Just an Endless Happy Ending

Well, we opened Cry-Baby last weekend and it has been an awesome ride so far. We've had great, responsive crowds, and one of the show's songwriters, Adam Schlesinger, was at our show Friday night. He really seemed to love the show, finally seeing it done small and intimate, with a 6-piece rock band -- the way they all wish it would have been produced originally. It always makes me so happy when we can take a show like Cry-Baby (or High Fidelity) and show Broadway that the book and lyrics are outstanding after all, despite a clumsy, manhandled Broadway production -- particularly because it vindicates the writers who worked so hard to fashion a cool show only to have it mutilated by Broadway people who just didn't understand it.

It was an awesome opening weekend, and it's just going to get better. Ticket sales are soaring!

Here's what the critics think...

“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  (Read Judy's whole review.)

“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  (Read Richard's whole review.)

“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 Gibon, BroadwayWorld  (Read Chris' whole review.)

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  (Read Mark's whole review.)

“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 Theater Snob  (Read Andrea's whole review.)

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

“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

After a few days off, it will so wonderful to get back to this amazing show and this amazing cast tonight. Come see us -- details on the New Line website. I promise you will have a fucking blast!

I love my job!

Long Live the Musical!
Scott