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NEXT TO NORMAL (2013)
“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 they’ve 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 it’s blocked and staged in a manner
that brings the message of the play clearly in focus. New Line Theatre’s
production of Next to Normal is easily the best show I’ve 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...” – Chris
Gibson, BroadwayWorld
“Surprising and exceptional performances
from the entire cast, in a story that will not settle for less. . . it’s a major
leap forward in depth of characterization offered by New Line Theatre. Watch
out, everybody, the ‘bad boy of musical theater’ is growing up!” – Richard
Green, TalkinBroadway
“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.” – Andrea Torrence, St. Louis Theatre
Snob
“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 it’s 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 Sondheim’s Into The
Woods.” – Judy Newmark, St. Louis Post-Dispatch
“New Line Theatre’s Next to Normal
is nothing less than extraordinary . . . For those who enjoy live theater, but
have never seen the show, I can’t 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 Line’s production looks and sounds fantastic, and continues to
impress upon me the power of local theater.” – Kevin Brackett, ReviewSTL
“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.” –
Laura Kyro, KDHX
“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 Line’s 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 Line’s 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
he’s been able to accentuate the delicate emotions that are laid bare in Next
to Normal.” – Mark Bretz, Ladue News
“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 ‘Light’ to show their appreciation for a talented cast and crew and a most
brave production.” – Steve Allen, StageDoorSTL
“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.” – Jeff Ritter, The Trades
“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.” – Kevin J.
Bowman, Dispossessed
“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.” – Bob Wilcox, Town and Style
BLOODY BLOODY ANDREW JACKSON (2012)
“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: ‘If you're not careful, you might learn something before
it's done.’ 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).” – Chris Gibson,
BroadwayWorld
“From its sensational opening number,
‘Populism, Yea, Yea!,’ 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.” – Judith Newmark St. Louis Post-Dispatch
“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 — 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 — always — rocked.”
– Paul Friswold, The Riverfront Times
“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 – not from New Line Theatre. . . Scott Miller
directs the insanity with abandon – 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.” – Bob Mitchell,
KDHX
“This is a New Line show if there ever
was one. It’s 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 he’s
surrounded by a terrific ensemble in which almost everyone plays multiple roles.
We are treated to irreverent portrayals of some of the country’s 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.” – Gerry Kowarsky,
Two on the Aisle
“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
‘history lesson.’ 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.” – Mark Bretz, Ladue News
“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.” – Lynn Venhaus,
Belleville News Democrat
“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.” – Richard Green, TalkinBroadway
“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 Smolik’s 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.” – Andrea Torrence,
St. Louis Theatre Snob
“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 country’s 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
Friedman’s emo (emotional hardcore) rock score and in-your-face lyrics.” – Nancy
Fowler, St. Louis Beacon
“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.” – Jeff Ritter,
The Trades
“It’s the most fun you’re 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 you’re in the mood for a bizarre look at this iconic period in American
history, you’re in for a treat with Bloody Bloody Andrew Jackson. It
should be required viewing for every college American History course.” – Steve
Allen, Stagedoor STL
HIGH FIDELITY (2012)
“Earlier this season, New
Line Theatre staged two regional premiers: the wry, insightful Passing
Strange and the raucous, insightful Cry-Baby. High Fidelity – by
turns wry and raucous, and maybe the most insightful of all – 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; it’s 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 musical’s 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.” – Judith Newmark, St. Louis
Post-Dispatch
“The Number One reason to
see this revival production of High Fidelity: IT ABSOLUTELY ROCKS!” –
Chris Gibson, BroadwayWorld
“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 couldn’t 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 wasn’t 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 don’t want to
miss.” – Kevin Brackett, ReviewSTL
“As always, Scott
Miller’s 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
wouldn’t end. . . If you’re ready for flat-out fun, don’t 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 there’s life in any musical as long as it has heart, desire and a
little help from Scott Miller.” – Steve Allen, Stage Door St. Louis
“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. Miller’s New Line Theatre mounted 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.” – Mark Bretz, Ladue
News
“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 – 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 – in fact
you could say this show is ‘re-mastered’ – in its new space, it takes the
already clean master material and polishes it further, opening up the stage to
let the ‘confessional booth’ 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 rockin’
music with a good story is your idea of great entertainment, plan on seeing New
Line’s High Fidelity.” – Robert Mitchell, KDHX-FM
“Right now, we can enjoy
a second helping of Miller’s 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.” – Gerry Kowarsky, Two on the Aisle
“I was glad to see it
again. I think I enjoyed it more this time and got more out of it.” – Bob
Wilcox, Two on the Aisle
“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.” – Mike Appelstein, The Riverfront Times
“Don’t dismiss them as merely regional theater – 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.” – Jeff Ritter,
The Trades
“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.” – St.
Louis Theatre Snob
CRY-BABY (2012)
“If you liked New Line’s 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: Evita, 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.” – Judith Newmark, St. Louis Post-Dispatch
“I couldn't stop smiling and laughing through this
stage-musical version of John Waters’ 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.” – Richard Green,
TalkinBroadway.com
“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 ‘boy
meets girl, boy loses girl, boy gets girl back’ scenarios that we've all been
exposed to in more traditional shows. At times, it’s like watching a throwdown
between Little Richard and Pat Boone over who really sings ‘Good Golly, Miss
Molly’ 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. It’s wonderfully directed, smartly choreographed, and marvelously acted. .
. This is a rave because this a rockin’ good show! Go see Cry-Baby and
enjoy!” – Chris Gibson, BroadwayWorld
“Four and half stars out of five. A glorious and
infectious American regional premiere by New Line Theatre. Under Miller’s
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.” – Mark Bretz, Ladue
News
“Three and a half stars our of four. There’s an
enthusiasm and energetic playfulness in New Line Theatre’s production of
Cry-Baby that evokes some very clever laughs and lots of nostalgic
friskiness. It’s 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.” – Harry Hamm, KMOX
“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.” –
St. Louis Theatre Snob
“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 Waters’ film of the same name.” – Bob Wilcox, KDHX
“Scott Miller directs stylishly. . . Miller’s direction and
the cast’s talent make it a fine diversion, something to see if you need a break
from preparing your taxes.” – Joe Pollack, St. Louis
Eats and Drinks
PASSING STRANGE (2011)
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. It’s 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 it’s 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.” – Harry Hamm, KMOX
“New Line’s season opener
rocks. Literally. Never letting you forget you’re watching a play, Passing
Strange challenges the preconceptions about what a musical is – a musical
for people who don’t think they like musicals. It’s a high-octane, allegorical,
semi-autobiographical account of a musician, Mark Stewart, who goes by the
single name, Stew, and his journey of self-discovery. . . It’s a brilliant show
with memorable performances and amazing songs. Actually, I’m buying the cast
recording the second I post this entry. In short, go see it. I’m not kidding.” –
Andrea Torrence, St. Louis Theatre Snob
“Passing Strange is its own show,
and an excellent one. . . It’s an exciting mélange of musical styles, with seven
outstanding performers sizzling across the stage. . . It’s an interesting,
fast-paced evening of musical theater with an exciting score, typical of the
off-beat, difficult-to- characterize New Line productions.” – Joe Pollack,
St. Louis Eats and Drinks
“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 it’s equally worthy of attention by the entire theatre-going crowd, since
it’s incredibly captivating and involving, and filled with great music.” – Chris
Gibson, BroadwayWorld
“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 won’t find a more daring, unexpected or entertaining evening of theater
anywhere else in St. Louis.” – Steve Allen, Java
Journal
“The musical Passing Strange takes
the audience on a wild ride through sex, drugs and rock and roll. . . In
director Scott Miller’s very capable hands, the show is poignant at times, angry
at others, sometimes warm and very often hilarious.” – Christopher Reilly,
The Patch
“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. That’s 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 Stew’s wit and shaking with Miller’s style. But it wouldn’t matter if not
for the other artists who contributed their talents, notably the band and the
ensemble.” – Judith Newmark, St. Louis Post-Dispatch
“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 Stew’s free-wheeling tunes as
the Narrator on the Great White Way, as he is in New Line Theatre’s sparkling
presentation, it might still be playing there. Glenn has a masterful,
multi-textured voice, an instrument he utilizes with utmost finesse under Scott
Miller’s 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.” – Mark Bretz,
Ladue News
“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 show’s quest for artistic identity.
. . There’s more in Passing Strange than I could take in, in one sitting.
I hope this show won’t be a stranger to St. Louis theatres.” – Gerry Kowarsky,
Two on the Aisle“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 that’s present does a lot
to gently accentuate the show and its cast – 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, Miller’s
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.” – Emily Piro, KDHX
“Passing Strange, Stew and Heidi Rodewald’s 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.” – The Riverfront Times
“Everyone around me was raving about the singing, the
story, everything. . . Overall, there is a lot to like here.” – Rosiland Early,
St. Louis Magazine
BARE (2011)
“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 catchy,
open-ended compositions with an undeniably important subject matter. Make an
effort to see it soon!” – BroadwayWorld.com
“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. It’s 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.” – Richard Green, TalkinBroadway.com
“A 4.5 on a scale of 1-to-5. It’s smart,
humorous and sophisticated, all elements readily observable in the regional
premiere mounted by artistic director Scott Miller in New Line Theatre’s
engaging and accessible presentation. . . Miller keeps the production moving
briskly while also consistently bringing out the work’s sophistication,
including guiding his players successfully through its complicated score.
Really, there’s little ‘bare’ about this rendition past its title. Quite the
opposite, it’s an engaging evening of entertainment.” – Mark Bretz, Ladue
News
“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
Miller’s production of bare.” – Darren Orf,
St. Louis Magazine
“Go to New Line and plunge into this sad,
dense, haunting pop opera. Yet for all its complexity, it’s 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 Intrabartolo’s romantic
pop score, performed with passion by conductor Justin Smolik and the New Line
Band. . . bare addresses a wealth of teen problems – substance abuse, pregnancy,
questions of sexual identity, teen suicide – but it's no after-school special.
It offers no answers, beyond an assertion that honesty is healthy and secrecy
can be lethal.” – Judith Newmark, St. Louis Post-Dispatch
“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
Miller’s 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.” – Christopher Reilly, The Patch
“It’s 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.” – Joe
Pollack, St. Louis Eats and Drinks
“The cast of New Line’s bare
brings more power than is probably needed in the small space but the show’s
powerful message comes through loud and clear. The cast is a good one and this
cult musical makes an impressive local debut. . . It’s all tied together with
the great touch of New Line’s artistic director Scott Miller. And the flawless
work by the band led by Justin Smolik adds to the lovely evening. . . It’s an
adult production with some very provocative scenes and music that may not be to
everyone’s taste, but bare really makes for a delightful evening of
musical theater.” – Steve Allen, Java Journal
TWO GENTLEMEN OF VERONA (2011)
“New Line Theatre’s Two Gentlemen of Verona is an
enthusiastic, gutsy, spirited, humorous and totally entertaining show. New
Line’s cast is the ultimate in professional silliness. Shakespeare has never
been this much fun!” –
Harry Hamm, KMOX
“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 – the show, the cast, the band, the production values – 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.” – Steve Callahan, KDHX
“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 audience 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.” – Chris Gibson, BroadwayWorld.com
“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.” –
Judith Newmark, St. Louis Post-Dispatch
“This winsome work by MacDermot, Guare
and Shapiro is a delightful romp that is much more than the sum of its
parts. Scott Miller’s 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 Miller’s flamboyant and
spirited approach, though, it’s easy to sit back and enjoy these musical
Gentlemen. A 4.5 on a scale of 1-to-5.” – Mark Bretz,
The Ladue News
“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.” – Christopher Reilly,
The Patch
“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) – 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.” – Andrea Torrence,
St. Louis Theatre Snob
“This is one you don’t want to miss. It’s
really a piece of history and the infrequency of productions of Two Gentlemen
of Verona makes it a true must-see.” – Steve Allen,
Java Journal
“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 – or, at least, in love with this show.” – Richard Green,
TalkinBroadway.com
“It’s 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.” – Gerry Kowarsky, Two on the Aisle
“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.” – Joe Pollack, St. Louis Eats and
Drinks
I LOVE MY WIFE (2010)
“New Line Theater bows
I Love My Wife, an often hilarious musical spoof of the so-called ‘free
love’ era and how two married couples discover the truth about ‘four play.’ New
Line Theatre always does great work. When they perform, you’re always up close
and personal. Sometimes the performers are only three to four feet from where
you’re 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
Line’s 20th season.” – Harry Hamm, KMOX
“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. It’s 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. Miller’s 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.” – Judith Newmark,
St. Louis Post-Dispatch
“The swingin’ 70s were a nonstop,
hedonistic thrill ride. Marriages were open, key parties were de rigueur, love
was American Style – 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 – and we ain’t talkin’
about herpes.” – Paul Friswold, The Riverfront Times
“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.” – Gerry Kowarsky, Two on the Aisle
“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.” – Chris Gibson,
BroadwayWorld.com
“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 parents’ faces. . . but it's an
accurate view – and spoof – 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 husband’s desire to join
the sexual revolution he fears has begun without him, using his friend’s wife to
help him get up to date, is bright and tuneful, well-paced under Scott Miller’s
on-point direction. . . It’s powerful, and it’s fun.” – Joe Pollack,
St. Louis Eats and Drinks
“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 you’ll have a lot of fun
and a lot of laughs at this one.” – Steve Allen, Java
Journal
“Interesting and hilarious. Now, it's
not as though there's a detailed plot for this show, but under Scott Miller and
Alison Helmer’s 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.” – Andrea Torrence, St. Louis Theatre Snob
“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.” – Bob Wilcox, KDHX
EVITA (2010)
“Simply put, New Line Theatre’s
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 Line’s 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 Miller’s
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.” – Chris Gibson,
BroadwayWorld.com
“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.” – Richard Green, TalkinBroadway.com
“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 I’m
afraid the standard version is going to disappoint me even more when I see it
next.” – Gerry Kowarsky, Two on the Aisle
“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 man’s (lyricist Rice) interpretation of a time and place but a riveting
theatrical experience. . . Miller’s Evita is visceral, raucous and always
entertaining, bringing out the best in Lloyd Webber’s complex and diverse score
and underscoring Rice’s sophisticated and compelling lyrics in clever fashion.” – Mark Bretz, Ladue News
“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 Miller’s 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 Zinkl’s 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.” – Joe Pollack
“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
Line’s 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 Peron’s mistress-turned-wife Eva Peron. With the crisp accompaniment of the
New Line band conducted by Chris Peterson, Miller’s Evita was visceral,
raucous and always entertaining. ” – Mark Bretz, The Ladue News, “2010
Year-in-Review”
“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.” – Laura Kyro, KDHX-FM
“Taylor Pietz is a
riveting Evita. . . . The ensemble is just as impressive as the principals. Each
member’s many expressions manage to create a real human being with a back-story.
We see a spectrum’s worth of feelings for Eva, from affection to unabashed
adoration. How hopeful they look in ‘A New Argentina,’ too.” – Peter Filichia,
TheatreMania.com
“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
Miller’s sensibilities and partly because New Line is the only place in town
you’re 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 – 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.” – Judith Newmark, St.
Louis Post-Dispatch
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.” – Chris Gibson, BroadwayWorld.com
THE WILD PARTY (2010)
“They call themselves the bad boy of
musical theatre in St. Louis and they are – this is a very adult show. . . If
you like shows like Cabaret and Chicago, you’ll like The Wild
Party. . . You’re going to see really good, well done adult theatre at New
Line that nobody else really attempts here in St. Louis. . . It’s a good strong
cast with a couple of really, really, really strong individual
performances.” – Harry Hamm, KMOX
“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.” – Chris Gibson, BroadwayWorld.com
“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.” – Richard Green,
TalkinBroadway.com
“With so much blood and
tawdriness as its inspiration, you’d think The Wild Party would celebrate
the ugly side of humanity; it definitely doesn’t shy away from sin and vice and
everything nice, but there’s 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 shit? 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.” – Paul Friswold,
The Riverfront Times
“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.
” – Joe Pollack, St. Louis Eats and Drinks
“A fascinating and
absorbing show that capably showcases Lippa’s talent for interesting lyrics and
lively music. New Line artistic director Scott Miller’s 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.” – Mark Bretz,
The Ladue News
“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.. . . ‘People die and
parties fail,’ 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.” – Nancy Fowler
Larson, St. Louis Beacon
“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. Someone’s bound to slip and get hurt.” – Judith
Newmark, St. Louis Post-Dispatch
“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.”
– Mark Bretz, The Ladue News, “2010 Year-in-Review”
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.”
– Chris Gibson, BroadwayWorld.com
LOVE KILLS (2009)
“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 – 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.” – Paul Friswold,
The Riverfront Times
“I make it a point to seek out productions by New Line Theatre
because I know I’ll see something edgy and original, and with the regional
premiere of Kyle Jarrow’s provocative work Love Kills they’ve, once
again, fulfilled that desire. Jarrow’s 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 there’s any truth to be gleaned from the facts presented in this
dramatization, then New Line’s 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 you’re looking for something outside
the norm, then you should definitely check out New Line’s production of Love
Kills.” – Chris Gibson, BroadwayWorld.com
“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 ‘emo rock musical,’ and in
the sense that it is highly charged and personal, that’s fair. Scott Miller
directs with passionate intensity, and it’s among the finest work I’ve seen from
this company, which is saying a lot. This isn’t the world’s 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.” – Andrea Braun, KDHX-FM
“To open its 19th season New Line Theatre
has the good fortune to host the world premiere of Jarrow’s 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 Line’s
effort, under the expert guidance of artistic director Scott Miller, features a
quartet of terrific performances by Miller’s 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 Line’s 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.” – Mark Bretz,
Laude News
“I had a wonderful surprise at New Line’s
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.” – Gerry Kowarsky, Two on the Aisle, KDHX-TV
“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.”
– Harry Hamm, KMOX
“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.” – Joe Pollack, St. Louis Eats and Drinks
“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?” – Gabe Hartwig, St. Louis
Post-Dispatch
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 — about spree-killer Charlie
Starkweather no less — 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.” – The Riverfront Times' Best of St. Louis 2010
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.” – The Riverfront Times' Best of St. Louis 2010
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.”
– Andrea Braun, Playback STL
TOP TEN SHOWS OF 2009: “It would have
been easy for Kyle Jarrow to score his tale of killer Charlie Starkweather and
Caril Fugate’s 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 isn’t Danny Zuko, he’s a
murderer. New Line Theatre brings this dark vision to life under Scott Miller’s
taut direction, but it’s the grounded performance of Alison Helmer along with
Zachary Allen Farmer’s quiet intensity as Merle, the sheriff, that really makes
this piece cook.” – Chris Gibson, BroadwayWorld.com
THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE (2009)
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 Finn’s catchy, but challenging score.”
–
Chris Gibson, BroadwayWorld.com
“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.” – Andrea Braun, KDHX-FM
“All of the
stress and self-doubt of puberty are relived in delightfully meticulous and
humorous detail in director Scott Miller’s 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 Line’s
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.” – Mark Bretz, Ladue News
“This Spelling Bee radiates the goofy, familiar charm of a sketch comedy
show that you try not to miss. You know the players; the fun lies in seeing what
they'll do this time. . . It’s 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 – but we wouldn't laugh if we
didn't know exactly how they feel.” – Judith Newmark, St. Louis Post-Dispatch
“[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 ‘good job,’ and hope the vulnerable are
resilient enough to take the punches when they come.” – Paul Friswold, The
Riverfront Times
“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 Miller’s direction is crisp and on the mark . . . Spelling
Bee is a great deal of fun.” – Joe Pollack
“Life may be pandemonium, as the lyrics goes,
but Miller’s direction is quite disciplined, and his cast is top-notch.” – Peter
Filichia, TheatreMania.com
“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.” – Chris
Gibson, BroadwayWorld.com
“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 night’s entertainment.” – Nancy Larson, St. Louis Woman
RETURN TO THE FORBIDDEN PLANET (2009)
“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.” – Judith Newmark, St. Louis Post-Dispatch on KDHX-FM
“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 ‘Pigs in Space’ costuming (courtesy of Betsy
Krausnick). But this is no parlor trick of a musical; there's a rich vein of
Shakespeare's favorite ingredient
–
the wondrous depths of the human heart
–
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 – this is what audiences deserve.” – Paul Friswold,
The Riverfront Times
“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 – a smart, giddy, musically ingenious
spoof written by Bob Carlton and directed by Scott Miller.”
– Judith Newmark, St. Louis Post Dispatch
“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.”
– Calendar Pimp, The Riverfront
Times
“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.”
– Mark Bretz, Ladue News
“The most delightful musical to hit St. Louis
in many years. . . a wondrous evening of musical theatre.” – Joe Pollack,
KWMU-FM
“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”
– Chris Gibson, KDHX-FM
“Forbidden
Planet plays for laughs, which it receives in abundance. . . [Director]
Miller takes chances, and they nearly always pay off.”
– Andrea Braun, The Vital Voice
NIGHT OF THE LIVING SHOW TUNES (2009)
“Scott Miller and the ‘New Line All-Stars’ put together a really
fun show last night. Yeah, it’s a musical theater revue – one with some really
funny, smart material, a lot of it drawn from shows that New Line has staged in
their entirety. . . The stately [Sheldon Concert Hall] and the offbeat material
made a great combination, elegant but relaxed – you know, like you have style,
but you’re used to it.”
– Judith Newmark, St. Louis Post Dispatch
“A special evening of song designed, in part, to raise funds for
the New Line Theatre scholarship fund, took place over the course of two nights
in the shimmering acoustic surroundings of the Sheldon Concert Hall. Artistic
Director Scott Miller tickled the ivories in expert fashion as a parade of local
talent favored the audience with an eclectic mix of tunes culled from a wide
variety of shows. It was a thoroughly enjoyable evening, and it definitely
piqued my curiosity about some of the more obscure material that was presented.”
– Chris Gibson, KDHX-FM
HAIR (2008)
“This is New Line’s 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 Petersen’s
six-man rock band. Most of all, it comes through in the cast, an ensemble known
as the Tribe.” – Judith Newmark, St. Louis Post
Dispatch
“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 ‘end this beauty’.” – Andrea Braun,
PlaybackSTL
“Here we are in a similar, but I would
say even darker place – 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 ‘Let The Sun Shine In,’
but it felt an awful lot like the Holy Ghost, or someone like him, was in the
house.” – Stefene Russell, St. Louis Magazine
“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 ‘a group of people with strange
clothes and a shared faith in nebulous concepts who make strange proclamations
about society's ills’ – 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.” – Paul Friswold, The Riverfront
Times
“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.” – Richard Green,
TalkinBroadway.com
“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.” – Chris Gibson, KDHX-FM
HIGH FIDELITY (2008)
BEST SHOW of 2008: “Based on a novel by Nick Hornby,
this stylish musical didn’t 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 Hornby’s characters, led by
music-store-clerk-turned-owner Rob, the energy and passion of Miller’s cast was
infectious and immensely appealing. Jeffrey Wright showed us Rob’s
vulnerability and sweetness beyond the rock ‘n’ roll sass, and his easy-going
musical style delightfully conveyed the show’s triumphant spirit.” – Mark Bretz,
Ladue News
“Theater
Year in Review”
“New Line’s 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 Rob’s 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. . .” – Paul Friswold,
The Riverfront Times
“A 5 on a scale of 1-to-5. Sweet and
charming while also faithful to its raw rock roots, New Line’s 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 Line’s High Fidelity can be cherished as fondly as Rob’s
coveted collection of old 45s. What a rewarding sound it is.”
– Mark Bretz, Ladue News
“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-Abaire’s
script captures the novel’s flavor better than the film adaptation did. Number
three, because this is the midwest premiere, and you'll want to see this in it’s
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.”
– Chris Gibson, KDHX-FM
“The stars are in perfect alignment for
the regional premiere of Tom Kitt and Amanda Green's musical, based on the novel
by 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.” – Richard Green,
TalkinBroadway.com
“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.” – Judith
Newmark, St. Louis Post Dispatch
ASSASSINS (2008)
“[New Line Theatre’s] 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, ‘Here I am’? And how do we make that change? We have no
answers on this stage – just acute questions that deserve to be raised.” –
Judith Newmark, St. Louis Post Dispatch
“[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. Bettlach’s 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. Breckel’s set is simple with an ingenious, large wooden piece to
serve various purposes and three graphics hanging above. Stephen Moore’s 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.” – Andrea
Braun, KDHX-FM
“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.” – Mark Bretz, Ladue News
“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.” – Dennis
Brown, The Riverfront Times
SEX, DRUGS, AND ROCK & ROLL (2007)
“ 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.” – Judith
Newmark, St. Louis Post Dispatch
“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 – or sexual –
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.” – Joe Pollack, KWMU-FM
“Miller keeps the two-act, two-hour show moving at a
brisk and enjoyable pace for the most part, and he’s assembled a strong cast
that is comfortable and engaging delivering tunes from myriad works. . .
Miller’s energetic troupe delivered the goods with fun and flair.” – Mark Bretz,
Ladue News
“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 thousands 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.” – Harry Hamm, KMOX
URINETOWN (2007)
“An exhilarating, don’t-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 Berger’s choreography is
gloriously in step with the story. So put your pennies together for the
funniest, most tuneful show in town.” – Calvin Wilson, St. Louis Post
Dispatch
“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.” – Kirsten Wylder, KDHX-FM
“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.” – Amy Burger,
PlaybackSTL
GREASE (2007)
“ 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 movie
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.” – Chris Gibson, BroadwayWorld.com,
reviewing the national tour in 2009
“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.” – Judith Newmark, St.
Louis Post Dispatch
“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.” –
Chris Gibson, KDHX-FM
“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.” – Bob Wilcox,
West End Word
JOHNNY APPLEWEED (2006)
“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, there’s a
gloriously irreverent sketch-comedy sensibility at work. . . Even if you don’t
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. It’s a giddy delight.” – Calvin Wilson, St. Louis Post Dispatch
“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.” – Richard Green,
TalkinBroadway.com
“It's hard to believe that Johnny Appleweed is a
musical – 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.” – Kaylen Hoffman, PlaybackSTL
JESUS CHRIST SUPERSTAR (2006)
“Director Scott Miller has brilliantly reimagined the early Andrew Lloyd Webber
triumph for the here and now. . . Lloyd Webber’s unforgettable music and Tim
Rice’s witty lyrics benefit mightily from Miller’s chamber-musical approach.
Without the customary bombast, it’s 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. ” – Calvin Wilson,
St. Louis Post Dispatch
“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.”
– Backstage
“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 Miller’s casting choices are
exemplary. . . A superior production. . .” – Joe Pollack, KWMU-FM
“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.” – Kirsten Wylder, KDHX-FM
“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.” –
Deanna Jent, The Riverfront Times
BAT BOY (2006)
“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.” –
Judith Newmark, St. Louis Post Dispatch
“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!” – Jim Campbell, Playback STL
“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.” – 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.” – Backstage
“Some
shows are just too much fun to let slip away. In that vein, nearly the entire
cast of New Line’s 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.” – Richard Green, KDHX-FM
“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.” – Deanna Jent,
The
Riverfront Times
THE FANTASTICKS
(2005)
“ 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. ” – Judith Newmark,
St. Louis Post Dispatch
“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. ” – Doug Storm, KDHX-FM
“ 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.”
– Mark Bretz, Ladue News
“New Line’s The Fantasticks is a good
illustrator of why it’s 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 it’s 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.” – John Shepard, Playback St. Louis
KISS
OF THE SPIDER WOMAN (2005)
“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
salute to the combined genius of Kander, Ebb and McNally, with appropriate
respect to Puig, and his cast is clearly equal to the task.”
– Mark Bretz, Ladue News
“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.”
– Judith Newmark, St. Louis Post Dispatch
”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.” – Jim Campbell,
Playback
St. Louis
“Kiss
of the Spider Woman
is one of New Line's best productions.” – Bob Wilcox, KDHX-FM
THE
ROBBER BRIDEGROOM (2005)
“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.” – Steve Callahan,
KDHX-FM
“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, you’re in luck, as New Line’s players will indeed
entertain.” – Tyson Blanquart, Playback St. Louis
“The
Robber Bridegroom
suits Miller’s smart, no-frills aesthetic – and boasts the added advantage
of unfamiliarity. It’s one show that nobody’s seen ‘too many times.’ Yet
it’s 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 ‘Two Heads’ or ‘Poor Tied Up Darlin.’
There’s 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 Rosamund’s dainty frocks.
” – Judith Newmark, St.
Louis Post Dispatch
"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.”
– Mark Bretz, Ladue News
“The
indomitable Mr. Miller [as director] has taken what he's got and whipped his
cast into a proper frenzy of comic cataclysm.” – Richard Green, Talkin’
Broadway.com
“A
bright, charming production by New Line Theatre. . . Highly entertaining.”
– Joe Pollack, KWMU-FM
MAN
OF LA MANCHA (2004)
“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 inspires 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 ‘a life worth living’.” – Nancy Crouse, KDHX-FM
“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.” – Mark Bretz, Ladue
News
“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. ” – Tyson Blanquart, Playback
St. Louis
“Once
it begins to roll, it sweeps like an avalanche. . . a great show in every
respect.” – Joe Pollack, KWMU-FM
“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.” – Judith
Newmark, St. Louis Post Dispatch
HEDWIG
AND THE ANGRY INCH (2004)
“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.” – Deanna Jent, Riverfront Times
“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.” – Joe Pollack, KWMU-FM
“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 –
and whose past, present, and future are even richer, thanks to greater artistic
virtuosity.” – Richard Green, KDHX-FM
“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.” –
Gerry Kowarsky, St. Louis Post Dispatch
“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 character’s confusion and angst. He is nicely
complemented by Stephanie Brown’s taciturn twist on Yitzak, both carping and
retreating from Hedwig’s futility. Scott Miller’s direction wisely
emphasizes the strengths of the musical score, which offers a number of superior
rock anthems, from the pulsating opening number ‘Tear Me Down’ to the
plaintive ‘Origin of Love’ and the lovely ballad ‘The Long Grift,’ which
offers some sweet harmony by Schaefer and Brown.” – Mark Bretz, Ladue
News
REEFER
MADNESS (2004)
“When it
comes to goofy fun, Reefer Madness has kilos to spare.” – Judith
Newmark, St. Louis Post Dispatch
“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.” – Steve Callahan, KDHX-FM
“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.” – Deanna Jent, The Riverfront
Times
“New
Line Artistic Director Scott Miller has a reputation in St. Louis for taking
chances with unconventional shows. Witness New Line’s 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.”
–
Tyson
Blanquart, Playback St. Louis
“New
Line Theatre’s 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.” – Mark Bretz, Ladue News
THE
NERVOUS SET (2004)
“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.” –
Peter Filichia, TheaterMania.com
“God
bless Miller for letting us see this odd bit of history. And bless him for the
continuing adventure that is New Line Theatre.” –
Steve Callahan, KDHX-FM
“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.” –
John Shepherd, Playback St. Louis
“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
–
with their skepticism about consumerism society and their embrace of 'far-out'
ideas in an era that valued conformity
–
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.” –
Judith Newmark, St. Louis Post Dispatch
“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...” –
Mark Bretz, Ladue News
“It
was a pleasure to hear Fran Landesman's glorious lyrics and Tommy Wolf's music.” –
Joe Pollack, KWMU
SUNDAY
IN THE PARK WITH GEORGE (2003)
“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.” – Judith
Newmark, St. Louis Post Dispatch
“New
Line Theatre's invigorating and richly rewarding production... is a strong,
stirring, delicately textured work of art on its own.”
– Mark Bretz, KDHX-FM
“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.”
– The Riverfront Times
PARTY
(Out of Line Productions, 2003)
“The
compelling thing about nudity onstage is that it erases the borders between
character and actor –
certainly the
actors are still portraying people other than themselves, but there are no wigs
and accents when the costumes come off – it's the
real body of a real person in real time and space. It's this fascinating and
unavoidable reality that is the strength of this production.... An audience
member in front of me sighed happily as the play ended and said, 'Can we come
again tomorrow night?'
” – Deanna
Jent, The Riverfront Times
“Party
delivers exactly what is expected along with a genuinely sympathetic portrayal
of gay men seeking, in [director Scott] Miller's words, 'the comfort of a
collective culture'... The script has some outrageously funny lines that draw
huge laughs.”
–
Gerry
Kowarsky, St. Louis Post Dispatch
THE
BEST LITTLE WHOREHOUSE IN TEXAS (2003)
“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.”
–
Deanna
Jent, The Riverfront Times
“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.” – Judith
Newmark, St. Louis Post Dispatch
BAT
BOY (2003)
“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 profoundly theatrical, asking audience members to imaginatively
participate in an unexpected journey that's thrilling, scary, funny and
thought-provoking.” – Deanna Jent, Riverfront Times
“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 – and New Line's
confident production lets it stand on its own webbed feet.” – Judith
Newmark, St. Louis Post Dispatch
“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. ”
– Joe Pollack, KWMU-FM
“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.”
– Stanford Griffith, The Current
“This
production works on many levels thanks to the exuberant cast. Todd Schaefer is
spectacular in the title role.”
– Sheila Schultz, KDHX-FM
“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.”
– Bob Wilcox, West End Word
ATTACK OF THE SHOW TUNES (2003)
“We're fortunate to have a professional
company in St. Louis willing to take creative risks and facilitate the reshaping
of audience tastes.” – Sheila Schultz, KDHX-FM
THE
ROCKY HORROR SHOW (2002)
“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.” – Judith Newmark, St. Louis
Post Dispatch
“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.” – Joe Pollack,
KWMU-FM
“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.” – Mark Bretz, Laude News
CHICAGO
(2002)
"Smart,
steamy and a heck of a lot of fun, marking one of New Line's strongest
efforts" -- Judith Newmark, St. Louis Post Dispatch
“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.” – Dennis Brown, Riverfront Times
"Chicago
is highly enjoyable, with fine musicians and enough talent on the stage to keep
things rolling from start to finish." -- Joe Pollack, KWMU-FM
"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
"A
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." -- Mark Bretz, Ladue News
“A
showy, brightly produced musical filled with extremely talented actors, singers
and dancers, who give it their all.” – Cathy Cohn, The Vital Voice
A
NEW BRAIN (2002)
"A
neurotic, quirky and profoundly life-affirming show" -- St. Louis Post
Dispatch
"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." - Sheila Schultz,
KDHX-FM
"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." - Mark Bretz, Ladue News
"[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." -- Brian Hohlfeld, Riverfront
Times
"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." -- Joe Pollack, KWMU-FM
"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'." -- Judy Newmark, Post Dispatch
THE
CRADLE WILL ROCK (2001)
"Most
Ambitious Production of 2001" -- Judith Newmark, St. Louis Post Dispatch,
"The Year in Theatre"
“[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.” – Tony
Burnett, Talkin Broadway.com
“An intriguing new production . . . energetic, intelligent . . . passionate,
stylized and exciting.” – Judith Newmark, St. Louis Post Dispatch
“A
spirited, entertaining production . . . absurd and chilling at the same time,
the perfect blend of musical form and content.” – Brian Hohlfeld, The
Riverfront Times
“New
Line’s production of The Cradle Will Rock is a delightful and
compelling show, featuring numerous strong performances.” – Mark Bretz,
KDHX-FM
HAIR (2001)
“New Line’s
production . . . forged an intense connection with its audience. . . The finale,
‘Let the Sun Shine In,’ was almost unbearably emotional. and brought the
audience onto the stage to tearfully hug and dance with the cast.” – Allison
Xantha Miller, American Theatre Magazine
“When a
director revives a play less than a year after he first staged it, he better
have good reason – 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.” – Judith Newmark, St. Louis
Post Dispatch
“Director
Scott Miller’s 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 Miller’s imaginative choreography provide a manic tale
that when finished finds you somewhere in between tears and euphoric joy.” –
Colin Murphy, The Vital Voice
"Don't
let the language and the nude scene fool you – there's a lot of innocence and
idealism on the stage, and those are two things we need – any time – whether
with Hair or without.” – Joe Pollack, KWMU-FM
“New Line
Theatre shows off its crowning glory in an open-ended run of Hair.” –
Byron Kerman, The Riverfront Times
“Artistically,
[Hair in June 2000] was one of the best productions New Line ever staged,
and everybody seemed to know it.” – Judith Newmark, St. Louis Post
Dispatch
ANYONE CAN WHISTLE (2001)
“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.” – Gerry Kowarksy, The Sondheim Review
“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. You’re 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
Line’s 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 ArtLoft’s flexible space.” –
Judith Newmark, St. Louis Post Dispatch
“[Director
Scott] Miller and choreographer JT Ricroft stage the musical numbers with brio
– nicely adapting to the ArtLoft’s shallow stage and making intriguing use
of aisle space.” – Cliff Froehlich, The
Riverfront Times
CABARET (2001)
“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 – 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 band’s] raw sound suits
the mood that Miller and choreographer JT Ricroft evoke in steamy Klub numbers
like ‘Money’ and ‘Two Ladies,’ 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 – leering,
cold, totally in control. Robin Kelso plays the English star of the club, Sally
Bowles, with a lot of flair both in her ‘onstage’ scenes (more pose than
talent) and her ‘offstage’ scenes (more pose than heart). Yet her winning,
tiny smile, 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.” – Judith Newmark, St.
Louis Post Dispatch
"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.” – Steve Callahan, KDHX-FM
“A
must-see for anyone who is interested in theatre in St. Louis.” –Gerry
Kowarsky, St. Louis Post Dispatch
“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, ‘Wilkommen,’
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.” – Brian Hohlfeld, The
Riverfront Times
HAIR (2000)
“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 – 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.” – Judith Newmark, St. Louis
Post Dispatch
“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.” – Harry Weber, The
Riverfront Times
“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.” – Brian McCary,
KDHX-FM
OUT ON BROADWAY 2000
“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 – a plea for tolerance,
particularly in regard to sexual orientation – 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.” – Judith Newmark, St.
Louis Post Dispatch
“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.” – Sally Cragin, The Riverfront Times
“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 ‘Far
From the Home I Love,’ from Fiddler on
the Roof, until I heard it in Out on
Broadway 2000.” – Bob Wilcox, KDHX-FM
"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." -- The Riverfront
Times, "Best of 2000"
FLOYD
COLLINS (1999)
“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-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.” – Judith
Newmark, St. Louis Post Dispatch
“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.” – Harry Weber, The
Riverfront Times
“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.” – Steve Callahan, KDHX-FM
HEAD GAMES (Out
of Line Productions, 1999)
“[Author
Scott] Miller provides an intelligent and interesting context, genuinely witty
and clever lines, and a wholesomeness and honesty both unexpected — under the
circumstances — and exhilarating. . . This, besides the verbal brilliance, is
where Miller takes Head Games well
beyond the dick-play genre. His director's program note and the piece in last
week's RFT tell the audience in
advance what Miller is going to do, but it's like a magician's explaining a
trick before he performs it and still amazing his spectators.” – Harry
Weber, The Riverfront Times
“The
funniest moment in Head Games occurs
when a character questions the artistic integrity of a director who plans to
stage a play with gratuitous nudity. The irony is that the actor expressing
these sentiments is gratuitously nude. . . Miller is an astute critic, and these
questions are obviously important to him . . . The arguments about theater and
sexuality are thought provoking, balanced and often amusing.” – Gerry
Kowarsky, St. Louis Post Dispatch
INTO THE WOODS (1999)
“With Into
the Woods, [director Scott Miller] continues his experiments in proportion.
His intimate production of Stephen Sondheim’s 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.” – Judith
Newmark, St. Louis Post Dispatch
“You can
savor those words and music [of Into the
Woods] in what may be New Line’s 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 –
the most satisfying kind of entertainment.” – Bob Wilcox, The
Riverfront Times
CAMELOT (1999)
“This show
does not look, sound, or feel like any other Camelot
[but] . . . this stripped down version has a lot going for it.” – Judith
Newmark, St. Louis Post Dispatch
“It’s a
longish evening, but so full of fine voices and serious, convincing
performances, that its command of our attention is unfailing.” – Steve
Callahan, KDHX-FM
“The
musical’s dark ending doesn’t 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.” – Bob Wilcox, The Riverfront
Times
SONGS FOR A NEW WORLD (1998)
“Songs
for a New World is that very rare beast: an abstract musical. . . Here is a
musical that doesn’t try to bombard or cajole you – it simply speaks
honestly through fine music and proves that less can most certainly be more. . .
Individually, the performers are fine, together they are fabulous, 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.” – Mike Isaacson, The
Riverfront Times
"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." --
Russ Thomas, KDHX-FM
“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.” – Mike Isaacson, “1998: The Year in
Theatre,” The Riverfront Times
PARTY (Out
of Line Productions, 1998)
“Party
is consistently amusing and frequently hilarious.” – Gerry Kowarsky, St.
Louis Post Dispatch
“Party
is light, funny, and mildly shocking if you’re not scandalized by full
frontal male nudity and lots of it. . . Party
is also innocent – it means no harm and does no harm. It celebrates
friendship, tolerance, acceptance of self and others, and freedom from unhealthy
inhibition.” – Harry Weber, The
Riverfront Times
ASSASSINS (1998)
“For the
most part, 1998 was full of supreme performances in solid productions. Looking
back, only New Line Theatre’s production of the Stephen Sondheim musical Assassins
was, as a whole, a wild and gratifying surprise. Here, a talented group of
locals inhabited Sondheim’s creepy vision of what lives under America’s
political rocks. It was intense, entertaining, and terrifically ‘out there’.”
– Mike Isaacson, “1998: The Year in Theater,” The
Riverfront Times
“Intriguing
and surprisingly funny. . . The production – a bare-bones, in-the-round
presentation – emphasizes the show’s gallows humor and clever lyrics.” –
Judith Newmark, St. Louis Post Dispatch
“There is
a rare, exhilarating thrill to be had for the next two weeks in St. Louis. New
Line Theatre’s 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 ‘outside’ 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.” – Mike
Isaacson, The Riverfront Times
MARCH
OF THE FALSETTOS (1998)
“New
Line Theatre’s 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.”
– Box Wilcox, The Riverfront Times
“Angry,
challenging work . . . the New Line performers point up the conflicts within the
characters as well as between them.” – Gerry Kowarsky, St.
Louis Post Dispatch
WOMAN WITH POCKETBOOK (1998)
“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].” – Gerry Kowarsky, St.
Louis Post Dispatch
“The
cast treats this new material well, with really strong comic performances.”
– Bob Wilcox, The Riverfront Times
EXTREME SONDHEIM (1997)
“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 Sondheim’s contemporary, New York attitude and are strong enough to
work in a revue, stripped of their plot lines.” – Judith Newmark, St.
Louis Post Dispatch
"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." - Norma West,
KDHX-FM
“What I
did realize, hearing the songs out of context this way, was not only how clever
and how lyrical Sondheim’s songs are, but how dramatic
they are.” – Bob Wilcox, The
Riverfront Times
THE BALLAD OF LITTLE MIKEY
(1997)
“When you
think you’ve 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.” – Judith Newmark, St.
Louis Post Dispatch
“Though
your jaw may drop, you’ll 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 can’t
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.” – Mike Isaacson, The
Riverfront Times
“Scott
Miller and his New Line Theatre continue to bring St. Louis challenging,
refreshing musical theatre that you simply can’t see anywhere else. . . The
Ballad of Little Mikey will make you think and it will teach you a thing or
two.” – Steve Callahan, KDHX-FM
JACQUES BREL (1997)
“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 Brel’s smoky, bittersweet flavor.” – Judith
Newmark, St. Louis Post Dispatch
“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
Theatre’s current production captures all the potent poetry of Brel, and it is
surprisingly fresh and current, despite the sometimes strong political or social
content.” – Steve Callahan, KDHX-FM
PASSION (1996)
“The New
Line Theatre production of Passion is a triumph for director Scott Miller and his company. . .
Miller’s cast and crew supply the fervor and understanding required to bring
out the haunting melancholy of [James] Lapine’s book and [Stephen] Sondheim’s
words and music.” – Gerry Kowarsky, St.
Louis Post Dispatch
“At once
outrageous and courageous, Scott Miller’s 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 you’ll have a lot to talk about. . .
All involved deserve praise for attacking the difficult assignment with
considerable intelligence, honesty, and of course, passion.” – Mike
Isaacson, The Riverfront Time
SWEENEY TODD (1996)
“Under
director Scott Miller, Sweeney appears in a completely different light, pared down and
bitterly funny. . . Miller’s treatment makes sense and the tiny, peculiarly
shaped St. Marcus Theatre is exactly the right setting for it. . . To be honest,
I’ve seen Sweeney Todd before and
never liked it. But this production made me consider it from a different
perspective; I appreciate that.” – Judith Newmark, St. Louis Post Dispatch
“Ultimately,
it is the challenges that make Sweeney
Todd, like so much Sondheim, a stimulating evening in the theatre.” –
Box Wilcox, The Riverfront Times
“I was
amazed at how beautifully the show fits in the tiny St. Marcus Theatre. . . I’m
now convinced that is how it is most effective.” – Steve Callahan, KDHX-FM
OUT ON BROADWAY (1996)
“A sweetly
rewarding and happy surprise. . . Not since Tom Clear and Joan Lipkin’s 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 community’s political future.” – Mike Isaacson, The Riverfront Times
“Entertaining
and thought-provoking, Out on Broadway, the new revue from New Line Theatre, offers musical
theatre with a decidedly different twist. . . It’s what theater, at its best,
is for.” – Judith Newmark, St. Louis
Post Dispatch
“A most
thought-provoking, touching, and entertaining production.” – Christopher
Jackson, News-Telegraph
“Some of
the evening’s best moments owe their power to flawless harmonizing.” –
Harry Weber, The Riverfront Times
IN THE BLOOD (1995)
“Ideas
loom large in this work. The central one is ingenious. . . Two things do work
for me in In the Blood. One – and it
surprised me – 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] Miller’s music, which is, I think, the best score
he’s done for a show.” – Bob Wilcox, The Riverfront Times
“Conflicts
lead to high-voltage confrontations, but the verbal fireworks do not result in a
choice or a resolution.” – Gerry Kowarsky, St. Louis Post Dispatch
PIPPIN (1994)
“If you
like musical theatre that goes for the guts, head for the St. Marcus Theatre . .
. where New Line’s Pippin runs.” – Bob Wilcox, The
Riverfront Times
“Pippin
seems to me to be New Line’s slickest production to date – skilled cast,
excellent technical work, and polished vision. . . The pit band is nothing short
of outstanding.” – Harry Weber, The
Riverfront Times
ASSASSINS (1994)
“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.” – Gerry Kowarsky, St. Louis Post Dispatch
“New Line
Theatre’s current production at the St. Marcus Theatre shores up the unity of
this analysis of presidential assassins. . . Assassins
is ambitious, fascinating work.” – Bob Wilcox, The
Riverfront Times
“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.”
– Steve Allen, KFUO-FM
BREAKING OUT IN HARMONY
(1993)
“There are
a lot of truths – and a lot of questions – 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 ‘about
something,’ and about something important too. It’s worth seeing, thinking
about, and most important, acting on.” – Joe Pollack, St.
Louis Post Dispatch
“Some of Breaking
Out’s songs are rousers.” – Harry Weber, The
Riverfront Times
ATTEMPTING THE ABSURD (1992)
“[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; it’s collegiate, sometimes sophomoric, but there are moments of great
charm.” – Joe Pollack, St. Louis Post
Dispatch
“About as
good an evening of first-view musical comedy as I’ve seen for a while. . .
Miller’s book, music, and lyrics range widely, intelligently, unsentimentally,
and wittily over familiar and unfamiliar territory.” – Harry Weber, The
Riverfront Times
A
TRIBUTE TO THE ROCK MUSICALS 2 (1992)
“The
impressively – sometimes overwhelmingly – enthusiastic, talented, skilled,
and well-trained cast and band made A
Tribute to the Rock Musicals 2 … a high-energy, highly entertaining
evening.” – Bob Wilcox, The Riverfront
Times
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