Tuesday, October 30, 2012

CLYBOURNE PARK • The Repertory Theatre of St. Louis (Studio Theatre)

Anytime anyone says in a voice laced with anxiety, "Did you see the family moving in next door?", you always have an idea of where it's gonna go, right?  You know what I'm talking about.  White flight, gentrification, redlining -- they all have one thing in common -- race and housing.  This is the topic that dominates Bruce Norris' Tony Award and Pulitzer Prize winning play, now receiving a searing production at the Rep's Studio Theatre.  Written in 2010, it's an extension of Lorraine Hansberry's 1959 play, A Raisin in the Sun, picking up where it left off.

In the first act, it's 1959 and Bev (Nancy Bell) and Russ (Mark Anderson Phillips) are packing up the house preparing for their move out of Clybourne Park, a middle-class Chicago neighborhood.  The act starts slowly, but lays down clean strokes introducing one of the central families.  They eventually get a visit from Jim, their local priest (Eric Gilde), who is gently pushed by Bev to have a talk with Russ.  The reason remains a bit of a mystery for now, but Jim doesn't get too far, anyway.  Then a Rotary Club associate, and head of the neighborhood association, Karl (Michael James Reed) and his pregnant wife Betsy (Shanara Gabrielle) drop by.  Karl is agitated because he has learned that the buyers for Russ and Bev's house are a black family.  He's concerned that this will bring the property values down, and after a failed effort to get them to move somewhere else, he visits Russ and Bev to try to get them to back out of the sale.  Russ and Bev weren't aware of the race of the family buying the house, and they don't really care too much.  However, Karl's frustration escalates.

Tanesha Gary (Francine) and Nancy Bell (Bev).
©Photo by Jerry Naunheim, Jr.
At one point Francine (Tanesha Gary), Russ and Bev's African-American maid, and her husband Albert (Chauncy Thomas), are pulled into the fray as Karl tries to get them to admit that their sort would be more comfortable living amongst "their own kind", where they could "buy the kinds of foods that they like".  Karl's kind of an asshole, and he ignites a bomb with a timer, and as Bev frets, Karl rants, Francine and Albert squirm, and Karl's wife Betsy, who happens to be deaf, attempts to follow, Russ finally reaches his limit and throws Karl and Betsy out of the house along with some choice words.  Russ has no interest in living in a neighborhood that could be so unfeeling towards his son, Kenneth (Gilde), after he returned from the war in Korea, and Russ and Bev are ready to move on to a different neighborhood, away from some painful memories associated with the house.

Michael James Reed (Karl), Chauncy Thomas (Albert),
Nancy Bell (Bev), Shanara Gabrielle (Betsy),
Tanesha Gary (Francine) and Eric Gilde (Jim).
©Photo by Jerry Naunheim, Jr.
Act two begins in the same house, fifty years later, where the same actors play different characters.  Clybourne Park has since become an all-black neighborhood, and there's a new white couple preparing to move in.  This couple, Steve and  Lindsey (Reed and Gabrielle), are planning to demolish the old house and build a huge one.  They're going over some neighborhood building codes concerning elevation limits with a lawyer, Kathy (Bell), an owners association representative, Tom (Gilde), and a couple from the neighborhood committee -- Lena (Gary) and her husband Kevin (Thomas).  Lena happens to be the great-niece of the woman who bought the house years earlier.  Not only does she have a personal connection to the house, she's also concerned that the new couple's plans to build a bigger house will compromise the character of the neighborhood.  Once Lena expresses her concerns, the gloves eventually come off as the meeting humorously but brutishly devolves into hostility and racists jokes.  The play concludes with a chilling, if not a little disconnected trip back to the house in 1959 that took many audience members by surprise, as well as audibly taking their breath away.

Tanesha Gary (Lena), Chauncy Thomas (Kevin),
Mark Anderson Phillips (Dan), Shanara Gabrielle (Lindsey)
and Michael James Reed (Steve).
©Photo by Jerry Naunheim, Jr.
Under Timothy Near's impeccable direction, the performances of the cast were splendid across the board.  Although act two shows just about everyone in their worst light, Michael James Reed as Karl in act one and Steve in act two serves up a biting performance, brimming with self-justification and thinly veiled indignation.  Bell overflows with nervous energy as Bev, and Phillips is brooding as Russ in act one, and a comical workman in act two.  Gary and Thomas turn in pitch-perfect performances in act one, quietly suffering slights and indignities, and the more out-spoken act two couple.  Gabrielle is excellent as Betsy in act one and Lindsey in act two, and Gilde plays his roles solidly.

Scott C. Neale's impressive set undergoes a marvelous transformation between acts from comfy middle-class bungalow to run-down eye-sore.  The set is complimented by Ann G. Wrightson's lighting design and Tom Haverkamp's sound design, and Lou Bird's distinctive costume design rings true for both time periods.

This play proves that all of the social graces in the world can't cover up the fearful and hostile nature of these characters once the veneer starts to crack.  Its relevancy is sobering, but definitely worth checking out.


Written by Bruce Norris
Directed by Timothy Near
Loretto-Hilton Center, 130 Edgar Road
through November 18 | tickets: $47 - $60
Performances Tuesdays at 7 pm, Wednesday to Friday at 8pm, Saturdays at 5pm, Selected Saturdays at 9pm, Sundays at 2pm and 7pm

Mark Anderson Phillips* (Russ/Dan), Nancy Bell* (Bev/Kathy), Tanesha Gary* (Francine/Lena), Eric Gilde* (Jim/Tom/Kenneth), Chauncy Thomas* (Albert/Kevin), Michael James Reed* (Karl/Steve) and Shanara Gabrielle* (Betsy/Lindsey).
* Member Actors' Equity Association

Scenice design by Scott C. Neale; costume design by Lou Bird; lighting design by Ann G. Wrightson; sound design by Tom Haverkamp; stage manager, Champe Leary.

Tuesday, October 23, 2012

GOOD • St. Louis Actors' Studio

C.P. Taylor's 1981 play is tough to categorize.  Some consider it a play.  Others, a play with music, and some consider it a musical comedy, but the subject matter is anything but light.  It takes a look at how the Nazi party is able to gain a foothold in Germany, filtered through the eyes of one man -- John Halder.  It has also already closed its run, but served as an intriguing introduction to St. Louis Actors' Studio's sixth season entitled, "Kings, Queens and Pawns".  John Halder, by the way, is a pawn…

Larry Dell (Maurice), Rachel Fenton (Anne),
Troy Turnipseed (Bouller/Eichmann), David Wassilak (Major),
Paul Cooper (Doctor), Ben Ritchie (Hitler),
B. Weller (John Halder), Missy Miller (Sister),
April Strelinger (Helen) and Teresa Doggett (Mother).
Photo credit: John Lamb
John Halder (B. Weller), is a mild-mannered professor of literature living with his wife and children in Frankfurt, Germany.  His wife Helen (April Strelinger) is so self-absorbed she can barely bring herself to do any housework, so John ends up doing most of the cooking and cleaning.  He also looks after his elderly Mother (Teresa Doggett) who is slipping further and further into dementia.  As trying as taking care of his mom can be, he does what he can, and on the surface seems like a "good" man -- he certainly thinks so anyway.  One of his only friends is Maurice (Larry Dell), a Jewish psychiatrist, who advises Halder about his "bad case of the bands".  See, Halder has this habit of setting the more influential moments in his life to music -- his own personal soundtrack, resulting in moments where people in his head literally burst into song.  It's deep that bizarreness.  It distracted me to no end when I saw it, but later it struck me as kind of brilliant.  While snapping you out of the action, it brings the major issues home.  Very Brechtian.  To me anyway.  Although, like I've expressed before, thinking too much about Brecht makes my head hurt...  Halder says at one point, "I do everything other people do - but I don't feel it's real."  This oddity seems to buffer the events in his life -- makes them unreal, and all the more unsettling.

When the Socialist party shows an interest in one of his novels about euthanasia (cough, cough, MOTHER, cough), he finds himself with a growing group of friends and a few rungs higher on the social ladder.  He also eventually leaves his wife for Anne (Rachel Fenton), a young student who is smitten with him.  Halder's steadily growing involvement with the Nazi party is infuriating and frustrating to Maurice, who is scared for his own life.  In the wave gaining momentum in 1930's Germany, being Jewish is not a good thing to be, but Halder blindly rationalizes his actions, insisting that this is just a passing fad.  It's chilling to see this man's ascent into the ranks of the SS, taking the path of least resistance to become an integral part of the horrors that were underway, ending up at the gates of Auschwitz in the stunning last scene.

B. Weller (John Halder).
Photo credit: John Lamb
B. Weller does a masterful job portraying the incredibly naive and weak but well-meaning Halder, managing to get the audience to identify with the real antihero of the story.  Teresa Doggett turns in a wrenching performance as Halder's mother, and April Strelinger and Rachel Fenton round out the rest of the women in Halder's life as his wife and mistress.  Larry Dell presents a powerful Maurice, the only voice of reason in the play, and David Wassilak makes for a quietly intimidating Nazi officer.  It can seem hard to maneuver on the small stage at the Gaslight Theatre, but under Milton Zoth's admirable direction, all 10 actors remain onstage throughout without seeming too crowded.  Creative contributions include scenic design and lighting design by Patrick Huber and Cristie Johnston, costumes by Felia Katherine Davenport, sound design by Robin Weatherall and choreography by Cindy Duggan.


Written by C.P. Taylor
Directed by Milton Zoth 
The Gaslight Theater, 358 N. Boyle Ave.
Run complete | tickets: $20 - $25
Performances Thursday to Saturday at 8pm, Sundays at 3pm

B. Weller (John Halder), Larry Dell (Maurice), David Wassilak (Major/Freddie), April Strelinger* (Helen), Teresa Doggett (Mother), Missy Miller (Sister/Elizabeth), Troy Turnipseed (Bouller/Eichmann), Rachel Fenton (Anne), Ben Ritchie (Bok/Hitler) and Paul Cooper (Doctor/Dispatcher).
* Member Actors' Equity Association

Scenic and lighting design by Patrick Huber; costume design by Felia Katherine Davenport; sound design by Robin Weatherall; choreography by Cindy Duggan; scenic design by Cristie Johnston; stage manager, Amy J. Paige.

Keyboards, Tim Hearn.

Monday, October 15, 2012

LOST IN YONKERS • New Jewish Theatre

Lost in Yonkers, Neil Simon's Pulitzer Prize and Tony Award winning play is considered by many to be one of his best, and it's currently receiving a wonderfully heartfelt production opening the 16th season at the NJT.

As the show begins, 15 and 13 year old brothers, Jay (Robert Love) and Arty (Leo B. Ramsey), are uncomfortably waiting in their Grandma's stuffy New York apartment.  Grandma Kurnitz (Nancy Lewis) is an elderly widow living above her candy store.  She's a German immigrant who has seen a lot of, and been the victim of, much turbulence and grief, and she has come out the other side thick-skinned and hard-boiled.  She doesn't suffer the weak gladly, and this includes her children.  In fact, it seems Grandma doesn't really do anything "gladly".  One of her daughters, Bella (Kelley Weber), lives with her and helps run the store.  Bella is childlike and easily distracted, constantly under the stern thumb of her mother, yet she's also buoyant, resilient and longing for connection with anyone outside of their Yonkers apartment.  Her older brother Eddie (Gary Glasgow) has dropped by with his two boys trailing behind.  Eddie needs a place for them to stay while he hits the southern road to sell scrap metal, trying to pay off the debt he accrued from a loan shark when his late wife was in the hospital.  The boys, still grieving, are terrified at the prospect of staying more than an hour at Grandma's apartment, much less several months, but their father is left with no choice, and Grandma begrudgingly takes them in.

Gary Glasgow (Eddie), Nancy Lewis (Grandma Kurnitz),
Robert Love (Jay), Kelley Weber (Bella) and Leo B. Ramsey (Arty)
Photo credit: Peter Wochniak
The boy's adjustment to about a year spent with Grandma -- and her cane, along with their often comedic observations about their injured family, is positioned as the focus of the play, but the interactions between Grandma Kurnitz and Bella, complete opposites, is where the dramatic center seems to truly rest.  Their relationship is intriguing to watch, but also a little heartbreaking.  Along the way we also meet Eddie and Bella's brother Louie (Michael Scott Rash), a colorful character who works with the mob, and another sister Gert (Sigrid Sutter) -- so fearful of her mother than she can barely make it through a sentence without losing her breath.

Robert Love (Jay), Michael Scott Rash (Louie)
and Leo B. Ramsey (Arty)
Photo credit: Peter Wochniak
Under Doug Finlayson's solid direction, all of the performances ring true in this play.  Love as the older brother Jay makes his professional debut in this production, and he turns in a skilled performance.  Ramsey also turns in a fully inhabited performance as the younger, jumpier brother, Arty.  They're both easy to like and it's comfortable to view the action from their perspectives.  Grandma Kurnitz is like that older relative you were always petrified of, and Lewis delivers just that from her first appearance.  But she also shows you a bit of vulnerable sunlight that leaks through, as it's obvious how much she cares for her grandchildren.  Even though poor Bella isn't quite all there, she is incredibly endearing nonetheless, particularly due to the genuine performance of Kelley Weber.  Her's is a very rewarding character to watch.  Michael Scott Rash's Louie thrills the boys with his secreted goings-on, but also manages to impart some lessons for them as well.  Sigrid Sutter as Gert is only in one scene, but she gives you a little more insight into the affect Grandma has had on the family, along with providing a bit of comic relief.  The set courtesy of Justin Barisonek along with lights and costumes by Michael Sullivan and Michele Friedman Siler all contribute beautifully to this top-notch production.

It's a great play.  So basically, get Lost!  In Yonkers...  It's playing until the 21st.

Nancy Lewis (Grandma Kurnitz)
and Kelley Weber (Bella)
              Photo credit: Peter Wochniak


Written by Neil Simon
Directed by Doug Finlayson
Marvin & Harlene Wool Studio, 2 Millstone Campus Drive Creve Coeur
through October 21 | tickets: $35.50 - $39.50
Performances Wednesdays and Thursdays at 7:30pm, Saturdays at 8pm, Sundays at 2pm & 7:30pm

Nancy Lewis (Grandma Kurnitz), Robert Love (Jay), Leo B. Ramsey (Arty), Gary Glasgow* (Eddie), Kelley Weber (Bella), Michael Scott Rash (Louie) and Sigrid Sutter (Gert).
* Member Actors' Equity Association

Scenic design by Justin Barisonek; lighting design by Michael Sullivan; costume design by Michele Friedman Siler; scenic artist, Cristie Johnston; stage manager, Kate Koch.

Monday, October 8, 2012

SPRING AWAKENING • Stray Dog Theatre

Navigating those prickly adolescent years can be a real bitch, and bruises can be hard to avoid -- psychological or otherwise.  These perennial rocky roads are explored in Stray Dog Theatre's 10th season opener, Spring Awakening, and it's completely absorbing.  The original material, Frank Wedekind's play written in 1891, was banned in Germany for its content that includes abortion, suicide, homosexuality, rape and child abuse.  The musical adaptation debuted on Broadway in 2006 and won eight Tony Awards, and Stray Dog's production illustrates that the volatility often encountered in the transition from childhood to adulthood doesn't change that much -- regardless of what century you're in.

Set in a provincial 1890's German town, mothers resist telling their daughters about where babies come from, boys are weighed down by the pressure to succeed in their studies and the guilt of wet dreams, and girls are kicked out of their houses because they are being abused by their fathers.  This musical examines sexual awakening without being crude, tempering the heavy subject matter with humor, an authentic approach to those anxiety laden teenage years, and then sets it all to an incredible score courtesy of Duncan Sheik and Steven Sater.  Spring Awakening makes an even more powerful impression inside the intimate space of Tower Grove Abbey.

(front, l to r) Keith Thompson, Ryan Foizey, Zach Wachter,
C. E. Fifer. (back, l to r) Evan Fornachon,
Anthony Christopher Milfelt and Paul Cereghino.
Photo credit: John Lamb
Melissa Southmayd turns in a wonderful performance as the naive Wendla, full of curiosity who has yet to feel anything.  She kicks the show off beautifully with "Mama Who Bore Me".  Her soon to be boyfriend Melchior, very well played by a strong voiced Zach Wachter, questions everything from his faith to his elders.  His best friend Moritz is plagued by his dreams and has also been left completely in the dark by his parents when it comes to the birds and the bees.  Melchior ends up writing a little essay (with illustrations) to try to shed a little light on the nuts and bolts of sex for Moritz, who has no one else to go to.  As Moritz, the most angst-ridden of all, Ryan Foizey makes an impressive turn in "The Bitch of Living" and "Don't Do Sadness".

(l to r) Meadow Nguy, Melissa Southmayd, Natalie Sannes
and Sabra Sellers.
Photo credit: John Lamb
It's hard for me to pick out one or two people in the rest of the cast because this score provides the opportunity for many to have their moment to shine.  But I'll try.  Anna Skidis is Ilse -- homeless after being kicked out, when not spending time at an artists colony.  Skidis does a beautiful job with "Blue Wind" and adds a strong voice to the ensemble, and Meadow Nguy as Martha delivers a compelling "The Dark I Know Well".  C.E. Fifer adds much to the ensemble, along with Paul Cereghino, and the rest of the actors all sound brilliant together -- a cast full of solid voices.  The adult roles are played by Jan Niehoff and Keith Thompson, painting most grown-ups as repressed, stern and sometimes a little evil.  They both play their parts perfectly, often contributing to the torment in the lives of the kids.

(l to r) Zach Wachter (Melchior Gabor)
and Ryan Foizey (Moritz Stiefel).
Photo credit: John Lamb
David Blake's raked set has low platforms with a few steps leading up on either side, and when coupled with Justin Been's sure-handed direction, along with J.T. Ricroft's choreography, these elements all come together to create some beautiful tableaus.  Tyler Duenow's lighting adds to the dreamy atmosphere of the numbers, with over a dozen lights hanging above the band, perched above the action.  I admit I got really excited when I saw strings up there, and they sounded marvelous with Chris Petersen conducting.  A rock score with violas?!  Love.  Alexandra Scibetta Quigley's costumes also fit perfectly into the mix and subtly distinguish the characters.

C. E. Fifer, Evan Fornachon,
Zach Wachter (Melchior Gabor),
Paul Cereghino and Anthony Christopher Milfelt.
Photo credit: John Lamb
Stray Dog has certainly been on a roll lately, and this latest offering is sure to give you a memorable night of theatre.  Because of the adult content, leave the kids at home, but whatever you do, don't miss this musical.  I'm not kidding.


Book/lyrics by Steven Sater
Music by Duncan Sheik
Directed by Justin Been
Tower Grove Abbey, 2336 Tennessee Ave.
through October 20 | tickets: $18 - $20
Performances Thursday to Saturday at 8pm, final Saturday performances are at 2pm and 8pm

Melissa Southmayd (Wendla Bergman), Zach Wachter (Melchior Gabor), Ryan Foizey (Moritz Stiefel), Anna Skidis (Ilse Neumann), Meadow Nguy (Martha Bessell), Sabra Sellers (Thea Robel), Natalie K. Sannes (Anna), Paul Cereghino (Hänschen Rilow/Rupert), Evan Fornachon (Ernst Robel/Reinhold), C. E. Fifer (Georg Zirschnitz/Dieter), Anthony Christopher Milfelt (Otto Lämmermeier/Ulbrecht), Jan Niehoff (Adult Female Roles) and Keith Thompson, (Adult Male Roles)

Scenic design by David Blake; lighting design by Tyler Duenow; costume design by Alexandra Scibetta Quigley; sound design by Au Nguy; choreographer, J.T. Ricroft; stage manager, Justin Been.

The Band:
Conductor/keyboard, Chris Petersen; bass, Colin Lovett; percussion, Bob McMahon; guitar, Adam Rugo; cello, Bijhou Berni; viola, Michael Blackwood (except 10/5 & 10/6); viola, Joseph R. Gutowski (10/5 & 10/6 only); violin, Steve Frisbee.

Monday, October 1, 2012


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.  BBAJ opens New Line Theatre's 22nd Season, and this show is right up its alley.  Andrew Jackson's legacy includes praise for his military victories as an army general against the British and Spanish in the country's adolescence, helming the formation of the Democratic Party and winning the presidency by America's first popular vote in 1829.  It also includes the criticism he garnered for his forced relocation and devastation of Native Americans and his support of slavery.  I mean hell, during his campaign his opponents referred to him as a jackass.  According to the director's notes, "He was equal parts Barack Obama (charismatic populist), John McCain (crusty war hero), Sarah Palin (loud, clumsy outsider), and George W. Bush (cocky, loyal, and confident)."  He's a very controversial ex-president and the political commentary that runs throughout this rock musical serves as a constant ironic reminder of the parallels between the early nineteenth-century and the new millennium.

John Sparger (Andrew Jackson) and the cast of
Bloody Bloody Andrew Jackson.
Photo credit: Jill Ritter Lindberg
In the rousing opening number that establishes our main character as an arrogant, frustrated, tight jeans wearing, political aristocracy hatin', gun totin' rockstar, Jackson's groupies enthusiastically set the tone the country was in with "Populism, Yea, Yea!".  Judging by the sex appeal of John Sparger as Andrew Jackson, you get the feeling that this president's nickname, "Old Hickory" has to do with a whole 'nother kind of… wood.  Talk about "stimulus packages"...  The show plays out in a frenzied series of vignettes and is hysterically narrated by a woman in an electronic wheelchair (Amy Kelly).  Beginning with his upbringing on the frontier, surrounded by death from cholera or Native Americans, we see a young Andrew Jackson fed up with the way his countrymen are left to fend for themselves, resulting in his decision to join the army at thirteen years old.  Later he becomes popular as a "frontiersman spokesperson" -- someone who would look out for the little guys who are getting their asses kicked on the boundaries of the country.

Mike Dowdy (James Monroe), BC Stands (John Calhoun),
Zachary Allen Farmer (John Quincy Adams),
Nicholas Kelly (Henry Clay), Brian Claussen (Martin Van Buren)
and John Sparger (Andrew Jackson).
Photo credit: Jill Ritter Lindberg
We see Jackson meet his wife Rachel (Taylor Pietz), and their mutual penchant for blood-letting with the song "Illness as Metaphor".  There's also his rise to fame after his victory at the Battle of New Orleans against the British along with Jackson's bargaining with Indian Tribes ("Ten Little Indians").  Once he wins the presidency, after enjoying a positive response from the American people, they eventually turn on him when the young nation's problems become more complicated as Jackson takes on the national bank and continues to struggle with the relocation of Native Americans.

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, to bring out the best in even the lesser numbers.
Nicholas Kelly (Chief Black Fox), Stephanie Brown (Lyncoya)
and Brian Claussen (Martin Van Buren).
Photo credit: Jill Ritter Lindberg
Leading the way is John Sparger as Andrew Jackson, painfully honest and full of energy.  Brian Claussen as Martin Van Buren, is particularly hilarious, and Mike Dowdy as James Monroe and Zachary Allen Farmer as John Quincy Adams, along with BC Stands as John Calhoun and Todd Micali make for a great male ensemble.  Amy Kelly as The Storyteller is very funny, and Nicholas Kelly in his role of  Chief Black Fox brings a lot of gravity to one of the more serious scenes near the end of the play. The female ensemble members bring it right along with the guys, and although the full ensemble could be a little drowned out at times, they all make for a fully committed cast.  Scott L. Schoonover's scenic design provides a little center area for the action, and the lighting and costumes (Kenneth Zinkl and Amy Kelly) nicely compliment the vibe of the show.

John Sparger (Andrew Jackson).
Photo credit: Jill Ritter Lindberg
When I saw this and blogged about it a couple of years ago, I said that people thought this show was too clever and smug for its own good, and that may be true for some.  But whether Andrew Jackson is remembered more as the voice of the people or the American Hitler, this is a history lesson that will prove much more interesting and entertaining than anything you've heard in school.  It's playing until the 20th.


Lyrics by Michael Friedman
Music by Michael Friedman
Book by Alex Timbers
Directed by Scott Miller
Washington University South Campus Theatre, 6501 Clayton Road
through October 20 | tickets: $10 - $15
Performances Thursday to Saturday at 8pm

John Sparger (Andrew Jackson), D. Mike Bauer (band soloist), Stephanie Brown (Lyncoya), Brian Claussen (Martin Van Buren), Mike Dowdy (James Monroe), Zachary Allen Farmer (John Quincy Adams), Amy Kelly (The Storyteller), Nicholas Kelly (Henry Clay, Chief Black Fox), Todd Micali ("Rock Star" soloist), Taylor Pietz (Rachel Jackson), Sarah Porter (Cheerleader), BC Stands (John Calhoun), and Chrissy Young (Cheerleader).

Costume design by Amy Kelly; scenic design by Scott L. Schoonover; lighting design by Kenneth Zinkl; sound design by Donald Smith; fight choreographer, Nicholas Kelly; stage manager, Alex Moore.

The New Line Band:
Piano/conductor, Justin Smolik; guitar, D. Mike Bauer; bass, Dave Hall; percussion, Clancy Newell.


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