The 2025 New Line Theatre Gift Guide is Here!


Happy Holidays from The Bad Boy of Musical Theatre! We're here again to help you find the perfect gift for that musical theatre fanboy or fangirl on your list who has everything! Tickets, calendars, books, and more!

Click Here for More Info Broadway Meets STL Rhythm, Passion, Style
For two nights only, Jan. 9-10, the New Liners return to the acoustically magnificent Sheldon Concert Hall in the Grand Center Arts District. BROADWAY NOIR DEUX!, features a cast of all local actors of color, sharing with you a powerhouse celebration of Broadway musicals through the lens of their own lives, staking their claim to this most American art form, and reminding us that the Broadway musical belongs to all of us.
Click here to buy tickets.


Click Here for More Info Come for the Party!
Stay for the War!

Don't miss your once-in-a-lifetime chance to see this uproarious experimental musical comedy from 1969! Beneath its dizzying comedy and catchy songs, PROMENADE follows the exploits of two escaped prisoners taking an unexpected tour of Capitalism and The Big City, where the poor and homeless mingle with the Idle Rich, exploring some big issues along the way, like wealth inequality, law and order, war, corruption, body image, gender, sexuality, and more.
Click here to buy tickets.


Just Click Here for More Info Will You Do the Fandango?
New Line Theatre wraps up its 34th season with the global sensation, the electrifying rock adventure WE WILL ROCK YOU, a fantastical rock fable featuring 24 songs by QUEEN! Set in a futuristic, post-apocalyptic dystopia, WE WILL ROCK YOU follows two revolutionaries on their mission to save rock and roll. In an age where algorithms control our every choice, this musical is a rallying cry for our times, a fist-pumping, foot-stomping anthem to individuality.
Click here to buy tickets.


Bring Great Musical Theatre to our City!
Make a Year-End Donation to New Line!

Donate in the name of your favorite fanboy or fangirl. Donate in the memory of a loved one. Donate in honor of the teacher who turned you on to musicals. Donate in the name of your parents who drove you to rehearsals. Donate in Memory of Sondheim. Or just get an extra year-end tax deduction!
Just Click Here!
New Line Theatre is a 501(c)(3) nonprofit organization.



Click Here for More Info New Line's 2025-26
Photo Calendar

Every year, we produce a wall calendar with high-quality photos from our shows by Jill Ritter Photography. Enjoy gorgeous production photos from some of New Line's coolest shows, Rocky Horror, American Idiot, Something Rotten, Dracula, Lizzie, Anything Goes, A Funny Thing Happened on the Way to the Forum, Johnny Appleweed, Sweet Potato Queens, Return to the Forbidden Planet, and Jesus & Johnny Appleweed's Holy Rollin' Christmas!


Click Here for More InfoThe Poster Art of
New Line Theatre

Yes that's right, we've published a coffee table book of all our posters over the last thirty-three years, all designed by St. Louis graphic artists Kris Wright, Matt Reedy, and others. It's a fun look back over New Line's amazing, unique history, and the company's first hundred shows. It's perfect for lovers of New Line and anyone who loves poster art, available now in hardcover and softcover editions.


Click Here for More info New Line's "First Hundred Shows" Poster
One 36" x 24" poster that includes all the posters from New Line's first one hundred musicals (plus six Sheldon concerts). Get your Poster of Posters today!


Click Here for More infoNew Line Bumper Stickers
Collect 'em all!


Go See a Musical;

Make Musicals, Not War;

got musicals?;

Bat Boy for Prez;

or the New Line logo.


Click Here for More InfoBat Boy
You loved seeing Bat Boy on our stage -- and we loved sharing it with you! Now you just can't get enough of him, right? No problem! We've got you covered.

Get ALL the Weekly World News articles about the Bat Boy, all in one crazy volume, Going Mutant!

Or how about a volume of the craziest WWN articles ever, Bat Boy Lives!


Click Here for More info La Vie Boheme!
the RENT novel

You saw Rent last season, but have you read the novel? People say the musical is based on the opera La Boheme, but it's much closer to Henri Murger's very funny, very truthful 1851 French novel about young artists, Scenes de la Vie de Boheme, now in an all-new, easier-to-read English translation! Every character from Rent has a parallel character in this original version of the story. Especially if you know Rent, you'll love this book!


Click Here for More info Rocky Horror
Our audiences went crazy over our production of The Rocky Horror Show! For those of you who already knew the show, and for those who've just discovered it...

Get yourself the new 50th anniversary coffee table book, Rocky Horror: Featuring Unseen Photographs and Exclusive Interviews!
   AND
Also the new Official Rocky Horror Late Night Double Feature: The 50th Anniversary Two-Volume Collector's Edition


Click Here for More info The Wonderful Music of BOZZ
The new novel from Artistic Director Scott Miller, a fairy tale for the new millennium! In a dark world without music and without empathy, drama nerds Shellie and JoJo, and their new traveling companions, carry the fate of humankind on their artsy teenage shoulders. Can a musical save the world?
          When L. Frank Baum first published The Wonderful Wizard of Oz, he wrote in his introduction, "The old time fairy tale, having served for generations, may now be classed as 'historical' in the children's library; for the time has come for a series of newer 'wonder tales' in which the stereotyped genie, dwarf and fairy are eliminated, together with all the horrible and blood-curdling incidents devised by their authors to point a fearsome moral to each tale." Baum wrote that in 1900. Miller thinks the time has come again.


JESUS & JOHNNY APPLEWEED'S HOLY ROLLIN' FAMILY CHRISTMAS
You loved this wild, vulgar, rowdy, outrageous, and hilarious musical satire in 2023. Now you can get the script and the vocal selections for yourself and for your nastier-minded friends!
          “What if Seth Rogen, Charles Dickens, Andrew Lloyd Webber, Cheech and Chong, Christopher Hitchens, Hunter S. Thompson, and John Waters decided to have a baby?” – KDHX
          "A pot-laced, Dickensian, Cheech & Chong-esque holiday spoof that is reminiscent of Saturday Night Live in its heyday." – BroadwayWorld
          "A snarky (and oddly charming) holiday event." – TalkinBroadway
          "Resembles the audacious dark comedy material that John Waters and Charles Busch specialize in." – PopLifeSTL



The ABCs of BROADWAY MUSICALS series
These terrific books from New Line artistic director Scott Miller are a series of fun, easy-to-read books, a totally not intimidating way to get a basic understanding of this most American of art forms, including a very brief history of musicals, a survey of important and well-known shows, examples of the wide and wild variety of musicals, a look at the amazing people who create musicals, and a sense of how Broadway musicals reflect and comment on our culture. You’ll never feel lost again in a conversation about musical theatre, and you’ll enjoy seeing musicals more than ever. These books are short enough to read in one sitting or you can flip open to any page and find something interesting. Even hardcore musical lovers may learn something from these little books! Now available -- The ABCs of Broadway Musicals; The ABCs of Acting in Musicals; The ABCs of Directing Musicals; and The ABCs of Writing Musicals.


REPRINTS!
So many interesting books and scripts have fallen into public domain lately, so it's possible to reprint them at long last. Here are just a few gems that are back in print after many decades out of print!

42nd Street, the novel

Go Into Your Dance, the novel

Stage Mother, the novel

Oh! James!, the novel that inspired No, No, Nanette

No No Nanette, the original 1925 script

The Fantasticks, the original play

Liliom, the play that inspired Carousel

A Day Well Spent, the play that inspired The Matchmaker and Hello, Dolly!

Sondheim & Grimm & Perrault, the original fairy tales that inspired Into the Woods

Twenty Years on Broadway, George M. Cohan's memoir


BROADWAY MUSICAL
CHRISTMAS CAROLS

A piano-vocal songbook, full of 25 well-loved Christmas carols refashioned by Scott Miller for the hard-core fan of Broadway musicals, in new vocal arrangements with all-new lyrics related to musical theatre – funny, serious, smartass, cynical, reverent, poignant songs that will make you laugh, that will make you think, that will remind you why you love musicals so much.
          The songs include “O Little Shop of Bethlehem,” “God Rest Ye, Mad Thenardiers,” “Away in a Mame Tour,” “I Heard You Screlt On Christmas Day,” “What Squip Is This,” “Here We Come A-Chorusing,” “O Come, All Ye Rent Heads,” “Jolly Old Steve Sondheim,” “Shrek, the Herald Angel, Sings,” “O Hamilton,” and other future classics.


ANYTHING, ANYTHING, ANYTHING GOES! A Deep Dive
We all get a kick out of Anything Goes. Find out why. One of the most performed musicals in history, Anything Goes has become a classic of the American theatre, and yet most people don't really understand the show and its wild mashup of musical comedy, screwball comedy, and gangster movies. Far from being an old-fashioned, old-school musical comedy, Anything Goes is a razor-sharp satire of America, as much about today as about the Thirties, the way we make celebrities out of criminals and make religion into show biz. It's irreverent, smartass, insightful, fearless, and very funny. Plus, it's got some of Cole Porter's best songs.


HE NEVER DID ANYTHING TWICE
Get ready for a mind-blowing trip through the Broadway musicals of the most fearless and influential artist in the history of the American musical theatre, Stephen Sondheim. Here are sixteen in-depth explorations of all the great Sondheim musicals, West Side Story, Gypsy, A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle, Evening Primrose, Company, Follies, A Little Night Music, The Frogs, Pacific Overtures, Sweeney Todd, Merrily We Roll Along, Sunday in the Park with George, Into the Woods, Assassins, and Passion; plus some brief stops at a few of his other musical and non-musical projects over the years.


GO GREASED LIGHTNING!
The Amazing Authenticity of Grease

So many people underestimate the intelligence and authenticity of Grease. So it’s time to set the record straight. Originally a rowdy, rebellious, piece of alternative theatre, written by two guys who really lived it, Grease was inspired by the rule-busting success of Hair, rejecting the happy trappings of Broadway for a more authentic, more visceral, more radical theatre experience. It’s an authentic snapshot of the end of the 1950s, a moment when the styles and culture of the disengaged and disenfranchised became overpowering symbols of teenage power and independence.



HAMILTON AND THE NEW REVOLUTION:
Broadway Musicals in the 21st Century

How lucky we are to be alive right now! With this new volume, musical theatre scholar, director, historian, and fanboy Scott Miller takes you on a phantasmagorical journey through the second decade of this millennium, every stop along the way a Broadway musical truly like no other, all of them brilliant, original, and unique, all pointing toward an even brighter future for the art form and all the young artists creating amazing new work for us every day in this Golden Age for the musical theatre, including Hamilton, Dear Evan Hansen, A Strange Loop, Hadestown, The Color Purple, Bonnie & Clyde, Hands on a Hardbody, and The Scottsboro Boys, all shows that break the rules in smart, fearless, and surprising ways.


LET THE SUN SHINE IN:
The Genius of HAIR

In 1967, Hair launched a revolution. It rejected every convention of Broadway, of traditional theatre in general, and of the American musical specifically. It paved the way for the nonlinear concept musicals that dominated American musical theatre forever after. With more regional productions of Hair than ever before, Scott Miller gives us an incisive and fascinating analysis of the show. He looks at its place in theatre and cultural history, and its impact on recent musicals, including Rent. He delves into the mystical power Hair has over performers and viewers alike and its ability to literally change lives today -- including his.


RESCUING CATS:
The Musical That's Better Than You Think

No matter how you approach it, Cats is so much more than a silly dance revue based on some silly poems, so much more than a punchline. Why has Cats been such a huge, longstanding commercial success around the world? Why do people see it over and over? Cats is literally about life and death. Cats is about us. Scott Miller takes another revelatory deep dive into this overly maligned but iconic musical, to see how it was made, what it's about, why it works, why so many people love it and so many people hate it. If you love Cats, you'll find here so much more to love. If you hate Cats, this book might just change your perspective a little.


Click Here for More Info SEX, DRUGS, ROCK & ROLL, and MUSICALS
More deep dives into ten musicals that engage with sex, drugs, and rock & roll in one way or another, from the artistic earthquake that was Hair to punk pop that is Hedwig and the Angry Inch. These are all shows that New Line has produced over the company's history, including The Wild Party, Grease, Hair, Jesus Christ Superstar, The Rocky Horror Show, The Best Little Whorehouse in Texas, I Love My Wife, Bat Boy, Hedwig and the Angry Inch, and High Fidelity.


Click Here for More Info
STRIKE UP THE BAND
The whole history of musicals, pulling back the curtain on the amazing innovation and adventurousness of the art form, its political and social conscience, and its incredibly rapid evolution over the last century. Strike Up the Band focuses not only on what happened on stage but also on how, and why it matters to us today. Its a different kind of history that explores the famous and, especially, the not-so famous musicals to reveal the lineage that paved the way to contemporary musicals.


Click Here for More Info
LITERALLY ANYTHING GOES
Another musical theatre book from Scott Miller that takes deep dives into more than a dozen incredible, quirky musicals spanning the history of our art form, all shows that New Line has produced, including The Threepenny Opera, Anything Goes, The Nervous Set, The Fantasticks, Zorbá, Two Gentlemen Of Verona, The Robber Bridegroom, Evita, Return to the Forbidden Planet, Kiss Of The Spider Woman, A New Brain, Reefer Madness, Bukowsical, and Love Kills. Nobody does deep, insightful, penetrating analysis of musicals like Miller does.


Click Here for More Info IDIOTS, HEATHERS, and SQUIPS
In this volume, Miller takes you on a short but fantastic journey through the first decade and a half of the new millennium, guided by deep dives into eleven of the musicals that represent the astonishing variety and fearlessness of this new Golden Age, including bare, Urinetown, Sweet Smell of Success, Jerry Springer the Opera, Passing Strange, Cry-Baby, Next to Normal, Bloody Bloody Andrew Jackson, American Idiot, Heathers, and Be More Chill, all shows that opened in this new century, presented in chronological order so you can see how our art form is evolving like never before.


NIGHT OF THE LIVING SHOW TUNES: 13 Tales of the Weird
The short story anthology that takes you on a roller coaster ride of thirteen nightmarish tales, all inspired in one way or another by the musical theatre, mashing together the history of musicals with the conventions and mad variety of the horror genre. You’ll meet theatre ghosts, vampires, monsters big and small, child killers, a homicidal maniac or two, a demon-possessed keyboard, and much more. The stories include "Tomorrow, Daddy," "Nothing More," "Night of the Festival," "Scarily We Roll Along," "Time Steps," "Requiem for Musical Comedy," "Happy Birthday, Robert," "I Had a Dream," "The Spellbinder," "A Little Fight Music," "The Farm Hand," "Over Finian’s Rainbow," and "The Flibbertijibbet." You’ll never think about musicals the same way again!


THE ZOMBIES OF PENZANCE
Yes, available now on Amazon, New Line's 2018 monster hit, The Zombies of Penzance, which the RFT called "a delightmare"! No more just a beloved if mildly unsettling memory, now you can bring those dancing and singing Zombies and Major-General Stanley's zombie hunting daughters all back to life -- death? -- with the Zombies of Penzance script, the full piano-vocal score, and the live original cast recording of the show, featuring the St. Louis cast and your favorite New Liners, recorded live in performance at the Marcelle Theater!

"A wonderful whirlwind of apocalyptic delight."
-- Tanya Seale, BroadwayWorld

Nominated for the American Theatre Critics Association's 2018 New Play Award!


THEATRE CATS:
The Old Producer's Book of Dramatical Cats

In T.S. Eliot’s famous collection of poems, Old Possum’s Book of Practical Cats, the basis for the megahit Andrew Lloyd Webber musical Cats, Eliot observed and made fun of the habits and behavior of everyday people, through the comic and insightful metaphor of some very human-like cats. In Scott Miller and Zachary Allen Farmer’s new collection, the targets are more specific but just as wickedly true-to-life, as Miller and Farmer explore the behavior of the quirky, eccentric, fascinating types who make musical theatre, this time through the lens of some very artsy cats, the good, the bad, and the finicky. And you can sing these new poems to the Lloyd Webber score...


SHELLIE SHELBY SHARES THE
SPOTLIGHT

The picture book you never knew you needed, in which Dr. Seuss meets 42nd Street, as freshman Shellie Shelby embarks on a wild adventure through the treacherous social jungle of her first high school musical. When Shellie gets cast in the school show, she can’t believe her luck, but her best friend, poor tone-deaf JoJo McQuill, isn’t so lucky. Can she successfully navigate the drama club mean girls, her crazy philosopher-teacher, music rehearsals, killer choreography, and Tech Week, without losing her mind and her best friend in the process? Written by Scott Miller, with original illustrations by longtime New Line Theatre actor Zachary Allen Farmer.

That's it -- your 2025 Gift Guide. We hope it's helpful. And we hope your holidays are good ones, that lots of wonderful art comes into your life, and that you join us in 2026 for some more truly wonderful shows!

Happy Holidays!
Long Live the Musical!
Scott

P.S. Stay tuned -- on New Year's Eve, I'll post my 12th annual year-end poem looking back on The Year in New Line!

Christian Charity

This is the third time I'm directing Bat Boy. A couple nights before we opened, our intern Aiden asked me if I've learned anything new this third time. I couldn't think of anything specific.

And then it hit me. I've always thought of this story as one about bigotry and religious hypocrisy. But it's both bigger and simpler than that.

It's about fear.

It's about that famous saying of Yoda's, "Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering." That's what happens in Bat Boy. That's also what's been happening in the Trump era.

Like the town in Stephen Sondheim’s Anyone Can Whistle, Hope Falls, the setting for Bat Boy, is a town in crisis, in other words, it's America 2025 in miniature. The town's primary industry, coal mining, is gone, and the people of Hope Falls have turned to ranching, at which they really do not excel. All their cattle are dying because they don’t know how to raise cattle (“A mountain’s no place to raise cows,” the finale reminds us), but rather than acknowledge their own inadequacies, they look for a scapegoat.

Edgar shows up in town and they get their scapegoat. The ranchers fear financial ruin, which leads to anger, which leads to hate (they all sing, "Kill the Bat Boy!"), and that hate leads to quite a bit of suffering.

In the process, these characters palpably evoke our crippled country right now. One of the many problems with our broken politics today is the idea that I must win and you must lose -- that politica are a war now instead of argument and compromise and solutions. Blame is how I win. Whether it's true or not, it seems the one who blames first wins the battle.

It's a terrible way to run our country or a town of five hundred.

Bat Boy satirizes misinformation and disinformation, religious extremism and hypocrisy, and also religion as a misused socio-political force; but it doesn’t poke fun at Christianity itself or at people of genuine faith. The people of Hope Falls frequently proclaim their “Christian Charity,” but it’s clear from their behavior that they aren’t nearly as Christian as they claim to be. It seems everyone in town loves exclaiming “Sweet wounded Jesus!” when they’re surprised, and yet one would assume that serious Christians wouldn't take the Lord’s name in vain on such a regular basis.

The townspeople initially blame the death of their cows on God. They also talk about doing horrible things to Edgar and later, they threaten Dr. Parker, all the while pretending that their actions reflect their “Christian charity.”

You may disagree but this is 21st century American Christianity.

The song “Comfort and Joy” shows how misguided the people of Hope Falls (and America) are. 2nd Corinthians 1:23-24 says, “Our strength and ability are owing to faith; and our comfort and joy must flow from faith.” But these people are asking God to give them comfort and joy outright. They’ve got it backwards; they don’t understand that joy comes from faith, which they don’t have. They believe their comfort and joy will result from the destruction of an innocent life. They sing:
Comfort and joy,
Comfort and joy!
Kill the bat boy,
Kill the bat boy!

On the other hand Meredith has it right.  She sings:
He will show them he’s not
What they’re terrified of.
He will show them a love
They can never destroy.
If we prove that they’re wrong,
They’ll come ‘round before long,
And we’ll all sing a song
Full of comfort and joy.

Out of context, that could be Jesus' disciples talking about how the priests and the pharisees will react to Jesus -- fear, hate, suffering. Edgar the Bat Boy is explicitly a Christ-like figure throughout the story.

It’s significant that Meredith better understands the teachings of the Bible and that she alone in Hope Falls practices actual Christian charity by insisting on caring for Edgar, by teaching him, by making him a part of the family. In the first dialogue scene in the show, Meredith even quotes Romans 6:23 at Shelley: “For the wages of sin is death…”, though she conveniently (comically) leaves out the more positive rest of the sentence.

In this story, the wages of sin are death, and maybe Meredith’s past and present circumstances lead her in that direction unconsciously. In this world of faux Christians, only Edgar sincerely seeks God, first praying to him in “Comfort and Joy,” then hoping for divine healing at the revival meeting, then in his testimony before the congregation. Edgar believes that God can help him.

Of course, he's wrong.

The people of Hope Falls -- and America in 2025 -- practice a poisoned, hypocritical brand of Christianity that has corrupted American culture today, and because this is the only kind of Christianity Edgar experiences, it prevents Edgar from finding God as he had hoped.

It’s also significant that the one explicitly religious figure in the show, the Reverend Hightower, is not a source of satire. He accepts Edgar without reservation. Even though the people of Hope Falls have asked the Reverend to come to town for all the wrong reasons (the cows), he’s still there hoping to do some good. And like Meredith, he accepts Edgar unconditionally. The Reverend Hightower, the one genuine Christian in the story, invites Edgar up on stage to be healed and urges the congregation to accept him, to assimilate him into the community. And though they are initially willing, their misplaced fear and hatred are easily revived by Bat Boy's supervillain, Dr. Parker.

Like many American musicals before it, Bat Boy is a story about an Outsider who meets a Community; the Outsider must learn to assimilate into the Community or be removed, through death or banishment.

In Oklahoma!, Brigadoon, Guys and Dolls, Hello, Dolly!, Annie Get Your Gun, The Music Man, Hedwig, the heroes assimilate and become part of the community (and/or the chorus) by the end. But in Carousel, The King and I, Pal Joey, West Side Story, Hair, Evita, Passion, Sweeney Todd, Urinetown, Pippin, Cabaret, Rocky Horror, Bonnie & Clyde, the heroes cannot assimilate and must leave or be removed. In a few shows, with more than one hero, we get both outcomes, as in South Pacific, Show Boat, and The Wild Party.

In a few (usually satiric) cases, the community actually adjusts to accommodate the hero, as in The Threepenny Opera, How to Succeed in Business Without Really Trying, and Heathers.

By the end of Bat Boy's first act, we realize that Edgar the Bat Boy isn't the only outsider; in this story, the entire Parker family are the outsiders, and the question is whether Edgar and the Parkers can assimilate -- and maybe also, why would they want to? Hope Falls (i.e., America) is a really fucked up place.

In the era of concept musicals and rock musicals, the musical theatre stories have focused more on the hero, his struggle, his growth, his success or not, in shows like Company, Pippin, Dude, Jesus Christ Superstar, Follies, Chicago, Barnum, Sweeney Todd, Nine, Sunday in the Park with George, Passing Strange, Hamilton, A Strange Loop, and so many others. Bat Boy fits into this category as well.

Most of this stuff is under the surface, most of it the audience doesn't consciously recognize, but it's what makes this story so powerful, so recognizably truthful, and so deeply human.

Even the third time around, it has been such a joy to live inside this material for a few months. It's not just funny and big-hearted, it's also masterfully constructed, and that's part of why it's so powerful.

Bat Boy runs through October 25. Get your tickets!

Long Live the Musial!
Scott

A Filthy Freak Who's Just Like You

Bat Boy is a weirdly wonderful mashup of extreme silliness and deadly seriousness. Part of the glorious stunt of this musical is how adroitly it jumps back and forth between -- and often straddles -- a silly, obviously aftiticial, musical comedy world and our seriously fucked-up real world. As I wrote in my director's notes for the program, "This is a very funny show but a very serious story."

You might call it Seriously Silly. Or just razor-sharp social satire. One of our reviewers thinks the show is flawed because it needlessly mocks "hillbilly stereotypes." No, Bat Boy mocks all of us, collectively and individually. No one escapes unscathed, and these days, none of us deserves to.

As the opening number says, "Heed the tale of a filthy freak... who's just like you." Later in the song, they sing to us, "He has suffered, and now it's your turn." From the show's first song, Bat Boy makes it clear -- we are the target of the satire.

I invented a label for this kind of show a while back -- a neo musical comedy, a show that uses the devices and conventions of musical comedy, but in the service of more serious underlying socio-political themes. These shows emerged most obviously in the mid- to late 1990s, Bat Boy, Urinetown, A New Brain, Floyd Collins, The Ballad of Little Mikey, Hedwig and the Angry Inch, and others. But a few neo musical comedies had popped up over the years before that time, like Anyone Can Whistle, Chicago, Merrily We Roll Along, Little Shop of HorrorsAssassins, and of course, the 1928 OG neo musical comedy, The Threepenny Opera

After last season of New Line revivals, I had decided we wouldn't repeat any more shows for a while. After all, there are so many wonderful shows out there to produce.

But as we discussed shows for this season, the real world was beginning to come apart at the seams. I reminded myself that New Line always has an obligation to speak to this moment. All artists do. And I couldn't think of a musical that better captures this zeitgeist than Bat Boy, even though we've produced it twice before, in 2003 and 2006.

Stephen Sondheim has said that the purpose of art is to make order out of the chaos of our world. That's a hell of a task right now -- there's a lot of chaos -- Americans' toxic love of Othering is in overdrive. But I believe Bat Boy is up to that challenge. Specifically because it is as silly as it is. A spoonful of sugar...

Scholars say that autocrats take seven steps to fully seize power:
Corrupting elections
Aggrandizing executive power
Politicizing independent institutions
Controlling information
Scapegoating and stoking division
Quashing dissent
Incentivizing violence

One big component of that agenda, part of steps 4, 5, and 6, is silencing the comedians. We just watched it happen in our real world, with the forced retirement of Stephen Colbert and the (brief) cancelation of Jimmy Kimmel's show.

Autocrats, dictators, and their ilk know well that they must fear comedy. Comedy is subversive by definition, and it's also revealing. America has a proud tradition of edgy political humor, with Lenny Bruce, George Carlin, Chris Rock, the Smothers Brothers, Richard Pryor, Eddie Murphy, Jon Stewart, Stephen Colbert, Dave Chappelle, and so many others. The nationwide bipartisan backlash over Kimmel proves that tradition is alive and well.

Closer to home, New Line has been permanently blacklisted by the Missouri Arts Council over our recent shows that included gay characters and drag performances, in The Rocky Horror Show and Rent. That certainly sucks for our company, but even though the government can take away our grant money, they can't stop us from telling stories about the truly fucked-up world around us. And I'm sure we can agree, it is truly fucked up right now.

Just wait till they get a load of Promenade in March!

Make no mistake, it's not a desire for escape or disconnection that makes us love comedy; it's the exact opposite, the need for connection and shared truth. We laugh because we are surprised and because we recognize the truth. Both those things will happen to you as you watch Bat Boy. A lot.

Whether you like it or not.

We can't do a lot about all the ugly shit happening in the world right now, but we can do this one small thing -- we can share stories that help us all understand the raging maelstrom swirling around us. To quote my director's notes again --

This is about us. Right here. Right now.

Long Live the Musical!
Scott

P.S. To get your Bat Boy tickets, click here.

P.P.S. To check out my newest musical theatre books, click here.

P.P.P.S. To donate to New Line Theatre, click here

He Has Suffered and Now It's Your Turn

It all started with the satirical supermarket tabloid, Weekly World News. This brilliantly funny newspaper boasted outrageous headlines over the years like “Dead Rock Stars Return on Ghost Plane!” and “Faces of Howard Stern, Pamela Anderson and Satan Appear in Volcano Smoke!” and the classic, “Bill Catches Hillary With Space Alien!,” a story that claimed one of the best subheads in the history of newsprint: “I thought she was gay, says stunned ex-Prez.”

The paper once ran a story called, “Surprising Bible Prophecies Your Preacher Doesn't Want You to Read,” about a “turncoat Vatican librarian” who has revealed parts edited out of the Bible, including an unknown corollary to the Tenth Commandment: “Thou shalt not covet thy neighbor's wife unless you in turn are willing to share thine own wife with him.”

In 2001, The Washington Post published a tribute article to the tabloid, saying, “Funnier than Saturday Night Live, deeper than Leno or Letterman, smarter than Mad, more outrageous than The Onion, Weekly World News just might be America's best purveyor of social satire. The fact that it's disguised as a sleazy tabloid just makes it that much more delicious.”

Back in 1992, the Weekly World News began following every twist and turn in the bizarre life of a poor half-bat/half-boy who was found in a rural West Virginia cave. The paper dispatched a crack team of twenty-four reporters and photographers assigned exclusively to the bat boy story.

The paper described him this way: “Discovered in a cave in Hope Falls, West Virginia, this half-bat has escaped from captivity and is currently at large. He can be identified by large, pointy ears and oversized eyes that make him profoundly sensitive to sound and light. The creature has reportedly attacked at least three people with his razor-sharp fangs and should be considered extremely dangerous.”

The paper chronicled how he initially attacked a 10-year-old girl; how he was captured by the government and then got sick; how he received 17,402,901 get-well cards in the hospital from Weekly World News readers, how sympathetic nurses fed him flies; how he escaped from the hospital by crawling from a sixth-story window; how his abrupt withdrawal from hospital drugs caused him to go crazy and attempt to mate with a scarecrow; how he was chased by a bloodthirsty bounty hunter; how he was run over by an exterminator's truck; how he showed up mysteriously at Al Gore’s campaign headquarters in 2000, wanting to officially endorse Gore; how he tried to sneak into the White House to visit Jenna Bush; and most notably, how he joined the U.S. military in Afghanistan because his special bat vision made it easy for him to find the Taliban in all those caves.

In November 1996, two writers were standing in the lobby of the Actors’ Gang Theatre in Los Angeles. Keythe Farley, Gang member and director, and Brian Flemming, a screenwriter and film director, were working the concession stand for intermission of the musical Euphoria, when in wandered Laurence O’Keefe, the composer-lyricist and music director of Euphoria, taking a break. Farley and Flemming told O’Keefe they liked his music and lyrics and asked if O’Keefe would be interested in a project of theirs, based on a character from the pages of the Weekly World News named Bat Boy. They showed O’Keefe a cover of the Weekly World News featuring the bat boy’s picture, a baby with huge fangs, bulging eyes and pointy ears. They were determined to tell this poor creature’s story – from the beginning.

O’Keefe was shocked. “That’s the ugliest thing I’ve ever seen in my life,” he said. “I’ll do it.”

On Halloween 1997, Bat Boy made its world premiere at the Actors’ Gang Theatre, perhaps the only place where this show would be understood and properly nurtured. The Actors’ Gang is Los Angeles’ premier repertory theatre company, creating original works and reinterpreting classics, through the prism of The Style, a performance method derived from commedia dell’arte, from the work of the Theatre du Soleil in Paris, from vaudeville, from the political agitprop theatre of the 1930s, and from the off off Broadway movement of the 1960s, particularly the work of the Play-House of the Ridiculous. The Style is artificial and presentational, yet insists on deep truthfulness and high emotional stakes. All the authors agree today that The Style was instrumental in both the writing and the execution of Bat Boy the Musical.

O’Keefe says, “The Actors' Gang is a hyperactive and politically committed theater company that teaches if you show an emotion, always make it a 10 on a scale of 1 to 10. People pay money to see a show portray terror, rage, despair and joy, so we might as well sell it in megadoses. We were consciously trying to dig up the deepest and most volcanic emotions, the most inflammatory questions – what is it like to be a scapegoat? what is it like to be loved by one parent and hated by another? What is it like to have no idea who your parents are? What is it like to have an insatiable hunger for blood?”

Director and co-author Keythe Farley developed what Flemming likes to call the “take-it-so-seriously-it's-funny-but-it-also-hurts” style of Bat Boy. Both Deven May (as Edgar) and Kaitlin Hopkins (as Meredith) were in this first production and, together with Farley, they found the extremely sincere approach that this outrageous musical demands. Farley’s mantra throughout the development process was “the height of expression, the depth of sincerity,” a style of truthful acting that marked all the work at the Actors’ Gang – something the cast took to heart and something which guided them throughout the L.A. and New York productions. Brian Flemming says of his partner, “Keythe's major contribution to Bat Boy has gone largely unmentioned, but it was great and permanent.”

Unlike musicals in which the goal is to be as silly as possible (The Producers, Spamalot, Dirty Rotten Scoundrels), with Bat Boy the goal is to be as serious as possible within the context of an utterly silly universe.

Julio Martinez wrote in Variety, “The clever scenario, though outrageous, always contains an aura of intriguing plausibility. And to his credit, Farley creates a supercharged mix of heightened realism, surrealism and fantasy that is always engrossing. The work is magnificently served by the emotion-charged, thoroughly realistic performance of Devon May [as the Bat Boy], who catapults himself body and soul into the seared psyche of this child who possesses the mind of a genius but the uncontrollable, blood-craving appetite of a beast.”

Throughout 1999 and 2000, the show went through staged readings at the Directors’ Company in New York, now with director Scott Schwartz at the helm. The pace of the work was stepped up, aiming toward a 2001 New York opening, with rewrites continuing even after opening. The collaboration among the writers was an unusually close one, free of ego. O’Keefe says, “I would take a character's speech and replace it with sung lyrics, or sometimes even take a line of dialogue and set it verbatim to music. Sometimes it worked in the opposite direction – we'd try a song in one place and realize it stole ideas or energy from a better song later, so the song would disappear and be replaced by new dialogue.”

Bat Boy
 opened at the Union Square Theatre in New York in March 2001, where it was a hit but suffered the same fate as many other New York shows after the terrorist attacks on September 11, 2001, and it closed that December. It’s tempting to guess how long the show would have run if not for the terrorist attacks and whether it would have moved uptown to Broadway like Urinetown did.

But in a post-9/11 world, the hatred and discrimination leveled against the Bat Boy in the show took on a whole new dimension, as anyone in America with a Middle Eastern background was now a potential victim of abuse, harassment, and even imprisonment, based only on their appearance, their ethnicity, their clothing. The metaphor that was Bat Boy now held a power wholly unanticipated by its creators.

The New York Times said of the off Broadway show, “It's remarkable what intelligent wit can accomplish... the show is a jaggedly imaginative mix of skewering humor and energetic glee.” The New York Post said, “Bat Boy soars! An instant classic!” The New York Daily News called it “an outrageously silly and totally charming show. . . wickedly funny! A wacky, hilarious musical!” USA Today called it “immensely satisfying.” Backstage said, “Rarely do we see a piece of theatre that is at once so smart, silly, self-aware, and easy to enjoy as Bat Boy the Musical.” 

Two years later, New Line negotiated the rights to the regional debut of the show. Our 2003 production sold out every night, and for months afterward, people were literally begging us to bring the show back. So in 2006, we did.

And now here we are nineteen years later, returning to Hope Falls again. Each time I've encountered the show, in its original 2001 off Broadway production, our productions in 2003 and 2006, and now our production this fall. Each time it seems like Bat Boy has absolutely nailed the zeitgeist, and it's the same today. So much of this ferocious satire feels like it could have been written this year.

I've come to realize that great works of art are always relevant, no matter when you interact with them. That's why people keep doing Shakespeare plays. That's why we sometimes produce older shows like The Threepenny Opera or Anything Goes. Their satire is still as timely and funny and relevant as ever. 

And what does that say about us?


As odd as it may sound, Bat Boy really is great art. As funny and silly as it is, it's a very serious piece of well-made theatre about very serious things. And you'll laugh your ass off all evening.

What could be better than that?

Long Live the Musical!
Scott

P.S. To check out my newest musical theatre books, click here.

P.P.S. To get your 2025-2026 New Line season tickets, click here.

P.P.P.S. To get your Bat Boy tickets, click here.

P.P.P.P.S. To donate to New Line Theatre, click here

BAT BOY No. 3

I first saw Bat Boy off Broadway in March 2001 and I fell madly in love. And trust me, "madly" is the right word. May the theatre gods bless the writers who were crazy (or stoned) enough to write a musical based on a story in the satirical tabloid, Weekly World News.

I saw this mad mashup of musical comedy, love story, and horror-thriller again in October 2001, just before it closed, prematurely. Once the tourists stopped coming after the Sept. 11 attacks, a lot of good shows had to close.

I think it could have transferred uptown and enjoyed a healthy Broadway run. It wasn't just insanely funny -- it was one of the smartest, best built, most ridiculous, most fearless, most sophisticated, most enjoyable pieces of theatre I had ever seen. I'm not kidding -- I thought to myself, oh my god, they wrote this for ME! On that same trip to see Bat Boy again, I also got to see Urinetown for the first time, and had about the same reaction.

It was a good trip.

It was the beginning of a new Golden Age of Musical Theatre, starting in the very late 1990s and still continuing today. Our art form has never been so interesting, so inventive, so fast evolving, so full of explosive potential.

As soon as performance rights were released for Bat Boy we snatched them up and produced the show in spring 2003. One of the original off Broadway cast, St. Louisan Doug Storm, came to see us, which was very cool. After we closed, we kept getting asked when we would bring the show back. People who had seen it wanted to see it again. People who missed it, really wanted to see it. So we brought it back in 2006, with seven of the ten actors from 2003 returning. It sold out every performance, just like our first run.

When we closed our second run, I made sure to preserve the bat baby and the cow head. (If you don't know what that means, don't worry, you'll find out when you see the show.) I knew we New Liners would return to Hope Falls someday for a third production. It took us nineteen years, but here we are.

We're here because we need this story, right here, right now.

On its silly surface, Bat Boy seems to be a wacky though big-hearted satire about American prejudice and the hypocrisy of modern religion. But dig a little deeper, venture down into the dark caves and chambers of human emotion, and you’ll find a bigger, more interesting idea that underpins everything else in the show: we all have an animal side, a primitive, primordial beast in us that lashes out when we’re afraid, that drives our hungers for sex, for food, for power, for control – and of course, fear of The Other.

Just as it is with Frankenstein, it's not the monster who's the monster.

The last line of the show implores us, half-kidding, half-serious, “Don’t deny your beast inside.” And that’s really the heart of Bat Boy, the knowledge that we are, all of us, animal to one degree or another, and that we must embrace and integrate that side rather than fear it -- but also that we must not allow it to take control.

The creators of Bat Boy, Keythe Farley, Brian Flemming, and Laurence O’Keefe, have given us a hero who literally, physically embodies that dangerous mix. Edgar the Bat Boy represents every one of us, always trying to control our beast inside with only the thinnest layer of civilization as protection.

A layer that seems to get thinner every day.

Each character in the show gives in to his or her inner beast at some point in the story, but because Edgar is so obviously different on the surface, he's the one to be ridiculed, scorned, feared. We see in this beautiful, hilarious fable not only our own inner struggles, but also echoes of racism past and present (even the rationale for slavery), and of anti-gay and anti-trans laws. As technology evolves faster than our ethics, who knows who's next?

We face our inner Neanderthal in the characters that populate Bat Boy, and it’s a hell of a ride. In the age of social media, it's also more important than ever for us to do that.

But Bat Boy is also about the act of storytelling itself. In Act II of the show, a Pan-like figure called “King of the Forest” appears, to sing the slyly subversive song “Children, Children,” a pop anthem about inter-species sex. The opening lines, “Children, welcome home to where we all began,” not only invite the young lovers Edgar and Shelley back to the roots of humanity and procreation, urging them to embrace their more primal, animal natures, but these lines also invite the audience back to the roots of theatre, back to mythic stories told around a fire, back to Grotowski’s “poor theatre,” where it’s all about the storytelling, not the budget, where originality is more important than money or technology, where the audience’s imagination is the final vital ingredient.

All the usual tricks and illusions of theatre are revealed in this show. There is no deception, no suspension of disbelief, just the naked honesty that we're all there in the theatre together to share a story. Nobody needs to be fooled. The audience's imaginations can fill in the world around these characters; in fact, audiences enjoy doing that.

There are productions that engage the audience in the act of storytelling, and there are productions that leave the audience passive and unengaged, with huge sets and projections doing the storytelling work instead of the audience's imaginations. That's less fun.

By rejecting some of the more ridiculous conventions of contemporary commercial theatre (musical or non-), by insisting on a theatre of imagination instead of high-tech machines, by using imaginative techniques from the world of improv and experimental theatre, Bat Boy does comment on other musicals, intentionally or not. By its very existence and its artistic quality, Bat Boy argues that too many musicals (especially in New York commercial theatre) have gone too far, have gotten too high-tech and too expensive, and they've lost the simplicity and joy of human-to-human storytelling.

Bat Boy has a small cast, a small budget, no helicopters or chandeliers, no special effects, and yet it doesn’t suffer for all that – it ends up being more fun, more transporting, more magical, more emotional, more intense, because it goes back to the roots of storytelling and relies on its audience to participate in the magic.

Edgar the Bat Boy tries to teach the people of Hope Falls about tolerance and acceptance, while Bat Boy the musical tries to teach us, the audience, about what really matters in the theatre – relationships, emotions, people.

Especially right now.

Long Live the Musical!
Scott

P.S. To check out my newest musical theatre books, click here.

P.P.S. To get your 2025-2026 New Line season tickets, click here.

P.P.P.S. To get your Bat Boy tickets, click here.

P.P.P.P.S. To donate to New Line Theatre, click here