship between Charlie Starkweather and Caril Fugate, who embarked on a killing spree in Nebraska during the late 1950s, is an intriguing piece that succeeds in confounding expectations. The question as to whether or not Caril Fugate actually participated in the murders is one of the issues raised by Jarrow, and if thereâs any truth to be gleaned from the facts presented in this dramatization, then New Lineâs compelling production will provide you with the opportunity to judge for yourself. . . [Scott] Miller, who's also the artistic director of New Line, likes to color outside the lines, and his determination here reveals his passion for bringing fresh and challenging new musicals to the St. Louis region. This might be considered a risky choice, but I'm glad he and the company were willing to take it on, because I might not have gotten the chance to experience it otherwise. . . If youâre looking for something outside the norm, then you should definitely check out New Lineâs production of Love Kills." <br />â Chris Gibson, BroadwayWorld.com<br /><br /> 1576 "Watching their story unfold through a raw punk-flavored rock score and fine acting on the parts of all four cast members is sublime. The bad boy of musical theatre is gloriously back! . . . Composer Kyle Jarrow defines Love Kills as an âemo rock musical,â and in the sense that it is highly charged and personal, thatâs fair. Scott Miller directs with passionate intensity, and itâs among the finest work Iâve seen from this company, which is saying a lot. This isnât the worldâs best musical, but I defy anyone to leave it without much to ponder and plenty to talk about. I hope audiences will give it the attention it deserves." <br />â Andrea Braun, KDHX-FM<br /><br /> 1577 "To open its 19th season New Line Theatre has the good fortune to host the world premiere of Jarrowâs rock musical Love Kills, which tells the grisly story of the multiple spree killings of Starkweather and Fugate in one act and a tidy 95 minutes. . . . New Lineâs effort, under the expert guidance of artistic director Scott Miller, features a quartet of terrific performances by Millerâs carefully chosen cast and excellent singing . . . Miller keeps a tight focus on the gritty story throughout, demonstrating a precise ability to handle such sobering drama. . . Given the subject matter, Love Kills is surprisingly fresh and provocative material that immediately grabs audience interest . . . New Lineâs world premiere offering of Love Kills provides a memorable evening of pathos and pulsating music that will give you reason to ponder the varying effects of love and violence in surprising fashion."
1577<br />â Mark Bretz, Laude News<br /><br /> 1578 "I had a wonderful surprise at New Lineâs production of Love Kills, a world premiere. . . The show bowled me over. It has a very well-crafted story and a powerful score, with more variety than might be expected from a rock score." <br />â Gerry Kowarsky, Two on the Aisle, KDHX-TV<br /><br /> 1579 "New Line Theatre's Love Kills is a strange but effective view of a killer and his paramour, and how they became who they are."<br /><br /> â Harry Hamm, KMOX<br /> 1580 "Scott Miller directed effectively on what is almost a bare stage, and the trio of Mike Renard on guitar, Dave Hall on base and Mike Schurk on drums was first-rate. An interesting evening and a look at what came out from under a Nebraska rock." <br />â Joe Pollack, St. Louis Eats and Drinks<br /><br /> 1581 "Love Kills, directed by Scott Miller, is performed without an intermission, but you won't even notice because the story is engaging and moves along at a quick pace. It will leave you with plenty to talk about: What would you do in the name of love?" <br />â Gabe Hartwig, St. Louis Post-Dispatch<br /><br /> 1582 BEST OF ST. LOUIS 2010, Best Actor in a Musical: "Effectively portraying an emotionally shut-down middle-aged man who's squarer than a block of wood is difficult enough; but to do it in a musical â about spree-killer Charlie Starkweather no less â requires an exceptional combination of talent and technique. Zachary Allen Farmer met both requirements in spades. His eyes hidden behind bulky glasses, Farmer conveyed Sheriff Merle Karnopp's repressed inner life through a deadpan mouth, muted movements and a glowering presence. Then the dam broke, and Farmer's rich voice flooded the room with "Someday," and all the smothered tenderness of Merle Karnopp manifested; every strangled movement and slowly bitten word that followed illuminated the emotional damage wrought by a lifetime of repression. In this New Line Theatre production, Zachary Allen Farmer drew a portrait of the man in negative, every shadow and snarl a window into a lonely, hurting soul, as wounded as Charlie Starkweather himself but better able to hide it."<br /> â The Riverfront Times' Best of St. Louis (2010)<br /><br /> 1583 BEST OF ST. LOUIS 2010, Best Actress in a Musical: "History will remember Caril Ann Fugate as either Charlie Starkweather's hostage or his willing accomplice on his multistate murder spree. Taylor Pietz's portrayal of Fugate in Kyle Jarrow's musical Love Kills offered a third possibility: Maybe she was an overwhelmed teenager who was both options at various times. Pietz played Fugate as a defiant juvenile delinquent, a lovesick young girl, an innocent swept up in a whirlwind of violence and a snarling hellcat bent on revenge for schoolyard slights, jumping between these emotional identities with the facility of a teenager. And then there was her voice, a soaring, spine-tingling instrument that grew ever stronger during her heartwrenching/mending performance of 'Love Will Never Die,' building to a peak that shattered with the intensity of a modern-day Isolde singing her liebestod. Pietz took a demanding role and rather than make it look easy, made it look exactly as difficult and confusing and draining as it should have." <br />â The Riverfront Times' Best of St. Louis 2010<br /><br /> 1584 BEST MUSICAL OF 2009: "I'd like to congratulate both Stages and New Line Theatre for their amazing productions in 2009, especially New Line's Love Kills, one of the best musical versions of a dramatic (and real-life) story I've ever seen." â Andrea Braun, Playback STLTOP TEN SHOWS OF 2009: "It would have been easy for Kyle Jarrow to score his tale of killer Charlie Starkweather and Caril Fugateâs incarceration, Love Kills, to a more conventional and period accurate 1950s flavored beat, but that would have softened his characters and weakened the emotional impact overall. Jarrow opts instead for a harder edge that suits the material much better, after all, Charlie isnât Danny Zuko, heâs a murderer. New Line Theatre brings this dark vision to life under Scott Millerâs taut direction, but itâs the grounded performance of Alison Helmer along with Zachary Allen Farmerâs quiet intensity as Merle, the sheriff, that really makes this piece cook."<br /> â Chris Gibson, BroadwayWorld.com 1585 </p> 1586 </div> 1587 </div> 1588 </div> 1589 <div class="panel panel-default"> 1590 <div class="panel-heading" role="tab" id="headingTwentytwo"> 1591 <h4 class="panel-title"> 1592 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentytwo" aria-expanded="false" aria-controls="collapseTwentytwo"> 1593 THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE (2009) 1594 </a> 1595 </h4> 1596 </div> 1597 <div id="collapseTwentytwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentytwo"> 1598 <div class="panel-body"> 1599 <p>TOP TEN SHOWS OF 2009: "Director Scott Miller crafted a hilarious production of The 25th Annual Putnam County Spelling Bee that had me rolling in the aisle. The cast, consisting of: Nicholas Kelly, Alexis Kinney, Katie Nestor, Deborah Sharn, Mike Dowdy, Aaron Allen, Emily Berry, John Rhine and Brian Claussen were all impeccable, and that's not an easy task given William Finnâs catchy, but challenging score." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1600 "Laughter rocked the house and spontaneous applause broke out often. A standing ovation ensued, and the audience left The 25th Annual Putnam County Spelling Bee in great good humor." <br />â Andrea Braun, KDHX-FM<br /><br /> 1601 "All of the stress and self-doubt of puberty are relived in delightfully meticulous and humorous detail in director Scott Millerâs uproariously magnificent production of this surprise Broadway hit from 2005. Miller has assembled a smart and energetic cast who throw themselves hilariously into their squirming roles, while also managing some poignant moments as well. Indeed, this version plays even better than did the touring show at The Fox a year ago, as Spelling Bee is a small musical that is most effective in a cozier venue. . . New Lineâs Spelling Bee is what e-n-t-e-r-t-a-i-n-m-e-n-t is all about and a positive life lesson to boot." <br />â Mark Bretz, Ladue News<br /><br /> 1602 "This Spelling Bee radiates the goofy, familiar charm of a sketch comedy
1602show that you try not to miss. You know the players; the fun lies in seeing what they'll do this time. . . Itâs just a sweet, imaginative look at pressure and how we badly we sometimes handle it. The adults laughing in the audience may have more finesse than the kids portrayed on stage â but we wouldn't laugh if we didn't know exactly how they feel." <br />â Judith Newmark, St. Louis Post-Dispatch<br /><br /> 1603 "[Bookwriter] Rachel Sheinkin and [composer] William Finn celebrate the pariah in devastatingly funny songs. Scott Miller's production is exceptionally fine, exploiting the large laughs of the precociously confident William Barfée (Nicholas Kelly), a mucously enhanced young man who lauds his magic spelling foot in a Busby Berkeley-esque fantasia (courtesy of choreographer Robin Michelle Berger). Miller just as deftly develops the quieter moments, such as parolee-cum-rules enforcer Mitch Mahoney (John Rhine), who sings of wanting to beat the children to teach them real pain, but instead hugs and comforts them. Because that's all anyone can do: Say âgood job,â and hope the vulnerable are resilient enough to take the punches when they come." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1604 "A charming evening of song, wit and wisdom by New Line Theatre . . . The delightful production is more effective on the smaller stage, with its more intimate atmosphere, than it was when a touring company played the Fox a few years ago. Scott Millerâs direction is crisp and on the mark . . . Spelling Bee is a great deal of fun."<br /> â Joe Pollack<br /><br /> 1605 "Life may be pandemonium, as the lyrics goes, but Millerâs direction is quite disciplined, and his cast is top-notch." <br />â Peter Filichia, TheatreMania<br /><br /> 1606 "An over the top delight. New Line Theatre's current production is a perfectly cast show filled with moments of high hilarity. . . I can't remember when I've laughed so hard and so long at a show. New Line's presentation of The 25th Annual Putnam County Spelling Bee is priceless entertainment." <br />â Chris Gibson, BroadwayWorld<br /><br /> 1607 "Sabotage, the casting off of perfection, and the tender beginnings of love stir the emotional pot of act two. In the end, only one speller emerges victorious, but everyone who came to see the play also wins, in terms of money and time well spent for a nightâs entertainment." <br />â Nancy Larson, St. Louis Woman 1608 </p> 1609 </div> 1610 </div> 1611 </div> 1612 <div class="panel panel-default"> 1613 <div class="panel-heading" role="tab" id="headingTwentythree"> 1614 <h4 class="panel-title"> 1615 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentythree" aria-expanded="false" aria-controls="collapseTwentythree"> 1616 RETURN TO THE FORBIDDEN PLANET (2009) 1617 </a> 1618 </h4> 1619 </div> 1620 <div id="collapseTwentythree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentythree"> 1621 <div class="panel-body"> 1622 <p>"One of the best Shakespeares Iâve ever seen."<br /> â Judith Newmark, St. Louis Post-Dispatch (2013)<br /><br /> 1623 "I'll tell you one show in 2009 that thrilled me and delighted me. I went back to see Return to the Forbidden Planet three times, and I've heard it said that when a theatre critic goes back for fun, that's a good sign. I thought it was absolutely brilliant. . . It was exhilarating, it really was." â Judith Newmark, St. Louis Post-Dispatch on KDHX-FM (2009)"Bob Carlton's whimsical take on The Tempest as refracted through a 1950s sci-fi prism features a galaxy's worth of fantastic rock & roll songs, punning wordplays on snippets of Shakespearean monologues and intentionally âPigs in Spaceâ costuming (courtesy of Betsy Krausnick). But this is no parlor trick of a musical; there's a rich vein of Shakespeare's favorite ingredient â the wondrous depths of the human heart â that elevates the show from cunning stunt to artful meditation on the destructive nature of power and the redemptive power of love. . . Smart show, smart cast, smart director with an understanding of what's going on under the notes and behind the dialogue â this is what audiences deserve." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1624 "New Line Theatre presents a lot of intriguing work, but now and then it gets everything so right that you're ready to see the show again before you're out of the theater. Hair was like that; Bat Boy, too. And so is its new production, Return to the Forbidden Planet â a smart, giddy, musically ingenious spoof written by Bob
1624Carlton and directed by Scott Miller."<br /> â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1625 "Remember the halcyon days when we were terrified of the Russians, they were terrified of us, and Shakespeare wrote his first intergalactic R&B hit, "It's A Man's Man's Man's World?" Sweet fancy Moses, those were the days. Wait, that never happened. Or did it? Yup, looky here: Return to the Forbidden Planet. It's sweet Billy Shakes vs. Golden Oldies vs. Space Age Love Songs. Just what Dr. Tempest ordered." <br />â Calendar Pimp, The Riverfront Times<br /><br /> 1626 "New Line artistic director Scott Miller meticulously blends the comic sensibilities of his talented cast with the brisk, jaunty style of the New Line band to make this foray into outer space a campy and delightful journey. There are stars aplenty in this cosmos." <br />â Mark Bretz, Ladue News<br /><br /> 1627 "The most delightful musical to hit St. Louis in many years. . . a wondrous evening of musical theatre." <br />â Joe Pollack, KWMU-FM<br /><br /> 1628 "Irresistible. Under the guidance of director Scott Miller, New Line Theatre is presenting a thoroughly engaging and enjoyable production . . . This is a fun show, and director Scott Miller has assembled a talented cast and crew that seems to be having a blast" <br />â Chris Gibson, KDHX-FM<br /><br /> 1629 "Forbidden Planet plays for laughs, which it receives in abundance. . . [Director] Miller takes chances, and they nearly always pay off."<br /> â Andrea Braun, The Vital Voice 1630 </p> 1631 </div> 1632 </div> 1633 </div> 1634 <div class="panel panel-default"> 1635 <div class="panel-heading" role="tab" id="headingTwentyfour"> 1636 <h4 class="panel-title"> 1637 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentyfour" aria-expanded="false" aria-controls="collapseTwentyfour"> 1638 HAIR (2008) 1639 </a> 1640 </h4> 1641 </div> 1642 <div id="collapseTwentyfour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentyfour"> 1643 <div class="panel-body"> 1644 <p>"This is New Lineâs third production of Hair in less than ten years, and you know why from the moment you smell the incense. Director Scott Miller has a wonderful feeling for this material; his production delivers the hippie world with sensual precision. It comes through in the exotic aroma, in the eye-popping set designed by Todd Schaefer, in the era-exact costumes by Thom Crain and the dreamy sound of Chris Petersenâs six-man rock band. Most of all, it comes through in the cast, an ensemble known as the Tribe."<br /> â Judith Newmark, St. Louis Post Dispatch <br /><br /> 1645 "Hair at New Line Theatre is unexpectedly, beautifully, joyfully, mournfully, tragically relevant again. Gerome Ragni and James Rado have turned out to be poet-prophets and their book and lyrics are given life by Galt MacDermot's eclectic rock score. . . I'm happy that New Line chose to produce Hair because I'd never seen it live; I am sorry that it can't just be a celebration of the 40th anniversary of the show but that it still has so much relevance. See it to celebrate, to mourn, and finally to celebrate again for there is hope and light and no matter how hard 'they' try, they cannot âend this beautyâ." <br />â Andrea Braun, PlaybackSTL<br /><br /> 1646 "Here we are in a similar, but I would say even darker place â at least America still had Posse Comitaus and Glass-Steagall back in 1968. Hair shows us, forty years later, both where the hippies went wrong and where they were right on. And that to abandon the project of striving for equality and justice (even if it doesn't involve spliffs and paisley) would damn us to our own Greek tragedy. I can't tell you exactly what happened when the Osage Tribe gathered on stage to sing âLet The Sun Shine In,â but it felt an awful lot like the Holy Ghost, or someone like him, was in the house." <br />â Stefene Russell, St. Louis Magazine<br /><br /> 1647 "Hair is not so much a musical as it is an invocation, a sort of vision quest designed to shake you out of your torpor and make you think. Let's describe it as âa group of people with strange clothes and a shared faith in nebulous concepts who make strange proclamations about society's illsâ â are we describing hippies, the religious right, the secular left or the military's press conferences on the war in Iraq? Regardless of what you think you are, Hair challenges your perceptions. A kaleidoscopic, mandala-esque painting on the stage provides a locus for the characters to dance and sing and poke fun at the world outside the theater. And there is a lot of fun." <br />â Paul Friswold, The Riverfront Times<br /><br /> 1648 "Much smoke is blown, and much adolescent naughtiness is waved like a banner. But just to see the glowing idealism on the faces of fine actors like Khnemu Menu-Ra, Aaron Lawson and others is somehow astonishing in this age of bitter disappointment and gloom, and to hear the folksy and dramatic songs of Gerome Ragni, James Rado and Galt MacDermot raised so beautifully is a great pleasure. . . . For the generation of psychedelic awakening and sexual revolution, this lock of Hair is a sentimental touchstone and a heart-warming bit of modern Americana." <br />â Richard Green, TalkinBroadway.com<br /><br /> 1649 "Scott Miller knows this material well, and his skilled direction keeps the action flowing and the actors focused. The tribe is well cast, and seem completely comfortable with one another. And they make a marvelous sound harmonizing together on this catchy score. Thom Crain's costumes add a nice air of authenticity. Chris Peterson's work on piano and conducting the small ensemble is impeccable. The band provides a solid pulse to this electrified revival meeting." <br />â Chris Gibson, KDHX-FM 1650 </p> 1651 </div> 1652 </div> 1653 </div> 1654 <div class="panel panel-default"> 1655 <div class="panel-heading" role="tab" id="headingTwentyfive"> 1656 <h4 class="panel-title"> 1657 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentyfive" aria-expanded="false" aria-controls="collapseTwentyfive"> 1658 HIGH FIDELITY (2008) 1659 </a> 1660 </h4> 1661 </div> 1662 <div id="collapseTwentyfive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentyfive"> 1663 <div class="panel-body"> 1664 <p>"In true New Line fashion, director Scott Miller pared the show down to what was necessary: the tale of a commitment-shy Gen-Xer struggling, buoyed by his love of music, to grow up and become a human â and by focu
1664sing on that, he made the show a hit of the 2008 season. Not resting on his laurels, though, in this production Miller opens up the space a little, allowing musical numbers to joyously jump out at you. . . The newly revived show has lost none of its original verve â in fact you could say this show is âre-masteredâ â in its new space, it takes the already clean master material and polishes it further, opening up the stage to let the âconfessional boothâ tone of this charged rock musical spill out into the laps of the audience and make us question our own behaviors in our relationships, and explore how to forgive and be forgiven. . . So if rockinâ music with a good story is your idea of great entertainment, plan on seeing New Lineâs High Fidelity.â <br />â Robert Mitchell, KDHX-FM<br /><br /> 1665 "As always, Scott Millerâs direction is right on the money. He has found the secret of making this Broadway disappointment into a vehicle for fun and frenzy that you just wish wouldnât end. . . If youâre ready for flat-out fun, donât miss this terrific show. It bubbles with personality and just makes you feel good all over. Outstanding performances lead the way and the almost lost score with music by Tom Kitt and lyrics by Amanda Green along with the book by David Lindsay Abaire show that thereâs life in any musical as long as it has heart, desire and a little help from Scott Miller." <br />â Steve Allen, Stage Door St. Louis<br /><br /> 1666 BEST SHOW of 2008: "Based on a novel by Nick Hornby, this stylish musical didnât last long on Broadway, but its first incarnation beyond the Great White Way was a smashing success under the inspired direction of Scott Miller. Superbly capturing the essence of Hornbyâs characters, led by music-store-clerk-turned-owner Rob, the energy and passion of Millerâs cast was infectious and immensely appealing. Jeffrey Wright showed us Robâs vulnerability and sweetness beyond the rock ânâ roll sass, and his easy-going musical style delightfully conveyed the showâs triumphant spirit." <br />â Mark Bretz, Ladue News "Theater Year in Review"<br /><br /> 1667 "New Lineâs version is brimming with joy, the lyrics are sharp and funny, and the music is riddled with in-jokes and references to the actual pop songs that substitute for Robâs emotional life. It's a very, very good show. . . New Line Theatre brings the show to a college campus black-box theatre, an ideal reflection of the show's youthful feel and self-absorbed hero. The tough little coming of age story is now allowed to shine, and it's very bright indeed. . . The music is sharp and clever, and the New Line Band performs it all quite rockingly. . ."<br /> â Paul Friswold, The Riverfront Times<br /><br /> 1668 "A 5 on a scale of 1-to-5. Sweet and charming while also faithful to its raw rock roots, New Lineâs rendition of High Fidelity soars on the energy of its solid music and consistent comedy. Highlights abound throughout, from the entertaining and pulsating opening number, "The Last Real Record Store on Earth," to the poignant ballad, "Laura, Laura". . . New Lineâs High Fidelity can be cherished as fondly as Robâs coveted collection of old 45s. What a rewarding sound it is."<br /> â Mark Bretz, Ladue News <br /><br /> 1669 "In the spirit of author Nick Hornby, I'm presenting the top five reasons you should go see New Line Theatre's production of the musical High Fidelity, in reverse order. Number five, because it features catchy songs from composer Tom Kitt and lyricist Amanda Green. Number four, because David Lindsay-Abaireâs script captures the novelâs flavor better than the film adaptation did. Number three, because this is the midwest premiere, and you'll want to see this in itâs purest form before it gets de-fanged for mass consumption. Number two, because it features a terrific cast, and a crack band. And number one, because New Line has put together an incredibly entertaining show that deserves your attendance. <br />â Chris Gibson, KDHX-FM<br /><br /> 1670 "The stars are in perfect alignment for the regional premiere of Tom Kitt and Amanda Green's musical, based on the novel b
1670y Nick Hornby. Director Scott Miller has put together a fine cast of actors and singers (in an interesting new venue), to stage the lives of young men in a used record shop, and the women who love them. Individually, and in delightful groups, they blaze through a series of power ballads, make-up songs, break-up songs and more, covering musical idioms from the soulful sixties to the acrid eighties. . . Critics of the recent movie and the subsequent Broadway musical seemed to seize upon the mere quirkiness of these slacker-esthetes, adrift in a sea of post-adolescent angst, as the main thrust of the evening. But the intimate confines of the Hotchner studio theater at Washington University serve them well, helping us focus on small tragedies and moderate evils, raising them to a grander scale. A bigger stage, or a more dazzling theater would merely wage war on an intimate story like this. Instead, in these pleasant, bare-bones surroundings, High Fidelity finds a perfect setting." <br />â Richard Green, TalkinBroadway.com<br /><br /> 1671 "High Fidelity started out as a delightful novel by Nick Hornby, then turned into a cute movie starring John Cusack. But it's not an obvious candidate for the musical stage. That's because when we think of musicals, we tend to think of flashy extravaganzas. New Line Theatre, however, specializes in small, smart shows instead. Maybe that's why its production of High Fidelity pays off: The whole thing is built to scale. . . High Fidelity makes for appealing entertainment." <br />â Judith Newmark, St. Louis Post Dispatch 1672 </p> 1673 </div> 1674 </div> 1675 </div> 1676 <div class="panel panel-default"> 1677 <div class="panel-heading" role="tab" id="headingTwentysix"> 1678 <h4 class="panel-title"> 1679 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentysix" aria-expanded="false" aria-controls="collapseTwentysix"> 1680 ASSASSINS (2008) 1681 </a> 1682 </h4> 1683 </div> 1684 <div id="collapseTwentysix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentysix"> 1685 <div class="panel-body"> 1686 <p>"[New Line Theatreâs] Assassins is essential theater for people who disdain musicals because they think they're too pretty, too silly or just dumb. This ugly, serious, very smart production adds up to one of the most challenging theater pieces to play here in ages. . . But underneath all the entertainment lurks a serious question: How did picking up a gun turn into a way to say, âHere I amâ? And how do we make that change? We have no answers on this stage â just acute questions that deserve to be raised." <br />â Judith Newmark, St. Louis Post Dispatch <br /><br /> 1687 "[Director Scott] Miller's direction is subtle but tight. He moves his players around the stage, and even the auditorium, with grace and authenticity. Russell J. Bettlachâs costumes evoke the eras in which they lived. The assassins remain on stage when they aren't directly involved in the action. They sit quietly in nine chairs on a simple set surrounded by a few props, including an ominous package that Oswald believes are curtain rods until Booth reveals the rifle beneath the wrappings. The rest of David Carr and Jeffrey P. Breckelâs set is simple with an ingenious, large wooden piece to serve various purposes and three graphics hanging above. Stephen Mooreâs lights deserve special mention because they are key to the various moods of madness, elation, fear, and sorrow that this roller coaster of a show evokes. On stage, excellent support is provided for the voices by the New Line Band." <br />â Andrea Braun, KDHX-FM<br /><br /> 1688 "Seated like the sides of a parenthesis in the middle of the stage are nine dysfunctional figures. Collectively, they slump their shoulders, keep their eyes to the ground and convey the impression of the misfits that they are. All presidential assassins or would-be assassins, they come together here, in a breezy one-act musical, to tell us why they did what they did, not for forgiveness. With a book by John Weidman and music and lyrics by Stephen Sondheim, Assassins crackles with energy, comedy and sassy class." <br />â Mark Bretz, Ladue News<br /><br /> 1689 "If you're looking to add another notch to your Sondheim gun belt, here is an infrequent opportunity to see a cynical, unsettling entertainment by the defining theater composer of our generation." <br />â Dennis Brown, The Riverfront Times 1690 </p> 1691 </div> 1692 </div> 1693 </div> 1694 <div class="panel panel-default"> 1695 <div class="panel-heading" role="tab" id="headingTwentyseven"> 1696 <h4 class="panel-title"> 1697 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentyseven" aria-expanded="false" aria-controls="collapseTwentyseven"> 1698 SEX, DRUGS, AND ROCK & ROLL (2007) 1699 </a> 1700 </h4> 1701 </div> 1702 <div id="collapseTwentyseven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentyseven"> 1703 <div class="panel-body"> 1704 <p>New Line Theatre, whose fans followed the company around town for years, opens its 17th season in a new venue with a revue that stirred up controversy before the show even opened. The dustup, which centered on a clause in the contract to sell a church and turn it into a theater, died quickly. As it turns out, Sex, Drugs and Rock & Roll makes a strong season opener. . . There's no plot. Still, Scott Miller, who conceived and directed the show, plays songs from different eras off each other, adding unexpected context and resonance. . . Overall, Sex, Drugs and Rock & Roll makes for an entertaining evening that shows off New Line's sensibility, performers and new home." <br />â Judith Newmark, St. Louis Post Dispatch <br /><br /> 1705 "The four final numbers in the first act, from Avenue Q, Naked Boys Singing, Tomfoolery and I Love My Wife, were a perfect blend and an ideal example of using satire to make a political â or sexual â statement. . . Good voices and ensemble work from all the performers; Matthew Korinko and Isabel Pastrana, plus pianist Chris Petersen, left fine impressions. Sex, Drugs and Rock & Roll, fast-moving, tuneful entertainment at the Ivory Theatre." <br />â Joe Pollack, KWMU-FM<br /><br /> 1706 "Miller keeps the two-act, two-hour show moving at a brisk and enjoyable pace for the most part, and heâs assembled a strong cast that is comfortable and engaging delivering tunes from myriad works. . . Millerâs energetic troupe delivered the goods with fun and flair."<br /> â Mark Bretz, Ladue News<br /><br /> 1707 "After a little controversy about whether it was suitable fare for a theater built in a former church, the verdict is in. Sex, Drugs and Rock & Roll is not obscene! (What a relief.) The good thing is that The New Line Theatre and its fearless Artistic Director, Scott Miller, received thous
1707ands of dollars worth of free publicity during the mini-squabble, and hopefully it will sell more tickets to this worthy musical review about three aspects of life in which most adults participate in at least 2 out of 3." <br />â Harry Hamm, KMOX<br /><br /> 1708 "If you live in New York or London, you enjoy lots of opportunities to see new shows. . . In St. Louis, we have those opportunities as well â mostly because of Scott Miller, the artistic director of New Line Theatre. New Line has earned considerable attention over the years, originally for its scaled-down treatment of established musicals and in recent seasons for Millerâs smart presentation of rarely staged shows that are worth another look. New Lineâs take is intense, creepy full slow-building tension. show unlike anything I seen musical theater. Writers Matt Conner Stephen Gregory Smith found a way translate classic horror story into music lyrics just terrifying suspenseful original film. fans theater, this never before. although it musical, subject matter serious film comes from. Romeroâs work, youâve like itâs must see. Expect feel tension hopelessness fly off stage seats, hold on until morning." <br />-Kevin Brackett, ReviewSTL 1709 </p> 1710 </div> 1711 </div> 1712 </div> 1713 <div class="panel panel-default"> 1714 <div class="panel-heading" role="tab" id="headingTwentyeight"> 1715 <h4 class="panel-title"> 1716 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentyeight" aria-expanded="false" aria-controls="collapseTwentyeight"> 1717 URINETOWN (2007) 1718 </a> 1719 </h4> 1720 </div> 1721 <div id="collapseTwentyeight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentyeight"> 1722 <div class="panel-body"> 1723 <p>"New Lineâs take is intense, creepy and full of slow-building tension. . . The show is unlike anything I have seen in musical theater. Writers Matt Conner and Stephen Gregory Smith have found a way to translate the classic horror story into music and lyrics that are just as terrifying and suspenseful as the original film. . . For fans of musical theater, this is a show that you have never seen before. And although it is a musical, the subject matter is just as serious as the film it comes from. For fans of Romeroâs work, youâve never seen it like this â and itâs a must see. Expect to feel the tension and hopelessness fly off of the stage and into the seats, and hold on until morning." <br />â Kevin Brackett, ReviewSTL<br /><br /> 1724 "If you live in New York or London, enjoy lots of opportunities to see shows. . St. Louis, we have those as well â mostly because Scott Miller, the artistic director Line Theatre. has earned considerable attention over years, originally for its scaled-down treatment established musicals and recent seasons Millerâs smart presentation rarely staged shows that are worth another look."<br /><br /> 1725 "An exhilarating, donât-miss experience. . . Urinetown plays like a tale of class warfare as performed by the Marx Brothers, and [director Scott] Miller doesn't let politics get in the way of the laughs. The cast is first-rate, and Robin Michelle Bergerâs choreography is gloriously in step with the story. So put your pennies together for the funniest, most tuneful show in town." <br />â Calvin Wilson, St. Louis Post Dispatch <br /><br /> 1726 "If you ever take a reviewer's advice, let this be it: GO SEE THIS PLAY. Seriously. . . I have enjoyed quite a bit of theatre over the years and this is in the top 10." <br />â Kirsten Wylder, KDHX-FM<br /><br /> 1727 "New Line Theater's production of this biting satire of politics, capitalism, corporate greed, environmental crises and, most importantly, of musical theater itself, was first-rate, particularly the extremely talented cast." <br />â Amy Burger, PlaybackSTL 1728 </p> 1729 </div> 1730 </div> 1731 </div> 1732 <div class="panel panel-default"> 1733 <div class="panel-heading" role="tab" id="headingTwentynine"> 1734 <h4 class="panel-title"> 1735 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseTwentynine" aria-expanded="false" aria-controls="collapseTwentynine"> 1736 GREASE (2007) 1737 </a> 1738 </h4> 1739 </div> 1740 <div id="collapseTwentynine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingTwentynine"> 1741 <div class="panel-body"> 1742 <p>"New Lineâs take is intense, creepy and full of slow-building tension. . . The show is unlike anything I have seen in musical theater. Writers Matt Conner and Stephen Gregory Smith have found a way to translate the classic horror story into music and lyrics that are just as terrifying and suspenseful as the original film. . . For fans of musical theater, this is a show that you have never seen before. And although it is a musical, the subject matter is just as serious as the film it comes from. For fans of Romeroâs work, youâve never seen it like this â and itâs a must see. Expect to feel the tension and hopelessness fly off of the stage and into the seats, and hold on until morning." <br />â Kevin Brackett, ReviewSTL<br /><br /> 1743 "Jim Jacobs and Warren Casey's Grease is one of my favorite shows, and I've seen several different versions over the last few years. Having seen the mov
1743ie when I was a teenager, I'd always preferred productions that included songs from the film. But, ever since I saw New Line Theatre's raw, original take, I've become something of a purist." <br />â Chris Gibson, BroadwayWorld.com, reviewing the national tour in 2009<br /><br /> 1744 "Witty entertainment with something to say about teen sexuality, peer pressure and the erotic power of pop music. It must have been there all along, hiding under layers of poodle skirts and Clearasil." <br />â Judith Newmark, St. Louis Post Dispatch <br /><br /> 1745 "New Line opts to go back to basics and present the play more as it was originally conceived complete with raw language and frank sexuality. This is a horny and vulgar Grease that flips the bird at convention. It's a daring approach that pays off... What New Line is presenting is more of an ensemble piece and, thankfully the cast delivers an entertaining night of theatre with attitude." <br />â Chris Gibson, KDHX-FM<br /><br /> 1746 "The best thing about the current production of Grease by the New Line Theatre is the tight, driving band led by Chris Petersen. The night I was there, a good chunk of the audience stood around after the show to listen to Petersen channel Jerry Lee Lewis as the band wound things up. There is nothing dull on that bandstand." <br />â Bob Wilcox, West End Word 1747 </p> 1748 </div> 1749 </div> 1750 </div> 1751 <div class="panel panel-default"> 1752 <div class="panel-heading" role="tab" id="headingThirty"> 1753 <h4 class="panel-title"> 1754 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirty" aria-expanded="false" aria-controls="collapseThirty"> 1755 JOHNNY APPLEWEED (2006) 1756 </a> 1757 </h4> 1758 </div> 1759 <div id="collapseThirty" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirty"> 1760 <div class="panel-body"> 1761 <p>"This smart, engaging musical satire clearly intends to reclaim American mythology for folks whose political sentiments are proudly left of center. . . With book, music, lyrics and direction by Scott Miller, Johnny Appleweed has the energy and wit of the early Saturday Night Live. Indeed, thereâs a gloriously irreverent sketch-comedy sensibility at work. . . Even if you donât share its attitudes about marijuana, the state of American democracy or the current occupant of the Oval Office, Johnny Appleweed is likely to win you over. Itâs a giddy delight."<br /> â Calvin Wilson, St. Louis Post Dispatch <br /><br /> 1762 "It may just be that producer/director Scott Miller has wasted his greatest talents on highly authentic revivals of other people's shows these last sixteen years. It may be that all that time, he should have been writing musicals about other people just getting wasted. . . Johnny Appleweed is full of excellent melody and excellent humor carried through by highly proficient performers, in this latest entry in the St. Louis Political Theatre Festival. . . The physical direction sparkles, and the band led by Chris Petersen is agile and compelling. The songs are beautiful, and the jokes are nearly all sure-fire. . . It's quite stupendous." <br />â Richard Green, TalkinBroadway.com<br /><br /> 1763 "It's hard to believe that Johnny Appleweed is a musical â thankfully, it doesn't resemble any of your typical Broadway fare. . . Without ruining the end, I'll just say that it's magical. In more ways than one. But the idea that was handed to me in the most obvious way during this musical was about popular culture. Too many people regard potheads as complete idiots, but this depiction of them was brilliantly intelligent. I really liked everything that they had to say. Maybe we should start listening to those potheads." <br />â Kaylen Hoffman, PlaybackSTL 1764 </p> 1765 </div> 1766 </div> 1767 </div> 1768 <div class="panel panel-default"> 1769 <div class="panel-heading" role="tab" id="headingThirtyone"> 1770 <h4 class="panel-title"> 1771 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtyone" aria-expanded="false" aria-controls="collapseThirtyone"> 1772 JESUS CHRIST SUPERSTAR (2006) 1773 </a> 1774 </h4> 1775 </div> 1776 <div id="collapseThirtyone" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtyone"> 1777 <div class="panel-body"> 1778 <p>"Director Scott Miller has brilliantly reimagined the early Andrew Lloyd Webber triumph for the here and now. . . Lloyd Webberâs unforgettable music and Tim Riceâs witty lyrics benefit mightily from Millerâs chamber-musical approach. Without the customary bombast, itâs possible not only to hear the show, but to listen to it. . . [The two leads] bring superlative showmanship to the proceedings without forsaking emotional truth. And their singing is at once convincingly anguished and gloriously theatrical. . . Smart, engaging and ultimately poignant, this Superstar is a winner. "<br /> â Calvin Wilson, St. Louis Post Dispatch <br /><br /> 1779 "A climax that was shocking both in terms of the action itself and in terms of what impact it brought to the production as a whole. . . Miller's modernization concept gives the production a thought-provoking aura. The production also avoids the tendency of the final scenes to feel interminable." <br />â Backstage<br /><br /> 1780 "Director Scott Miller promised to bring something new and different to his New Line Theatre production of Jesus Christ Superstar, and he did. . . There is excellent work throughout the cast, and Millerâs casting choices are exemplary. . . A superior production. . ." <br />â Joe Pollack, KWMU-FM<br /><br /> 1781 "This production rocks the house. If your soul needs re-charging plug in to the Art Loft for some soul food. Be warned, as I said, it's apparently not for everyone, but then what is anymore? Take an open mind and a need to groove." <br />â Kirsten Wylder, KDHX-FM<br /><br /> 1782 "New Line Theatre's minimalist approach focuses audience attention appropriately on the music, which is well-sung by the ensemble and backed up by a great band."<br /> â Deanna Jent, The Riverfront Times 1783 </p> 1784 </div> 1785 </div> 1786 </div> 1787 <div class="panel panel-default"> 1788 <div class="panel-heading" role="tab" id="headingThirtytwo"> 1789 <h4 class="panel-title"> 1790 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtytwo" aria-expanded="false" aria-controls="collapseThirtytwo"> 1791 BAT BOY (2006) 1792 </a> 1793 </h4> 1794 </div> 1795 <div id="collapseThirtytwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtytwo"> 1796 <div class="panel-body"> 1797 <p>"New Line's artistic director, Scott Miller, has brought Bat Boy back in all its screwball glory. It is a moment to savor⦠Bat Boy is just as much fun as it was the first time around⦠This is musical theater for audiences who think that musical theater can't be hip. They're in for a very smart surprise." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1798 "New Line Theatre scores another hit this season with its wacky musical, Bat Boy: The Musical⦠Congratulations are in order for Miller and his amazing cast/crew for putting the fun back in musical theater. This production will definitely be in contention for my best show of 2006. Kudos to New Line Theatre!" <br />â Jim Campbell, Playback STL<br /><br /> 1799 > "Part spoof, part fantasy, part plea for tolerance and understanding and love, part rowdy and raucous musical comedy, Bat Boy adds up to outstanding entertainment, and the New Line Theatre production brings the evening to exciting, high-powered life." â Joe Pollack, KWMU-FM "Snatched directly from the headlines of your friendly neighborhood grocery-store tabloid, Bat Boy is raucous entertainment with a social message occasionally emerging from pun-strewn humor. The New Line Theatre production scores nicely, with Scott Miller's direction gathering up almost all the loose ends."<br /> â Backstage <br /><br /> 1800 "Some shows are just too much fun to let slip away. In that vein, nearly the entire cast of New Lineâs 2003 Bat Boy has returned to sink their teeth into this show (and into American life) one more time. They do a spectacular job with a silly comedy full of deep meanings, under the highly organized direction of Scott Miller⦠as always, it comes down to great singing and great comedy. This show has more than enough of each to draw us out of our own mid-winter's bat cave, foraging for fun." <br />â Richard Green, KDHX-FM<br /><br /> 1801 "You've read about him in the Weekly World News; now see the Bat Boy live in this energetic New Line Theatre production⦠Director Scott Miller's slick staging keeps the story in sharp focus, maintaining a difficult balance between the script's campy comedy and its genuine emotion." <br /><br />â Deanna Jent, The Riverfront Times 1802 </p> 1803 </div> 1804 </div> 1805 </div> 1806 <div class="panel panel-default"> 1807 <div class="panel-heading" role="tab" id="headingThirtythree"> 1808 <h4 class="panel-title"> 1809 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtythree" aria-expanded="false" aria-controls="collapseThirtythree"> 1810 THE FANTASTICKS (2005) 1811 </a> 1812 </h4> 1813 </div> 1814 <div id="collapseThirtythree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtythree"> 1815 <div class="panel-body"> 1816 <p>"At New Line Theatre, the audience is used to surprises. . . this time, the surprise lies in the voices - the best that New Line has ever showcased. They make the familiar, unassuming musical sound, of all things, lush. " <br />â Judith Newmark, St. Louis Post Dispatch <br /><br /> 1817 "This was a night that I was glad to enjoy the simplicity of theater the old-fashioned way. In an age of spectacle, The Fantasticks is fantastic in its smallness. . . New Line's Fantasticks is not a musical to blow you out of your seat. Rather, it is an experience in the goodness of the human heart, and does in fact speak of timeless themes relevant to our selfish modern world. . . listeners should take some time next weekend to enjoy the simple bliss that is The Fantasticks courtesy of the New Line Theater. " <br />â Doug Storm, KDHX-FM<br /><br /> 1818 "Less is more with The Fantasticks, and that makes it an ideal show for artistic director Scott Miller's New Line Theatre. The Fantasticks accommodates just two musicians, harpist Sue Taylor and pianist Chris Petersen, whose soft, subtle renditions of the jazzy tunes of lyricist Tom Jones and composer Harvey Schmidt nicely complement the low-key action on stage. Under Miller's sure and steady direction, his ensemble delivers the wit and charm of this gentle show in a way that reminds us of why The Fantasticks was performed a staggering 17,162 times in a tiny theater in New York for 42 years (!) beginning in 1960." <br />â Mark Bretz, Ladue News<br /><br /> 1819 "New Lineâs The Fantasticks is a good illustrator of why itâs sometimes okay to just let a piece be what it is, whether that be simple or grandiose, fluffy or deep, comedy or tragedy. It also shows why the best shows mix these labels up, or, rather, have a little of everything. Sometimes itâs worth just seeing a good play done well. You might get your thoughts provoked, or you might not, but the enjoyment makes it all worthwhile." <br />â John Shepard, Playback St. Louis 1820 </p> 1821 </div> 1822 </div> 1823 </div> 1824 <div class="panel panel-default"> 1825 <div class="panel-heading" role="tab" id="headingThirtyfour"> 1826 <h4 class="panel-title"> 1827 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtyfour" aria-expanded="false" aria-controls="collapseThirtyfour"> 1828 KISS OF THE SPIDER WOMAN (2005) 1829 </a> 1830 </h4> 1831 </div> 1832 <div id="collapseThirtyfour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtyfour"> 1833 <div class="panel-body"> 1834 <p>"Director Scott Miller has cleared the bases with a rousing grand slam of an interpretation of this fabulously rich musical. It's a gritty and glorious s
1834alute to the combined genius of Kander, Ebb and McNally, with appropriate respect to Puig, and his cast is clearly equal to the task." <br />â Mark Bretz, Ladue News<br /><br /> 1835 "Over the years, New Line has done well with other shows by John Kander and Fred Ebb (Cabaret, Chicago). But this production demonstrates that New Line's artistic director, Scott Miller, has an affinity for their viewpoint that transcends the 'greatest hits' approach. The story of Molina [Scott Tripp] and his revolutionary cellmate, Valentin (Nicholas Kelly), combines left-wing politics, imaginative musical numbers and a seedy, ripped-stocking glamour. That's the New Line aesthetic in a nutshell. It's a great fit.... It adds up to a fascinating evening of unusual theater... the New Line production never relinquishes the play's central point. That deals with questions of personal loyalty and overriding social good. It won't make theater-goers feel comfortable. But Miller and his company can feel proud to address a play so hard to take and make it pay off on its own terms." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1836 "Director Scott Miller knocked the casting ball out of the park by bringing together a top-notch and very talented group of actors... Miller should be doubly proud: first, for what he has accomplished this season with New Line Theatre, but also for being able to bring all of these fine actors together for a truly extraordinary performance." <br />â Jim Campbell, Playback St. Louis< <br /><br /> 1837 "Kiss of the Spider Woman is one of New Line's best productions." <br />â Bob Wilcox, KDHX-FM 1838 </p> 1839 </div> 1840 </div> 1841 </div> 1842 <div class="panel panel-default"> 1843 <div class="panel-heading" role="tab" id="headingThirtyfive"> 1844 <h4 class="panel-title"> 1845 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtyfive" aria-expanded="false" aria-controls="collapseThirtyfive"> 1846 THE ROBBER BRIDEGROOM (2005) 1847 </a> 1848 </h4> 1849 </div> 1850 <div id="collapseThirtyfive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtyfive"> 1851 <div class="panel-body"> 1852 <p>"Scott Miller has a hit on his hands! The New Line Theatre has opened The Robber Bridegroom, and you definitely must see this show. Sweet and charming and outrageous and corny and violent and sexy and utterly engaging, this wonderfully imaginative piece is based on a novel by Eudora Welty... It's delightful, it's charming, and it's absolutely Edenically innocent." <br />â Steve Callahan, KDHX-FM <br /><br /> 1853 "God Bless New Line Theater and Artistic Director Scott Miller for having the sense to put on a show as interesting as The Robber Bridegroom. New Line Theatre, the self-proclaimed Bad Boy of Musical Theater, lives up to the title yet again with their most recent production⦠By challenging the way we look at musicals, [New Line] makes them more accessible to the common man, while giving theater snobs something to love in the process. For those that fall somewhere betwixt the two, youâre in luck, as New Lineâs players will indeed entertain." <br />â Tyson Blanquart, Playback St. Louis<br /><br /> 1854 "The Robber Bridegroom suits Millerâs smart, no-frills aesthetic â and boasts the added advantage of unfamiliarity. Itâs one show that nobodyâs seen âtoo many times.â Yet itâs a charmer. . . But The Robber Bridegroom is a fairy-tale for grown-ups. The four-man band serves up the blue-grass score (by composer Robert Waldman and lyricist Alfred Uhry) in likeable, familiar, laid-back style. But catch the lyrics to songs like âTwo Headsâ or âPoor Tied Up Darlin.â Thereâs no latent message here. Violent, sexual and avaricious impulses are right on surface of this story, in which civilization and self-control are as easy to rip off as Rosamundâs dainty frocks.<br /> â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1855 "Director Scott Miller scores a triumph with his delightful production that smartly captures the free spirit and charming effervescence of this romp through the woods." <br />â Mark Bretz, Ladue News <br /><br /> 1856 "The indomitable Mr. Miller [as director] has taken what he's got and whipped his cast into a proper frenzy of comic cataclysm."<br /> â Richard Green, Talkinâ Broadway.com<br /><br /> 1857 "A bright, charming production by New Line Theatre. . . Highly entertaining."<br /> â Joe Pollack, KWMU-FM 1858 </p> 1859 </div> 1860 </div> 1861 </div> 1862 <div class="panel panel-default"> 1863 <div class="panel-heading" role="tab" id="headingThirtysix"> 1864 <h4 class="panel-title"> 1865 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtysix" aria-expanded="false" aria-controls="collapseThirtysix"> 1866 MAN OF LA MANCHA (2004) 1867 </a> 1868 </h4> 1869 </div> 1870 <div id="collapseThirtysix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtysix"> 1871 <div class="panel-body"> 1872 <p>"Director Scott Miller and a talented ensemble meaningfully reinterpret for today this stirring hymn to individualism from the experimental theatre movement of nearly forty years ago. . . The entire company's approach and embodiment of Wasserman's and Cervantes' quest for truth in illusion
1872inspires admiration. With Miller's moving yet focused direction, each performer contributes talent and conviction throughout. . . New Line proves Don Quixote, the Man of La Mancha is not dead, but lives âa life worth livingâ." <br />â Nancy Crouse, KDHX-FM<br /><br /> 1873 "Man of La Mancha is in the pantheon of stellar shows in the Broadway musical canon. The New Line Theatre production, directed with keen intuition and appropriate reverence by Scott Miller, beautifully underscores the inherent nobility and passion of the work with a masterful presentation. . . a stunning triumph." <br />â Mark Bretz, Ladue News<br /><br /> 1874 "The show is another hit from one of the most stylistic theater companies in St. Louis. For those out there that tend to shy away from musical theater, I highly recommend this production, as it will remove any ill-conceived notions you may have about the genre, and make you think twice about judging a book by its cover." <br />â Tyson Blanquart, Playback St. Louis<br /><br /> 1875 "Once it begins to roll, it sweeps like an avalanche. . . a great show in every respect." <br />â Joe Pollack, KWMU-FM<br /><br /> 1876 "The layers encasing this performance keep the audience at a shrewd distance, though the intimate staging does not. Todd Schaefer [as Cervantes/Quixote] fiddles with the relationship between actor and role and between actor and audience. . . Miller's production is all about thinking hard... They keep it honest for two meaty, intermission-free hours."<br /> â Judith Newmark, St. Louis Post Dispatch 1877 </p> 1878 </div> 1879 </div> 1880 </div> 1881 <div class="panel panel-default"> 1882 <div class="panel-heading" role="tab" id="headingThirtyseven"> 1883 <h4 class="panel-title"> 1884 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtyseven" aria-expanded="false" aria-controls="collapseThirtyseven"> 1885 HEDWIG AND THE ANGRY INCH (2004) 1886 </a> 1887 </h4> 1888 </div> 1889 <div id="collapseThirtyseven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtyseven"> 1890 <div class="panel-body"> 1891 <p>"What's a girly boy to do when his sex-change operation is botched? Form a rock & roll band! Todd Schaefer shows off an amazing voice in this confessional concert piece, which features a kick-ass band and great cross-gender supporting work from Stephanie Brown."<br /> â Deanna Jent, Riverfront Times<br /><br /> 1892 "Hedwig and the Angry Inch is a challenging piece of theater, to audiences and to the St. Louis theater community as well⦠the sort of theatre St. Louisans should be exposed to."<br /> â Joe Pollack, KWMU-FM <br /><br /> 1893 "Mr. Schaefer's [Hedwig] gains the edge by having the stamp of a Scott Miller production: clearly thought-out; artistically consistent; and faithful to playwright Cameron Mitchell's intent. The New Line/WAPP version gives us a Hedwig whose gifts are indisputable â and whose past, present, and future are even richer, thanks to greater artistic virtuosity." <br />â Richard Green, KDHX-FM <br /><br /> 1894 "Hedwig is genuinely worth seeing more than once from different points of view. In fact, the book by John Cameron Mitchell and the music and lyrics by Stephen Trask are so intellectually and musically compelling that a first viewing creates an appetite for a second. One interpretation sparks interest in another."<br /> â Gerry Kowarsky, St. Louis Post Dispatch<br /><br /> 1895 "Todd Schaefer projects a bittersweet and melancholy portrayal of Hedwig, describing the tragic tale of the unhappy and lonely soul, underplaying the anger and focusing instead on the characterâs confusion and angst. He is nicely complemented by Stephanie Brownâs taciturn twist on Yitzak, both carping and retreating from Hedwigâs futility. Scott Millerâs direction wisely emphasizes the strengths of the musical score, which offers a number of superior rock anthems, from the pulsating opening number âTear Me Downâ to the plaintive âOrigin of Loveâ and the lovely ballad âThe Long Grift,â which offers some sweet harmony by Schaefer and Brown." <br />â Mark Bretz, Ladue News 1896 </p> 1897 </div> 1898 </div> 1899 </div> 1900 <div class="panel panel-default"> 1901 <div class="panel-heading" role="tab" id="headingThirtyeight"> 1902 <h4 class="panel-title"> 1903 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtyeight" aria-expanded="false" aria-controls="collapseThirtyeight"> 1904 REEFER MADNESS (2004) 1905 </a> 1906 </h4> 1907 </div> 1908 <div id="collapseThirtyeight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtyeight"> 1909 <div class="panel-body"> 1910 <p>"When it comes to goofy fun, Reefer Madness has kilos to spare." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1911 "The New Line cast is bursting with energy and talent. . . the excellent band and the bright performances will ensure that you'll have a high old hoot of a time at New Line's Reefer Madness." <br />â Steve Callahan, KDHX-FM<br /><br /> 1912 "Kevin Murphy's sly lyrics and Dan Studney's music are the highlights of New Line Theatre's mostly hilarious telling of this cautionary tale. . . Robin Berger's choreography is humorously snappy; combined with the fun songs, they happily critique the silly things Americans fear." <br />â Deanna Jent, The Riverfront Times<br /><br /> 1913 "New Line Artistic Director Scott Miller has a reputation in St. Louis for taking chances with unconventional shows. Witness New Lineâs production of Batboy: The Musical last season. He comes up swinging again with Reefer Madness, the rock musical based on the 1936 scare-film of the same name. . . As with most New Line Theatre shows, Scott Miller has a point to make, and Miller gets his point across wonderfully with this production." <br />â Tyson Blanquart, Playback St. Louis<br /><br /> 1914 "New Line Theatreâs production is an amusing, tongue-in-cheek treat under the clever, droll direction of Scott Miller. The music to Reefer Madness has an ingratiating and appealing quality, with clever lyrics by Kevin Murphy and plenty of upbeat music by Dan Studney, both of whom collaborated on the book." <br />â Mark Bretz, Ladue News 1915 </p> 1916 </div> 1917 </div> 1918 </div> 1919 <div class="panel panel-default"> 1920 <div class="panel-heading" role="tab" id="headingThirtynine"> 1921 <h4 class="panel-title"> 1922 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseThirtynine" aria-expanded="false" aria-controls="collapseThirtynine"> 1923 THE NERVOUS SET (2004) 1924 </a> 1925 </h4> 1926 </div> 1927 <div id="collapseThirtynine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingThirtynine"> 1928 <div class="panel-body"> 1929 <p>
1929"Many times, I've traveled thousands of miles and spent hundreds of dollars to see obscure musicals, but catching "The Nervous Set at New Line turned out to be the most valuable theatrical pilgrimage I've ever made." <br />â Peter Filichia, TheaterMania.com<br /><br /> 1930 "God bless Miller for letting us see this odd bit of history. And bless him for the continuing adventure that is New Line Theatre. <br />â Steve Callahan, KDHX-FM<br /><br /> 1931 "It's difficult not to get drawn into the idealism and hypocrisy of a group of young, disillusioned, brilliant show-offs. Bitterly funny irony and far-ahead-of-its-time social commentary. <br />â John Shepherd, Playback St. Louis<br /><br /> 1932 "The songs, by composer Tommy Wolf and lyricist Fran Landesman, are the engine of The Nervous Set, driving us through the narrow streets of Greenwich Village and to a few other outposts of greater New York... Today, we're inclined to see the Beats â with their skepticism about consumerism society and their embrace of 'far-out' ideas in an era that valued conformity â as cultural heroes. But The Nervous Set reminds us of some of the less attractive aspects of Beat culture: its thoughtless sexism (men pursue ideas, women work to support them and lie down to please them), its arrant homophobia and its self-destructive addictions." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1933 "New Line artistic director Scott Miller's forte is musical theatre and that strength is apparent... Jeffrey Pruett (Brad), Michael Deak (Bummy), and Nicholas Kelly (Danny) shine... This Nervous Set is jittery for good reason..." <br />â Mark Bretz, Ladue News<br /><br /> 1934 "It was a pleasure to hear Fran Landesman's glorious lyrics and Tommy Wolf's music." <br />â Joe Pollack, KWMU 1935 </p> 1936 </div> 1937 </div> 1938 </div> 1939 <div class="panel panel-default"> 1940 <div class="panel-heading" role="tab" id="headingFourty"> 1941 <h4 class="panel-title"> 1942 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourty" aria-expanded="false" aria-controls="collapseFourty"> 1943 SUNDAY IN THE PARK WITH GEORGE (2003) 1944 </a> 1945 </h4> 1946 </div> 1947 <div id="collapseFourty" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourty"> 1948 <div class="panel-body"> 1949 <p>"The ArtLoft [Theatre] has the potential to change with every show. For New Line Theatre's current production there, "Sunday in the Park with George, director Scott Miller and set designer Justin Barisonek exploit that potential with elegance and wit. . . Rarely staged, Sunday is an odd work. Its proportions are unfamiliar; it's slower and more cerebral than most musicals, and its century-long story arc demands a little patience. But with their apt design and distinctive staging, Miller and Barisonek set a welcoming pace, one that's a pleasure to keep." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1950 "New Line Theatre's invigorating and richly rewarding production... is a strong, stirring, delicately textured work of art on its own." <br />â Mark Bretz, KDHX-FM<br /><br /> 1951 "Stephen Sondheim composed his gorgeous score from a palette containing colors of astonishing beauty and texture... New Line's four-piece band does a Herculean job of conveying the inherent artfulness in this lush score.... Todd Schaefer emanates assurance and authority. In Act II, as Seurat's great-grandson, he even finds the evening's underlying conscience." <br />â The Riverfront Times 1952 </p> 1953 </div> 1954 </div> 1955 </div> 1956 <div class="panel panel-default"> 1957 <div class="panel-heading" role="tab" id="headingFourtyone"> 1958 <h4 class="panel-title"> 1959 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtyone" aria-expanded="false" aria-controls="collapseFourtyone"> 1960 THE BEST LITTLE WHOREHOUSE IN TEXAS (2003) 1961 </a> 1962 </h4> 1963 </div> 1964 <div id="collapseFourtyone" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtyone"> 1965 <div class="panel-body"> 1966 <p>"New Line Theatre's production of The Best Little Whorehouse in Texas ultimately provides not only marvelous music and dance but substantial food for thought." <br />â Deanna Jent, The Riverfront Times<br /><br /> 1967 "Director Scott] Miller, who loves musical comedy, chooses to emphasize the musical over the comic in this production. . . But, having made his decision, he executes it with care and intelligence, delivering a production with charms of its own."<br /> â Judith Newmark, St. Louis Post Dispatch 1968 </p> 1969 </div> 1970 </div> 1971 </div> 1972 <div class="panel panel-default"> 1973 <div class="panel-heading" role="tab" id="headingFourtytwo"> 1974 <h4 class="panel-title"> 1975 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtytwo" aria-expanded="false" aria-controls="collapseFourtytwo"> 1976 BAT BOY (2003) 1977 </a> 1978 </h4> 1979 </div> 1980 <div id="collapseFourtytwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtytwo"> 1981 <div class="panel-body"> 1982 <p>"Bat Boy: The Musical has everything anyone needs for a great night of theater: sex, laughs, music, drama and dead cows. . . New Line Theatre's production of Bat Boy The Musical is profou
1982ndly theatrical, asking audience members to imaginatively participate in an unexpected journey that's thrilling, scary, funny and thought-provoking." <br />â Deanna Jent, Riverfront Times<br /><br /> 1983 "So weird. So smart. So shocking. So entertaining. Bat Boy, a hit off-Broadway, has found a worthy roost at New Line Theatre, where artistic director Scott Miller has spent 12 years honing a taste for musicals with just those characteristics. . . this show is in a class by itself â and New Line's confident production lets it stand on its own webbed feet."<br /> â Judith Newmark, St. Louis Post Dispatch<br /><br /> 1984 "Splendid fun. Todd Schaefer is dazzling in the title role, acting and singing and well, dominating the stage. April Lindsey, Jason Cannon and Deborah Sharn stand out as his 'family,' and the rest of the cast, in a wild variety of roles, costumes and genders, bring West Virginia to madcap life." <br />â Joe Pollack, KWMU-FM<br /><br /> 1985 "Even if you hate musicals, you will not be disappointed by this one. This is a "do not miss"; I was more satisfied by Bat Boy than by most of the productions I have seen at The Fox." <br />â Stanford Griffith, The Current<br /><br /> 1986 "This production works on many levels thanks to the exuberant cast. Todd Schaefer is spectacular in the title role." <br />â Sheila Schultz, KDHX-FM<br /><br /> 1987 "One of the best musical theatre scores I've heard recently. . . Miller and New Line never do shows that waste either their time or ours." <br />â Bob Wilcox, West End Word 1988 </p> 1989 </div> 1990 </div> 1991 </div> 1992 <div class="panel panel-default"> 1993 <div class="panel-heading" role="tab" id="headingFourtythree"> 1994 <h4 class="panel-title"> 1995 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtythree" aria-expanded="false" aria-controls="collapseFourtythree"> 1996 THE ROCKY HORROR SHOW (2002) 1997 </a> 1998 </h4> 1999 </div> 2000 <div id="collapseFourtythree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtythree"> 2001 <div class="panel-body"> 2002 <p>"Rocky reminds us vividly of the emotional power actors can exert when they're in the same room as their audience, even if they're kidding around." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2003 "When it comes to challenging St. Louis theater audiences, to stretching them, exposing them to new stimuli, hardly anyone is in a class with Scott Miller. . . Rocky Horror will bring much-needed light and laughter to downtown." <br />â Joe Pollack, KWMU-FM<br /><br /> 2004 "Scott Miller directs the New Line production with a grand sense of theater that showcases the campy wit of the musical while still maintaining a necessary discipline to the process." <br />â Mark Bretz, Laude News 2005 </p> 2006 </div> 2007 </div> 2008 </div> 2009 <div class="panel panel-default"> 2010 <div class="panel-heading" role="tab" id="headingFourtyfour"> 2011 <h4 class="panel-title"> 2012 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtyfour" aria-expanded="false" aria-controls="collapseFourtyfour"> 2013 CHICAGO (2002) 2014 </a> 2015 </h4> 2016 </div> 2017 <div id="collapseFourtyfour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtyfour"> 2018 <div class="panel-body"> 2019 <p>"Smart, steamy and a heck of a lot of fun, marking one of New Line's strongest efforts" <br />- Judith Newmark, St. Louis Post Dispatch<br /><br /> 2020 "Extremely entertaining . . . Because the New Line production is stripped down to its essence, it reveals something that neither of the flashier, more expensive New York productions embodied: likeability. . . All in all, this is the most fully realized New Line production I've yet seen. . . This is the sort of opportunity that musical theater lovers pray for, and then travel great distances to indulge in." <br />â Dennis Brown, Riverfront Times<br /><br /> 2021 "Chicago is highly enjoyable, with fine musicians and enough talent on the stage to keep things rolling from start to finish." <br />- Joe Pollack, KWMU-FM<br /><br /> 2022 ";If you want to see another New Line hit packed with great music, dancing, costumes, and actors, don't miss Chicago." - Nicole Trueman, KDHX-FM<br /><br /> 2023 ";
2023A rousing production . . . a capable cast is given license to gleefully cavort to the infectious, jazzy tone of the show, and New Line's performers are up to the challenge." <br />- Mark Bretz, Ladue News<br /><br /> 2024 "A showy, brightly produced musical filled with extremely talented actors, singers and dancers, who give it their all."<br /> â Cathy Cohn, The Vital Voice 2025 </p> 2026 </div> 2027 </div> 2028 </div> 2029 <div class="panel panel-default"> 2030 <div class="panel-heading" role="tab" id="headingFourtyfive"> 2031 <h4 class="panel-title"> 2032 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtyfive" aria-expanded="false" aria-controls="collapseFourtyfive"> 2033 A NEW BRAIN (2002) 2034 </a> 2035 </h4> 2036 </div> 2037 <div id="collapseFourtyfive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtyfive"> 2038 <div class="panel-body"> 2039 <p>"A neurotic, quirky and profoundly life-affirming show" <br />- St. Louis Post Dispatch<br /><br /> 2040 "A delightful, albeit dark comedy. Scott Miller's inspired direction of this sung-through musical keeps the show galloping at a brisk pace with restful interludes. . . Todd Schaefer, who plays the gay lover of our angst-ridden lead, has an outstanding voice. . . Lovely of voice, Mo Monahan brings enough compassion to the role to mitigate Mother's overbearing trait. . . Terry Meddow's energetic portrayal of the bug-eyed Bungee suggests that, despite appearances, it isn't easy being green. Karen Page gives a stellar performance as the Homeless Lady who shuffles in and out of Schwinn's consciousness. . . The remaining cast and 4-piece band do an exceptional job with a score, the complexity of which demands consummate skill and precision. . . Here's one show you're unlikely to find on any other stage in St. Louis." <br />- Sheila Schultz, KDHX-FM<br /><br /> 2041 "Scott Miller's New Line Theatre is all about presentations that are daring, different or deliciously skewering the conventional. . . There's enough to appreciate in Finn's inspired whimsy, and New Line's zestful interpretation by its capable cast under the judicious care of director Scott Miller, to make A New Brain a pleasing, if offbeat and quirky, selection." <br />- Mark Bretz, Ladue News<br /><br /> 2042 "[Composer William] Finn . . . is known for stretching the boundaries of the genre. . . Deborah Sharn is engaging and brings energy and depth to Rhoda, Schwinn's agent . . . The always excellent Terry Meddows does a fine job as Gordon's boss, the man-frog Mr. Bungee. The audience most enjoys the entertaining Nicholas Kelly as the self-effacing 'nice nurse' Richard. . . I'm glad Finn recovered, and he deserves credit for experimenting with the form." <br />- Brian Hohlfeld, Riverfront Times<br /><br /> 2043 "Terry Meddows is bright as Mr. Bungee, who owns the TV show, and there is splendid work from Nicholas Kelly as Richard, the night nurse. Deborah Sharn is outstanding as Rhoda, [Gordon's] good friend, and Karen Page and Ken Haller are often entertaining." <br />- Joe Pollack, KWMU-FM<br /><br /> 2044 "Gordon's boss (Terry Meddows), a sardonic sourpuss in a toad costume brings a welcome dash of vinegar. . . And Nicholas Kelly sparkles as the 'nice nurse'." <br />- Judy Newmark, Post Dispatch 2045 </p> 2046 </div> 2047 </div> 2048 </div> 2049 <div class="panel panel-default"> 2050 <div class="panel-heading" role="tab" id="headingFourtysix"> 2051 <h4 class="panel-title"> 2052 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtysix" aria-expanded="false" aria-controls="collapseFourtysix"> 2053 THE CRADLE WILL ROCK (2001) 2054 </a> 2055 </h4> 2056 </div> 2057 <div id="collapseFourtysix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtysix"> 2058 <div class="panel-body"> 2059 <p>"Most Ambitious Production of 2001" <br />- Judith Newmark, St. Louis Post Dispatch, "The Year in Theatre"<br /><br /> 2060 "[New Line's] Cradle Will Rock is one of the most memorable shows I have ever seen. This joint venture is not only brilliant in idea, but also in execution." <br />â Tony Burnett, Talkin Broadway.com<br /><br /> 2061 "An intriguing new production . . . energetic, intelligent . . . passionate, stylized and exciting." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2062 "A spirited, entertaining production . . . absurd and chilling at the same time, the perfect blend of musical form and content." <br />â Brian Hohlfeld, The Riverfront Times <br /><br /> 2063 "New Lineâs production of The Cradle Will Rock is a delightful and compelling show, featuring numerous strong performances." <br />â Mark Bretz, KDHX-FM 2064 </p> 2065 </div> 2066 </div> 2067 </div> 2068 <div class="panel panel-default"> 2069 <div class="panel-heading" role="tab" id="headingFourtyseven"> 2070 <h4 class="panel-title"> 2071 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtyseven" aria-expanded="false" aria-controls="collapseFourtyseven"> 2072 HAIR (2001) 2073 </a> 2074 </h4> 2075 </div> 2076 <div id="collapseFourtyseven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtyseven"> 2077 <div class="panel-body"> 2078 <p>"New Lineâs production . . . forged an intense connection with its audience. . . The finale, âLet the Sun Shine In,â was almost unbearably emotional. and brought the audience onto the stage to tearfully hug and dance with the cast." <br />â Allison Xantha Miller, American Theatre Magazine <br /><br /> 2079 "When a director revives a play less than a year after he first staged it, he better have good reason â reasons like style, audience appeal and abundant energy. New Line artistic director Scott Miller has all the reason he needs for this summer's revival of last summer's hit, Hair. . . [It] is, above all, an ensemble piece. It emerged from a time when it seemed possible that group efforts to change society could succeed. This play, and New Line's production of it, succeed on exactly those same terms." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2080 "Director Scott Millerâs Osage Tribe is an ensemble cast of frenzied and frolicking psychedelic-perfection. . . The Osage shout, scream, wail, sing, point, dance, laugh, plead, and rage to the audience that is intimately wrapped around the stage like some morphed tribal council in trance. It is wondrous.. . But it is the Osage ensemble that is the real star. Their unbridled energy and communal vocals framed within Millerâs imaginative choreography provide a manic tale that when finished finds you somewhere in between tears and euphoric joy."
2080<br />â Colin Murphy, The Vital Voice<br /><br /> 2081 "Don't let the language and the nude scene fool you â there's a lot of innocence and idealism on the stage, and those are two things we need â any time â whether with Hair or without." <br />â Joe Pollack, KWMU-FM <br /><br /> 2082 "New Line Theatre shows off its crowning glory in an open-ended run of Hair." <br />â Byron Kerman, The Riverfront Times<br /><br /> 2083 "Artistically, [Hair in June 2000] was one of the best productions New Line ever staged, and everybody seemed to know it." <br />â Judith Newmark, St. Louis Post Dispatch 2084 </p> 2085 </div> 2086 </div> 2087 </div> 2088 <div class="panel panel-default"> 2089 <div class="panel-heading" role="tab" id="headingFourtyeight"> 2090 <h4 class="panel-title"> 2091 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtyeight" aria-expanded="false" aria-controls="collapseFourtyeight"> 2092 ANYONE CAN WHISTLE (2001) 2093 </a> 2094 </h4> 2095 </div> 2096 <div id="collapseFourtyeight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtyeight"> 2097 <div class="panel-body"> 2098 <p>"Instead of bringing serious matters to the foreground, as he often does, director Scott Miller went all out for entertainment and let the issues emerge from a framework of farce. The resulting show offered much to enjoy on the surface without obscuring the depth."<br /> â Gerry Kowarksy, The Sondheim Review<br /><br /> 2099 "The best reason to see Anyone Can Whistle, the appealing mess of a show that New Line Theatre is staging at the ArtLoft is simple. Youâre not likely to get another chance. . . Still, anything by Stephen Sondheim has an element of fascination, thanks to his enormous influence on modern musical theatre. New Lineâs artistic director Scott Miller, who has staged a number of Sondheim shows, directs this one with verve and intelligence. . . Miller and choreographer JT Ricroft make the most of the ArtLoftâs flexible space." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2100 "[Director Scott] Miller and choreographer JT Ricroft stage the musical numbers with brio â nicely adapting to the ArtLoftâs shallow stage and making intriguing use of aisle space." <br />â Cliff Froehlich, The Riverfront Times 2101 </p> 2102 </div> 2103 </div> 2104 </div> 2105 <div class="panel panel-default"> 2106 <div class="panel-heading" role="tab" id="headingFourtynine"> 2107 <h4 class="panel-title"> 2108 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFourtynine" aria-expanded="false" aria-controls="collapseFourtynine"> 2109 CABARET (2001) 2110 </a> 2111 </h4> 2112 </div> 2113 <div id="collapseFourtynine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFourtynine"> 2114 <div class="panel-body"> 2115 <p>"A small spotlight falls on a door, slightly ajar. A hand reaches out, showing off black-polished nails. The index finger beckons seductively. Then the middle finger signals. With that opening moment, director Scott Miller condenses his entire approach of Cabaret â tempting, vulgar, shrewdly theatrical and admirably economical. It's one of the most powerful productions that Miller's company, New Line Theatre, has ever staged. . . [The bandâs] raw sound suits the mood that Miller and choreographer JT Ricroft evoke in steamy Klub numbers like âMoneyâ and âTwo Ladies,â visually exciting and metaphorically explicit. We're in a very sick world. . . Christopher Crivelli's venomous performance as the Kit Kat emcee sets the standard for this show â leering, cold, totally in control. Robin Kelso plays the English star of the club, Sally Bowles, with a lot of flair both in her âonstageâ scenes (more pose than talent) and her âoffstageâ scenes (more pose than heart). Yet her winning, tiny
2115smile, coupled with occasional bursts of warmth, complicates the character. You can't dismiss her, and you can't trust her. It's a provocative combination. . . But the cold heart of the play lies in the Kit Kat Klub ensemble, whose entertainments reveal a morally bereft world-view that still can frighten us. And should." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2116 "I'm sitting in the front row of the most remarkable production to hit St. Louis this season. . . We're close enough that this once familiar musical is transformed into something quite unlike any production of it you may have seen. It's Cabaret . . And it's one of the best things I've seen the New Line Theatre do. . . Director Scott Miller has made his New Line Theatre a St. Louis institution, and I'm happy to see that it has so vibrantly survived the loss of the St. Marcus. It is very much at home in the Art Loft Theatre on Washington. Besides his deep understanding of musical theatre, Miller's chief gift, I think, is for the gathering of outstanding talent." <br />â Steve Callahan, KDHX-FM<br /><br /> 2117 "A must-see for anyone who is interested in theatre in St. Louis." <br />âGerry Kowarsky, St. Louis Post Dispatch<br /><br /> 2118 "Cabaret, at the New Line Theatre, is a flawed but noteworthy production of the groundbreaking musical, which is as fresh and provocative as it was when it was created in 1966. The production is at its strongest in the musical numbers, all staged deftly on the tiny clublike stage by director Scott Miller and choreographer JT Ricroft. Vocally, the cast is first-rate [and] the band excellent (the accordion is a nice touch). . . In the opening number, âWilkommen,â the over-rouged, zombielike Kit Kat girls and boys, and their Emcee (Christopher Crivelli) perform enough pelvic thrusts and simulated oral sex for several productions. We're supposed to be shocked, shocked, but the gestures are so mechanical and contrived that they become boring and meaningless. Perhaps that's what director Miller intended: Sex has become common currency, as devalued as the German mark." <br />â Brian Hohlfeld, The Riverfront Times 2119 </p> 2120 </div> 2121 </div> 2122 </div> 2123 <div class="panel panel-default"> 2124 <div class="panel-heading" role="tab" id="headingFifty"> 2125 <h4 class="panel-title"> 2126 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFifty" aria-expanded="false" aria-controls="collapseFifty"> 2127 HAIR (2000) 2128 </a> 2129 </h4> 2130 </div> 2131 <div id="collapseFifty" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFifty"> 2132 <div class="panel-body"> 2133 <p>"A gripping production from New Line Theatre. . . The in-the-round presentation, with actors running through the audience, suits director Scott Miller's intense style. His production moves with the studied emotional focus of a dream â or a memory. . . And this production perfectly captures the deep, genuine anger that the Vietnam War provoked at home. 'Three-Five-Zero-Zero,' a song in which the hallucinating Claude envisions his hippie friends falling in battle, is a stunning depiction of how immediate the threat felt to people a world away from the war." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2134 "New Line Theatre's production of Hair, which opened last weekend in the A.E. Hotchner Drama Studio on the Washington University campus, may pull you into a gallop down memory lane (if you're older) or (if you're younger) may cause an attack of envy because your parents lived in much more interesting times than you do. Whatever the effect, a strong, musical cast make the book, music and lyrics seem as fresh and fun as they were in 1968." <br />â Harry Weber, The Riverfront Times <br /><br /> 2135 "At once historical and iconoclastic, this classic hippie postcard from the summer of love remains as brittle and quirky as ever, but the New Line production reveled in the shaggy spirit, and proved largely enjoyable." <br />â Brian McCary, KDHX-FM 2136 </p> 2137 </div> 2138 </div> 2139 </div> 2140 <div class="panel panel-default"> 2141 <div class="panel-heading" role="tab" id="headingFiftyone"> 2142 <h4 class="panel-title"> 2143 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftyone" aria-expanded="false" aria-controls="collapseFiftyone"> 2144 OUT ON BROADWAY (2000) 2145 </a> 2146 </h4> 2147 </div> 2148 <div id="collapseFiftyone" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftyone"> 2149 <div class="panel-body"> 2150 <p>"At least the quirky little [St. Marcus] theater is going out in style. Scott Miller's revue, which presents musical theater songs in a gay context, has graceful, small-scale proportions, just right for this theater in terms of music, voice and staging. Furthermore, the show's message â a plea for tolerance, particularly in regard to sexual orientation â is a fair summation of the point that many St. Marcus shows have made . . . Miller even works in "Danny Boy." But the ensemble rendition changes the terms so drastically that "Danny Boy" gains fresh meaning, tender and powerful. The song underscores the value of shows like this one: They reveal the familiar in a fresh light. Audiences need places that offer us that perspective." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2151 "Out on Broadway 2000, Scott Miller's beguiling assemblage of show tunes, looks like a lot of fun to do. . . This show makes you want to dish about the wise and witty performances of each singer." <br />â Sally Cragin, The Riverfront Times <br /><br /> 2152 "The gimmick sometimes works too, culling surprises from familiar lyrics when placed in a new context. I discovered I'd never really listened to the lyrics of âFar From the Home I Love,â from Fiddler on the Roof, until I heard it in Out on Broadway 2000." <br />â Bob Wilcox, KDHX-FM<br /><br /> 2153 "New Line Theatre's Out on Broadway 2000 gender-reversed Broadway and cabaret standards and provided dreamy entertainment. All that was missing was the clink of ice cubes and a blue haze of cigarette smoke." <br />- The Riverfront Times, "Best of 2000" 2154 </p> 2155 </div> 2156 </div> 2157 </div> 2158 <div class="panel panel-default"> 2159 <div class="panel-heading" role="tab" id="headingFiftytwo"> 2160 <h4 class="panel-title"> 2161 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftytwo" aria-expanded="false" aria-controls="collapseFiftytwo"> 2162 FLOYD COLLINS (1999) 2163 </a> 2164 </h4> 2165 </div> 2166 <div id="collapseFiftytwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftytwo"> 2167 <div class="panel-body"> 2168 <p>"New Line Theatre . . . continues the hot streak that began last season with Camelot and Into the Woods. Scott Miller's productions always are small in scale, but the imaginative scope of these recent shows has impressive depth. . . It offers perspective instead of self
2168-indulgence, imagination instead of ego. It's a compelling musical and one that is well-suited to the New Line Theatre's stripped-down style." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2169 "Adam Guettel, the composer and lyricist, and Tina Landau have turned this dark, sad tale into a remarkable piece of musical theater that, although hardly flawless, is consistently interesting both in its music and it the way the story is told. . . New Line Theatre has fielded a strong cast whose vocal abilities are generally matches for Guettel's often demanding music. . . and what a pleasure it was to hear natural, unamplified voices." <br />â Harry Weber, The Riverfront Times<br /><br /> 2170 "Scott Miller's New Line Theatre company, in the small cave of the St. Marcus Theatre, is shouting out a beautiful exploratory cave call: they have been delving into the subterranean recesses of musical theatre for some years, and now they've opened a fine production that epitomizes their own search. . . The cast abounds with strong performances." <br />â Steve Callahan, KDHX-FM 2171 </p> 2172 </div> 2173 </div> 2174 </div> 2175 <div class="panel panel-default"> 2176 <div class="panel-heading" role="tab" id="headingFiftythree"> 2177 <h4 class="panel-title"> 2178 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftythree" aria-expanded="false" aria-controls="collapseFiftythree"> 2179 INTO THE WOODS (1999) 2180 </a> 2181 </h4> 2182 </div> 2183 <div id="collapseFiftythree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftythree"> 2184 <div class="panel-body"> 2185 <p>"With Into the Woods, [director Scott Miller] continues his experiments in proportion. His intimate production of Stephen Sondheimâs sophisticated fairy tale reduces the Broadway hit to a nursery scale, befitting both its subject matter and its psychoanalytic viewpoint. The production . . . makes the most of the St. Marcus Theatre, turning its small size into an asset. . . Into the Woods brings together an exceptionally consistent cast." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2186 "You can savor those words and music [of Into the Woods] in what may be New Lineâs finest production yet. . . The cast plays with smart assurance, without a weak link in the chain. . . The whole production turns these old tales into adults versions rich in wit, music, and emotion â the most satisfying kind of entertainment." <br />â Bob Wilcox, The Riverfront Times 2187 </p> 2188 </div> 2189 </div> 2190 </div> 2191 <div class="panel panel-default"> 2192 <div class="panel-heading" role="tab" id="headingFiftyfour"> 2193 <h4 class="panel-title"> 2194 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftyfour" aria-expanded="false" aria-controls="collapseFiftyfour"> 2195 CAMELOT (1999) 2196 </a> 2197 </h4> 2198 </div> 2199 <div id="collapseFiftyfour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftyfour"> 2200 <div class="panel-body"> 2201 <p>"This show does not look, sound, or feel like any other Camelot [but] . . . this stripped down version has a lot going for it." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2202 "Itâs a longish evening, but so full of fine voices and serious, convincing performances, that its command of our attention is unfailing." <br />â Steve Callahan, KDHX-FM<br /><br /> 2203 "The musicalâs dark ending doesnât jar against too light and romantic a tone in the earlier scenes. Elemental passions and their potential for trouble lurk in the first moments, when even wise Merlin succumbs to the seductions of the flesh." <br />â Bob Wilcox, The Riverfront Times 2204 </p> 2205 </div> 2206 </div> 2207 </div> 2208 <div class="panel panel-default"> 2209 <div class="panel-heading" role="tab" id="headingFiftyfive"> 2210 <h4 class="panel-title"> 2211 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftyfive" aria-expanded="false" aria-controls="collapseFiftyfive"> 2212 SONGS FOR A NEW WORLD (1998) 2213 </a> 2214 </h4> 2215 </div> 2216 <div id="collapseFiftyfive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftyfive"> 2217 <div class="panel-body"> 2218 <p>"Songs for a New World is that very rare beast: an abstract musical. . . Here is a musical that doesnât try to bombard or cajole you â it simply speaks honestly through fine music and proves that less can most certainly be more. . . Individually, the performers are fine, together they are fabulou
2218s, and the harmonies and group singing are uncommonly rich and vibrant. . . The mystical union of song and performance was simply profound at the St. Marcus. . . a true theatrical gem." <br />â Mike Isaacson, The Riverfront Times<br /><br /> 2219 "I'm at a loss as to just what to call this production, except fascinating, engrossing and totally absorbing. Its the kind of performance that just cries out to be seen more than once, just to get all the nuances of the lyrics of the songs. Maybe one could call this a musical call to personal reflection, almost a contemporary worship service without dogmatics, but even that might be to limiting a description for such a freewheeling exploration into the human soul.. . The voices of the cast members are all outstanding and the emotion they put into each piece lifts the presentation from just a bunch of songs into something between poetry and worship. Most of the time the message is a powerful message of hope and faith in a God who knows the future, but sometimes it becomes a picture of the despair that comes when one looses that hope and faith. It is, as you can tell, a complex and fascinating evening you'll be thinking about for a long time to come. Come see the presentation with a friend whose opinion you value, then plan to spend many invigorating hours talking about what you heard on stage." <br />- Russ Thomas, KDHX-FM<br /><br /> 2220 "Just as personally inspiring for me was watching five local actors pour their hearts and talents into Songs for a New World, another New Line production, featuring the fine songs of Jason Robert Brown. . . making for a truly cherished memory." <br />â Mike Isaacson, "1998: The Year in Theatre," The Riverfront Times 2221 </p> 2222 </div> 2223 </div> 2224 </div> 2225 <div class="panel panel-default"> 2226 <div class="panel-heading" role="tab" id="headingFiftysix"> 2227 <h4 class="panel-title"> 2228 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftysix" aria-expanded="false" aria-controls="collapseFiftysix"> 2229 ASSASSINS (1998) 2230 </a> 2231 </h4> 2232 </div> 2233 <div id="collapseFiftysix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftysix"> 2234 <div class="panel-body"> 2235 <p>"For the most part, 1998 was full of supreme performances in solid productions. Looking back, only New Line Theatreâs production of the Stephen Sondheim musical Assassins was, as a whole, a wild and gratifying surprise. Here, a talented group of locals inhabited Sondheimâs creepy vision of what lives under Americaâs political rocks. It was intense, entertaining, and terrifically âout thereâ." <br />â Mike Isaacson, "1998: The Year in Theater," The Riverfront Times<br /><br /> 2236 "Intriguing and surprisingly funny. . . The production â a bare-bones, in-the-round presentation â emphasizes the showâs gallows humor and clever lyrics."<br /> â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2237 "There is a rare, exhilarating thrill to be had for the next two weeks in St. Louis. New Line Theatreâs frequently thrilling Assassins sets a new standard for the St. Marcus Theatre, and it easily ranks as one of the finest works ever produced there. The evening is funny, disciplined, scary, intimate and strangely credible. . . The astounding intensity of the cast, and the admirable fact that they never once step âoutsideâ the material or comment on it, but fully dwell in this strange, murky netherworld, must be credited to the co-direction of Scott Miller and Alison Helmer." <br />â Mike Isaacson, The Riverfront Times 2238 </p> 2239 </div> 2240 </div> 2241 </div> 2242 <div class="panel panel-default"> 2243 <div class="panel-heading" role="tab" id="headingFiftyseven"> 2244 <h4 class="panel-title"> 2245 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftyseven" aria-expanded="false" aria-controls="collapseFiftyseven"> 2246 MARCH OF THE FALSETTOS (1998) 2247 </a> 2248 </h4> 2249 </div> 2250 <div id="collapseFiftyseven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftyseven"> 2251 <div class="panel-body"> 2252 <p>"New Line Theatreâs current production of Falsettos may be the best work this company has done. . . Scott Miller and Alison Helmer direct a tight, inventive show with imaginative use of expressionistic images." <br />â Box Wilcox, The Riverfront Times <br /><br /> 2253 "Angry, challenging work . . . the New Line performers point up the conflicts within the characters as well as between them." <br />â Gerry Kowarsky, St. Louis Post Dispatch 2254 </p> 2255 </div> 2256 </div> 2257 </div> 2258 <div class="panel panel-default"> 2259 <div class="panel-heading" role="tab" id="headingFiftyeight"> 2260 <h4 class="panel-title"> 2261 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftyeight" aria-expanded="false" aria-controls="collapseFiftyeight"> 2262 WOMAN WITH POCKETBOOK (1998) 2263 </a> 2264 </h4> 2265 </div> 2266 <div id="collapseFiftyeight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftyeight"> 2267 <div class="panel-body"> 2268 <p>"The music by Jeff Blumenkrantz is pleasant, and the lyrics by Annie Kessler and Libby Saines are often very clever. With appealing performances from the New Line cast, Woman with Pocketbook adds up to an engaging curtain-raiser [to March of the Falsettos]." <br />â Gerry Kowarsky, St. Louis Post Dispatch<br /><br /> 2269 "The cast treats this new material well, with really strong comic performances." <br />â Bob Wilcox, The Riverfront Times 2270 </p> 2271 </div> 2272 </div> 2273 </div> 2274 <div class="panel panel-default"> 2275 <div class="panel-heading" role="tab" id="headingFiftynine"> 2276 <h4 class="panel-title"> 2277 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseFiftynine" aria-expanded="false" aria-controls="collapseFiftynine"> 2278 EXTREME SONDHEIM (1997) 2279 </a> 2280 </h4> 2281 </div> 2282 <div id="collapseFiftynine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingFiftynine"> 2283 <div class="panel-body"> 2284 <p>"At New Line Theatre, where Extreme Sondheim is now playing, comedy carries the day. The show sparkles in an imaginative trio of comedy songs near the end of the first act. . . All these songs, with their dazzling lyrics and sophisticated musical style, capture Sondheimâs contemporary, New York attitude and are strong enough to work in a revue, stripped of their plot lines." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2285 "For those not familiar with his work this production will provide a marvelous overview of the work of a talented composer and lyricist. If you are a Sondheim fan you will relish in sitting back and enjoying an evening of wonderful music presented by a diverse and talented group of performers." <br />- Norma West, KDHX-FM<br /><br /> 2286 "What I did realize, hearing the songs out of context this way, was not only how clever and how lyrical Sondheimâs songs are, but how dramatic they are."<br /> â Bob Wilcox, The Riverfront Times 2287 </p> 2288 </div> 2289 </div> 2290 </div> 2291 <div class="panel panel-default"> 2292 <div class="panel-heading" role="tab" id="headingSixty"> 2293 <h4 class="panel-title"> 2294 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixty" aria-expanded="false" aria-controls="collapseSixty"> 2295 THE BALLAD OF LITTLE MIKEY (1997) 2296 </a> 2297 </h4> 2298 </div> 2299 <div id="collapseSixty" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixty"> 2300 <div class="panel-body"> 2301 <p>"When you think youâve seen it all, along comes something like The Ballad of Little Mikey, the only musical comedy ever to include a number about anonymous sex in a public bathroom. . . That willingness to poke fun is the sharpest thing about the play." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2302 "Though your jaw may drop, youâll be hard pressed not to smile, for this number ["Tap"], and in fact most of Little Mikey, is offered with such a winning spirit that you canât resist. . . Particularly in the first act, the show is smartly self-mocking, exploring the gay ethos with predictable romantic fawning and some sure, swift kicks." <br />â Mike Isaacson, The Riverfront Times<br /><br /> 2303 "Scott Miller and his New Line Theatre continue to bring St. Louis challenging, refreshing musical theatre that you simply canât see anywhere else. . . The Ballad of Little Mikey will make you think and it will teach you a thing or two." <br />â Steve Callahan, KDHX-FM 2304 </p> 2305 </div> 2306 </div> 2307 </div> 2308 <div class="panel panel-default"> 2309 <div class="panel-heading" role="tab" id="headingSixtyone"> 2310 <h4 class="panel-title"> 2311 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtyone" aria-expanded="false" aria-controls="collapseSixtyone"> 2312 JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS (1997) 2313 </a> 2314 </h4> 2315 </div> 2316 <div id="collapseSixtyone" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtyone"> 2317 <div class="panel-body"> 2318 <p>"New Line Theatre . . . has taken on the challenge and acquits itself with an entertaining and thoughtful production. . . directors Scott Miller and Brian Tibbets have understood and captured Brelâs smoky, bittersweet flavor." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2319 "Jacques Brel himself may have died a few years ago, but his spirit and his unique songs are indeed alive and well and living at the St. Marcus Theatre. . .The New Line Theatreâs current production captures all the potent poetry of Brel, and it is surprisingly fresh and current, despite the sometimes strong political or social content." <br />â Steve Callahan, KDHX-FM 2320 </p> 2321 </div> 2322 </div> 2323 </div> 2324 <div class="panel panel-default"> 2325 <div class="panel-heading" role="tab" id="headingSixtytwo"> 2326 <h4 class="panel-title"> 2327 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtytwo" aria-expanded="false" aria-controls="collapseSixtytwo"> 2328 PASSION (1996) 2329 </a> 2330 </h4> 2331 </div> 2332 <div id="collapseSixtytwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtytwo"> 2333 <div class="panel-body"> 2334 <p>"The New Line Theatre production of Passion is a triumph for director Scott Miller and his company. . . Millerâs cast and crew supply the fervor and understanding required to bring out the haunting melancholy of [James] Lapineâs book and [Stephen] Sondheimâs words and music." <br />â Gerry Kowarsky, St. Louis Post Dispatch<br /><br /> 2335 "At once outrageous and courageous, Scott Millerâs production . . . has the audacity and insight to strip away the layers of pretension and seriousness that enveloped the original New York production. . . resulting in a wild, bold ride for the audience. Bring a friend, because youâll have a lot to talk about. . . All involved deserve praise for attacking the difficult assignment with considerable intelligence, honesty, and of course, passion." <br />â Mike Isaacson, The Riverfront Time 2336 </p> 2337 </div> 2338 </div> 2339 </div> 2340 <div class="panel panel-default"> 2341 <div class="panel-heading" role="tab" id="headingSixtythree"> 2342 <h4 class="panel-title"> 2343 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtythree" aria-expanded="false" aria-controls="collapseSixtythree"> 2344 SWEENEY TODD (1996) 2345 </a> 2346 </h4> 2347 </div> 2348 <div id="collapseSixtythree" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtythree"> 2349 <div class="panel-body"> 2350 <p>"Under director Scott Miller, Sweeney appears in a completely different light, pared down and bitterly funny. . . Millerâs treatment makes sense and the tiny, peculiarly shaped St. Marcus Theatre is exactly the right setting for it. . . To be honest, Iâve seen Sweeney Todd before and never liked it. But this production made me consider it from a different perspective; I appreciate that." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2351 "Ultimately, it is the challenges that make Sweeney Todd, like so much Sondheim, a stimulating evening in the theatre."<br /> â Box Wilcox, The Riverfront Times<br /><br /> 2352 "I was amazed at how beautifully the show fits in the tiny St. Marcus Theatre. . . Iâm now convinced that is how it is most effective." <br />â Steve Callahan, KDHX-FM 2353 </p> 2354 </div> 2355 </div> 2356 </div> 2357 <div class="panel panel-default"> 2358 <div class="panel-heading" role="tab" id="headingSixtyfour"> 2359 <h4 class="panel-title"> 2360 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtyfour" aria-expanded="false" aria-controls="collapseSixtyfour"> 2361
2361 OUT ON BROADWAY (1996) 2362 </a> 2363 </h4> 2364 </div> 2365 <div id="collapseSixtyfour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtyfour"> 2366 <div class="panel-body"> 2367 <p>"A sweetly rewarding and happy surprise. . . Not since Tom Clear and Joan Lipkinâs Some of My Best Friends Are held court has a musical evening so expertly fused the intimacy, politics, and spirit of the St. Marcus. . . United in song and spirit, the cast and audience celebrate the fusion of a Broadway past into the home for a communityâs political future." <br />â Mike Isaacson, The Riverfront Times<br /><br /> 2368 "Entertaining and thought-provoking, Out on Broadway, the new revue from New Line Theatre, offers musical theatre with a decidedly different twist. . . Itâs what theater, at its best, is for." <br />â Judith Newmark, St. Louis Post Dispatch<br /><br /> 2369 "A most thought-provoking, touching, and entertaining production." <br />â Christopher Jackson, News-Telegraph<br /><br /> 2370 "Some of the eveningâs best moments owe their power to flawless harmonizing."<br /> â Harry Weber, The Riverfront Times 2371 </p> 2372 </div> 2373 </div> 2374 </div> 2375 <div class="panel panel-default"> 2376 <div class="panel-heading" role="tab" id="headingSixtyfive"> 2377 <h4 class="panel-title"> 2378 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtyfive" aria-expanded="false" aria-controls="collapseSixtyfive"> 2379 IN THE BLOOD (1995) 2380 </a> 2381 </h4> 2382 </div> 2383 <div id="collapseSixtyfive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtyfive"> 2384 <div class="panel-body"> 2385 <p>"Ideas loom large in this work. The central one is ingenious. . . Two things do work for me in In the Blood. One â and it surprised me â was the vampire business. . . The other thing is the love story between the vampire and the hematologist. . . Much of that emotional conviction grows from [Author and composer Scott] Millerâs music, which is, I think, the best score heâs done for a show." <br />â Bob Wilcox, The Riverfront Times<br /><br /> 2386 "Conflicts lead to high-voltage confrontations, but the verbal fireworks do not result in a choice or a resolution."<br /> â Gerry Kowarsky, St. Louis Post Dispatch 2387 </p> 2388 </div> 2389 </div> 2390 </div> 2391 <div class="panel panel-default"> 2392 <div class="panel-heading" role="tab" id="headingSixtysix"> 2393 <h4 class="panel-title"> 2394 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtysix" aria-expanded="false" aria-controls="collapseSixtysix"> 2395 PIPPIN (1994) 2396 </a> 2397 </h4> 2398 </div> 2399 <div id="collapseSixtysix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtysix"> 2400 <div class="panel-body"> 2401 <p>"If you like musical theatre that goes for the guts, head for the St. Marcus Theatre . . . where New Lineâs Pippin runs." <br />â Bob Wilcox, The Riverfront Times<br /><br /> 2402 "Pippin seems to me to be New Lineâs slickest production to date â skilled cast, excellent te
2402chnical work, and polished vision. . . The pit band is nothing short of outstanding." <br />â Harry Weber, The Riverfront Times 2403 </p> 2404 </div> 2405 </div> 2406 </div> 2407 <div class="panel panel-default"> 2408 <div class="panel-heading" role="tab" id="headingSixtyseven"> 2409 <h4 class="panel-title"> 2410 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtyseven" aria-expanded="false" aria-controls="collapseSixtyseven"> 2411 ASSASSINS (1994) 2412 </a> 2413 </h4> 2414 </div> 2415 <div id="collapseSixtyseven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtyseven"> 2416 <div class="panel-body"> 2417 <p>"A surprisingly effective theater piece, in spite of, or perhaps because of, its unusual subject matter. The current production by the New Line Theatre brings out the best the show has to offer. . . The disparate elements of the show come together in large part because of the teamwork of the New Line cast. Individually, the performers all have fine moments, but they are at their best in what they do together." <br />â Gerry Kowarsky, St. Louis Post Dispatch<br /><br /> 2418 "New Line Theatreâs current production at the St. Marcus Theatre shores up the unity of this analysis of presidential assassins. . . Assassins is ambitious, fascinating work." <br />â Bob Wilcox, The Riverfront Times<br /><br /> 2419 "Anyone who tackles any Sondheim show and succeeds in entertaining without embarrassing themselves is a worthy force. But this group seems to go beyond that and strives for perfection in every aspect." <br />â Steve Allen, KFUO-FM 2420 </p> 2421 </div> 2422 </div> 2423 </div> 2424 <div class="panel panel-default"> 2425 <div class="panel-heading" role="tab" id="headingSixtyeight"> 2426 <h4 class="panel-title"> 2427 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtyeight" aria-expanded="false" aria-controls="collapseSixtyeight"> 2428 BREAKING OUT IN HARMONY (1993) 2429 </a> 2430 </h4> 2431 </div> 2432 <div id="collapseSixtyeight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtyeight"> 2433 <div class="panel-body"> 2434 <p>"There are a lot of truths â and a lot of questions â in Breaking Out in Harmony. . . [Author and composer Scott] Miller has dealt with a subject that continues to make news and cause controversy. . . Miller has written a musical that is âabout something,â and about something important too. Itâs worth seeing, thinking about, and most important, acting on." <br />â Joe Pollack, St. Louis Post Dispatch<br /><br /> 2435 "Some of Breaking Outâs songs are rousers." <br />â Harry Weber, The Riverfront Times 2436 </p> 2437 </div> 2438 </div> 2439 </div> 2440 <div class="panel panel-default"> 2441 <div class="panel-heading" role="tab" id="headingSixtynine"> 2442 <h4 class="panel-title"> 2443 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSixtynine" aria-expanded="false" aria-controls="collapseSixtynine"> 2444 ATTEMPTING THE ABSURD (1992) 2445 </a> 2446 </h4> 2447 </div> 2448 <div id="collapseSixtynine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSixtynine"> 2449 <div class="panel-body"> 2450 <p>"[Author and composer Scott] Miller has a nice sense of the ridiculous. He also shows a good feeling for whimsy and, most important, he has a deep and abiding love for classic American musicals. I liked the show better than I thought I would; itâs collegiate, sometimes sophomoric, but there are moments of great charm." <br />â Joe Pollack, St. Louis Post Dispatch<br /><br /> 2451 "About as good an evening of first-view musical comedy as Iâve seen for a
2451while. . . Millerâs book, music, and lyrics range widely, intelligently, unsentimentally, and wittily over familiar and unfamiliar territory." <br />â Harry Weber, The Riverfront Times 2452 </p> 2453 </div> 2454 </div> 2455 </div> 2456 <div class="panel panel-default"> 2457 <div class="panel-heading" role="tab" id="headingSeventy"> 2458 <h4 class="panel-title"> 2459 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#collapseSeventy" aria-expanded="false" aria-controls="collapseSeventy"> 2460 A TRIBUTE TO THE ROCK MUSICALS (1992) 2461 </a> 2462 </h4> 2463 </div> 2464 <div id="collapseSeventy" class="panel-collapse collapse" role="tabpanel" aria-labelledby="headingSeventy"> 2465 <div class="panel-body"> 2466 <p>"The impressively â sometimes overwhelmingly â enthusiastic, talented, skilled, and well-trained cast and band made A Tribute to the Rock Musicals 2 ⦠a high-energy, highly entertaining evening." â Bob Wilcox, The Riverfront Times</p> 2467 </div> 2468 </div> 2469 </div> 2470 </div> 2471 </div> 2472 </div> 2473 </div> 2474 </section> 2475 <!-- ========================= 2476 PRESS SECTION 2477 ============================== --> 2478 <section id="press" class="parallax-section"> 2479 <div class="container"> 2480 <div class="row"> 2481 <!-- Section title 2482 ================================================== --> 2483 <div class=" col-md-offset-2 col-md-8 col-sm-offset-1 col-sm-10" style="text-align:center;"> 2484 <div class="section-title"> 2485 <h2>Honors from the Press</h2> 2486 </div> 2487 </div>
2488 <div class="wow fadeInUp col-md-offset-1 col-md-10 col-sm-offset-1 col-sm-10" data-wow-delay="0.9s"> 2489 <div class="panel-group" id="accordion" role="tablist" aria-multiselectable="true"> 2490 <div class="panel panel-default"> 2491 <div class="panel-heading" role="tab" id="HheadingOne"> 2492 <h4 class="panel-title"> 2493 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseOne" aria-expanded="false" aria-controls="HcollapseOne"> 2494 St. Louis Post-Dispatch / "Judy Awards" 2495 </a> 2496 </h4> 2497 </div> 2498 <div id="HcollapseOne" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingOne"> 2499 <div class="panel-body"> 2500 <p>Best Couple in a Musical, Aj Surrell and Jake Blonstein, Cry-Baby, 2019<br /> 2501 Best Actor in a Musical, Zak Farmer, La Cage aux Folles, 2019<br /> 2502 Best New Musical, The Zombies of Penzanceâ, 2018<br /> 2503 Best actress, Sarah Porterâ, Anything Goes, 2018<br /> 2504 Best Set, Rob Lippertâ, Anything Goes, 2018<br /> 2505 Best Actress, Anna Skidis Vargas, Lizzie, 2017<br /> 2506 Best Music Director, Jeffrey Richard Carter, Sweet Smell of Success, 2017<br /> 2507 Best Villain, Zachary Allen Farmer, Celebration, 2016<br /> 2508 Best Solo Performance, Sarah Porter, Tell Me on a Sunday, 2016<br /> 2509 Best Lighting Designer, Rob Lippert, Atomic, 2016<br /> 2510 Best Musical, Threepenny, 2015<br /> 2511 Best Ensemble, Heathers, 2015<br /> 2512 Best Ensemble, Hands on a Hardbody, 2014<br /> 2513 Best Musical, Night of the Living Dead, 2013<br /> 2514 Best Couple, K. Short, J. Wright, Next to Normal, 2013<br /> 2515 Best Musical, Cry-Baby, 2012<br /> 2516 Best Couple, M. Dowdy, T. Carolan, Cry-Baby, 2012<br /> 2517 Best Actor, Charles Glenn, Passing Strange, 2011<br /> 2518 Best Supporting Actress, Charlotte Byrd, bare, 2011<br /> 2519 Best Musical Direction, Justin Smolik, season, 2011 <br /> 2520 Outstanding Set Design, Two Gents, 2011<br /> 2521 Best Director, Scott Miller, Evita, 2010<br /> 2522 Best Specialty Act [Ensemble], I Love My Wife, 2010<br /> 2523 Best Musical, Return to the Forbidden Planet, 2009<br /> 2524 Best Supporting Actor, Zachary Allen Farmer, 2008<br /> 2525 Best Musical Direction, Chris Petersen, 2008<br /> 2526 Best Musical, Urinetown, 2007<br /> 2527 Best Musical, Bat Boy, 2006<br /> 2528 Best Musical, Kiss of the Spider Woman, 2005<br /> 2529 Best Musical, Man of La Mancha, 2004<br /> 2530 Best Actress, April Strelinger, 2004<br /> 2531 Best Musical, Bat Boy, 2003 <br /> 2532 Best Supporting Actress, Deborah Sharn, 2003<br /> 2533 Best Musical, Chicago, 2002<br /> 2534 Best Supporting Actress, Lavonne Byers, 2002<br /> 2535 Most Ambitious Production, The Cradle Will Rock, 2001<br /> 2536 Best Production, Hair, 2000<br /> 2537 Most Ambitious Production, Floyd Collins, 1999<br /> 2538 Best Supporting Actress, Kimi Short, 1999<br /> 2539 Best Actress, Cindy Duggan, 1998<br /> 2540 Most Ambitious Production, Extreme Sondheim, 1997<br /> 2541 </p> 2542 </div> 2543 </div> 2544 </div> 2545 <div class="panel panel-default"> 2546 <div class="panel-heading" role="tab" id="HheadingSix"> 2547 <h4 class="panel-title"> 2548 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseSix" aria-expanded="false" aria-controls="HcollapseSix">
2549 St. Louis Post-Dispatch GO! List 2550 </a> 2551 </h4> 2552 </div> 2553 <div id="HcollapseSix" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingSix"> 2554 <div class="panel-body"> 2555 <p><strong>READERS' PICKS</strong><br /> 2556 Best St. Louis Scenic Designer, Rob Lippert, runner-up, 2020<br /> 2557 Best St. Louis Stage Director, Scott Miller, runner-up, 2020<br /> 2558 Best St. Louis Playwright, Scott Miller (tied with Nancy Bell), 2020<br /> 2559 Best St. Louis Scenic Designer, Rob Lippert, 2019<br /> 2560 Best St. Louis Stage Director, Scott Miller (tied with Steven Woolf), 2019<br /> 2561 Best St. Louis Costume Designer, Sarah Porter, 2018<br /> 2562 Best St. Louis Scenic Designer, Rob Lippert, 2018<br /> 2563 Best St. Louis Lighting Designer, Rob Lippert, runner-up, 2018<br /> 2564 Best St. Louis Stage Director, Scott Miller, runner-up, 2018<br /> 2565 Best St. Louis Playwright, Scott Miller, runner-up, 2018<br /> 2566 <strong>CRITICS' PICKS</strong><br /> 2567 Favorite Show That Hasn't Even Been Produced Yet, The Zombies of Penzance, 2018<br /> 2568 Best Theater Troupe for Musicals, 2017 </p> 2569 </div> 2570 </div> 2571 </div> 2572 <div class="panel panel-default"> 2573 <div class="panel-heading" role="tab" id="HheadingTwo"> 2574 <h4 class="panel-title"> 2575 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseTwo" aria-expanded="false" aria-controls="HcollapseTwo"> 2576 Riverfront Times' Best of St. Louis 2577 </a> 2578 </h4> 2579 </div> 2580 <div id="HcollapseTwo" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingTwo"> 2581 <div class="panel-body"> 2582 <p> 2583 Best Musical, Be More Chill, 2019<br /> 2584 Best Musical, Threepenny Opera, 2015<br /> 2585 Best Director, Scott Miller, 2015<br /> 2586 Best Music Director, Jeffrey Richard Carter, 2015<br /> 2587 Top 12 Shows of the Year, Night of the Living Dead, 2013<br /> 2588 Top 12 Shows of the Year, BBAJ, 2012<br /> 2589 Best Actor in a Musical, Zachary Allen Farmer, 2010<br /> 2590 Best Actress in a Musical, Taylor Pietz, 2010<br /> 2591 </p> 2592 </div> 2593 </div> 2594 </div> 2595 <div class="panel panel-default"> 2596 <div class="panel-heading" role="tab" id="HheadingFour"> 2597 <h4 class="panel-title"> 2598 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseFour" aria-expanded="false" aria-controls="HcollapseFour"> 2599 Alive Magazine "The Hot List" 2600 </a> 2601 </h4> 2602 </div> 2603 <div id="HcollapseFour" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingFour"> 2604 <div class="panel-body"> 2605 <p>Most Provocative Theatre in St. Louis</p> 2606 </div> 2607 </div> 2608 </div> 2609 <div class="panel panel-default"> 2610 <div class="panel-heading" role="tab" id="HheadingFive"> 2611 <h4 class="panel-title"> 2612 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseFive" aria-expanded="false" aria-controls="HcollapseFive"> 2613 St. Louis Magazine "A List" 2614 </a> 2615 </h4> 2616 </div> 2617 <div id="HcollapseFive" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingFive"> 2618 <div class="panel-body"> 2619 <p>
2619Best Theatre Company in St. Louis, 2011<br /> 2620 Best Musical, Promenade, 2026 </p> 2621 </div> 2622 </div> 2623 </div> 2624 <div class="panel panel-default"> 2625 <div class="panel-heading" role="tab" id="HheadingSeven"> 2626 <h4 class="panel-title"> 2627 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseSeven" aria-expanded="false" aria-controls="HcollapseSeven"> 2628 Ladue News 2629 </a> 2630 </h4> 2631 </div> 2632 <div id="HcollapseSeven" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingSeven"> 2633 <div class="panel-body"> 2634 <p>Best of St. Louis List, Urinetown, 2022<br /> 2635 Best of St. Louis List, Cry-Baby, 2019<br /> 2636 Top Ten Shows in STL, Lizzie, 2017<br /> 2637 Best of St. Louis List, Zorba, 2017<br /> 2638 Best of St. Louis List, Sweet Smell of Success, 2017<br /> 2639 Best of St. Louis List, Atomic, 2016<br /> 2640 Top Ten Shows in STL, Threepenny, 2015<br /> 2641 Best of St. Louis List, Hands on a Hardbody, 2014<br /> 2642 Best of St. Louis List, Bonnie & Clyde, 2014<br /> 2643 Best of St. Louis List, Next to Normal, 2013<br /> 2644 Best of St. Louis List, Night of the Living Dead, 2013<br /> 2645 Best of St. Louis List, High Fidelity, 2012<br /> 2646 Best of St. Louis List, Cry-Baby, 2012<br /> 2647 Best of St. Louis List, Passing Strange, 2011<br /> 2648 Best of St. Louis List, bare, 2011<br /> 2649 Best of St. Louis List, Two Gentlemen of Verona, 2011<br /> 2650 Best of St. Louis List, Evita, 2010<br /> 2651 Best of St. Louis List, The Wild Party, 2010<br /> 2652 Best of St. Louis List, Love Kills, 2009<br /> 2653 Best of St. Louis List, Spelling Bee, 2009<br /> 2654 Best of St. Louis List, Forbidden Planet, 2009<br /> 2655 #1 Best Show in St. Louis, High Fidelity, 2008<br /> 2656 Best of St. Louis List, Assassins, 2008<br /> 2657 Best of St. Louis List, Sex, Drugs, Rock & Roll, 2007<br /> 2658 Top 5 Comedies in STL, Robber Bridegroom, 2005<br /> 2659 Top 5 Dramas in STL, Kiss of the Spider Woman, 2005<br /> 2660 Top 5 Shows in STL, Man of La Mancha, 2004 2661 </p> 2662 </div> 2663 </div> 2664 </div> 2665 <div class="panel panel-default"> 2666 <div class="panel-heading" role="tab" id="HheadingEight"> 2667 <h4 class="panel-title"> 2668 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseEight" aria-expanded="false" aria-controls="HcollapseEight"> 2669 BroadwayWorld.com 2670 </a> 2671 </h4> 2672 </div> 2673 <div id="HcollapseEight" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingEight"> 2674 <div class="panel-body"> 2675 <p>Top Ten Musicals in STL, Something Rotten!, 2022<br /> 2676 Best Original Script of the Decade, Scott Miller, The Zombies of Penzance, 2020<br /> 2677 Best Costume Design of the Decade, Courtney Gibson, Sarah Porter, Head Over Heels, 2020<br /> 2678 Best Sound Design of the Decade, Ryan Day, Be More Chill, 2020<br /> 2679 Top Musicals in STL, Jerry Springer, 2015<br /> 2680 Top Musicals in STL, Threepenny, 2015<br /> 2681 Top Musicals in STL, Heathers, 2015<br /> 2682 Best Actress, Anna Skidis, Heathers, 2015<br /> 2683 Best Actor, Todd Schaefer, Threepenny, 2015<br /> 2684 Best Directors, Scott Miller, Mike Dowdy, 2015<br /> 2685 Top Ten Musicals in STL, Rent, 2014<br /> 2686 Top Ten Musicals in STL, Hands on a Hardbody, 2014<br /> 2687 Top Ten Musicals in STL, Bonnie & Clyde, 2014<br /> 2688 Top Ten Musicals in STL, Cr-Baby, 2012<br /> 2689 Top Ten Musicals in STL, High Fidelity, 2012<br /> 2690 Top Ten Musicals in STL, BBAJ, 2012<br /> 2691 Best Actor in a Musical, Ryan Foizey, Cry-Baby, 2012<br /> 2692 Best Actor in a Musical, John Sparger, BBAJ, 2012<br /> 2693 Best Director of a Musical, Scott Miller, BBAJ, 2012<br /> 2694 Top Ten Musicals in STL, Passing Strange, 2011<br /> 2695 Top Ten Musicals in STL, bare, 2011<br /> 2696 Top Ten Musicals in STL, Two Gentlemen of Verona, 2011<br /> 2697 Top Ten Shows in STL, The Wild Party, 2010<br /> 2698 Top Ten Shows in STL, Evita, 2010<br /> 2699 Top Ten Shows in STL, Spelling Bee, 2009<br /> 2700 Top Ten Shows in STL, Love Kills, 2009 2701 </p> 2702 </div> 2703 </div> 2704 </div> 2705 <div class="panel panel-default"> 2706 <div class="panel-heading" role="tab" id="HheadingNine"> 2707 <h4 class="panel-title"> 2708 <a class="collapsed" data-toggle="collapse" data-parent="#accordion" href="#HcollapseNine" aria-expanded="false" aria-controls="HcollapseNine">
2709 St. Louis Post-Dispatch Monthly JJ Awards 2710 </a> 2711 </h4> 2712 </div> 2713 <div id="HcollapseNine" class="panel-collapse collapse" role="tabpanel" aria-labelledby="HheadingNine"> 2714 <div class="panel-body"> 2715 <a href="http://www.stltoday.com/online/scott-miller/article_113a0ff4-d9da-56fc-ad60-dcfdbadabac1.html" >Scott Miller</a>, Jan. 2018<br /> 2716 <a href="http://www.stltoday.com/entertainment/jj-awards-who-wowed-our-theater-critic-onstage-in-march/article_41aa798c-43cc-5849-aeeb-5e18ca932fe9.html" >Sarah Porter</a>, March 2018</p> 2717 </div> 2718 </div> 2719 </div> 2720 </div> 2721 </div> 2722 </div> 2723 </div> 2724 </section> 2725 <!-- ========================= 2726 REGISTER SECTION 2727 ============================== --> 2728 <section id="register" class="parallax-section"> 2729 <div class="container"> 2730 <div class="row">
2731 <div class="wow fadeInUp col-md-12 col-sm-12" data-wow-delay="0.6s"> 2732 <h2>Contact us!</h2> 2733 <h3>If you have any questions, feel free to contact us!</h3> 2734 <button type="button" class="btn btn-success btn-lg"><a href="contactUs.php#start" >CONTACT US</a></button> 2735 2736 </div> 2737 2738 </div> 2739 </div> 2740 </section> 2741 <!-- ========================= 2742 FOOTER SECTION 2743 ============================== --> 2744 <footer> 2745 <div class="container"> 2746 <div class="row"> 2747 <div class="col-md-12 col-sm-12 footerLinks"> 2748 <a href="directions.html#tickets" class="smoothScroll">Tickets</a> 2749 <a href="http://www.cafepress.com/newlinetheatre" >New Line Gear</a> 2750 <a href="http://astore.amazon.com/newlinetheatre" >Bookstore</a> 2751 <a href="auditions.html#start" >Auditions</a> 2752 <a href="offline.html#start" >Offline</a> 2753 <a href="contactUs.php#start" >Contact Us</a> 2754 <a href="sitemap.html#start" >Sitemap</a> 2755 </div> 2756 <div class="col-md-12 col-sm-12"> 2757 <p class="wow fadeInUp" data-wow-delay="0.6s"></p> 2758 <ul class="social-icon"> 2759 <li><a href="https://www.facebook.com/NewLineTheatre" class="fa fa-facebook wow fadeInUp" data-wow-delay="1s"></a></li> 2760 <li><a href="https://twitter.com/NewLineSTL" class="fa fa-twitter wow fadeInUp" data-wow-delay="1.3s"></a></li> 2761 <li><a href="https://bsky.app/profile/newlinestl.bsky.social" class="fa-brands fa-bluesky wow fadeInUp" data-wow-delay="1.5s"></a></li> 2762 <li><a href="https://www.youtube.com/c/NewLineTheatre" class="fa fa-youtube wow fadeInUp" data-wow-delay="2s"></a></li> 2763 <li><a href="https://www.instagram.com/newlinetheatre/" class="fa fa-instagram wow fadeInUp" data-wow-delay="2.3s"></a></li> 2764 <li><a href="https://www.tiktok.com/@newlinestl" class="fa-brands fa-tiktok wow fadeInUp" data-wow-delay="2.5s"></a><li> 2765 <li><a href="https://open.spotify.com/user/124580602" class="fa fa-spotify wow fadeInUp" data-wow-delay="2.8s"></a></li> 2766 <li><a href="http://feeds.feedburner.com/blogspot/rmbkl" class="fa fa-rss wow fadeInUp" data-wow-delay="3.1s"></a></li> 2767 <li><a href="mailto:[email protected]" class="fa fa-envelope wow fadeInUp" data-wow-delay="3.3s"></a></li> 2768 </ul> 2769 </div> 2770 </div> 2771 </div> 2772 </footer> 2773 <!-- Back top --> 2774 <a href="#back-top" class="go-top"><i class="fa fa-angle-up"></i></a> 2775 <!-- ========================= 2776 SCRIPTS 2777 ============================== --> 2778
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