Minterview: Kim Furlow of Dramatic License Productions

Co-Artistic Director Pamela Reckamp,
Founder/Co-Artistic Director Kim Furlow and
Managing Director Sara Hughes

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Dramatic License Productions is a small professional theatre group that operates out of an 85-seat theatre in the ARTropolis arts district in Chesterfield Mall. The company was founded in late 2009 by St. Louis veteran actress Kim Furlow to offer additional directing, acting and design opportunities to local artists and to bridge the gap in professional theatre offerings west of I-270. DLP staged its first production, Doubt, A Parable downtown in August, 2009. They moved to Chesterfield early in 2010, where they now present five to seven theatre and cabaret performances annually.

Nearly two months ago, DLP announced a major change in its artistic mission to concentrate on the production of plays and musical presentations for, by, and about women. I caught up with Kim Furlow via email to pose a couple of questions about this new direction.

Chuck: The decision to feature plays by and about women represents a significant shift in the artistic focus at Dramatic License. What made you decide to make this move at this point in the company's development?

Kim: Board member Pamela Reckamp, production manager (now managing director) Sara Hughes and I all sat down one evening after our final theatre production of the 2014 season and discussed the fact that our most recent audience survey showed a trend that follows the national one: 68% of all DLP audiences are women. Up to 70% of women nationwide purchase theatre tickets according to a 2013 study by Theatre Communications Group, NYC.

We thought, "How can we increase patronage and serve the largest portion of our audience-women? We had produced a kids' show that bombed, and at least two productions appealing probably mostly to men, which also didn't sell well. We have seen only a slight uptick in attendance since launching the company in late 2009. The highest grossing DLP productions in five seasons were "The Great American Trailer Park Musical", "Steel Magnolias", and "Boeing Boeing" (one comedy, one dramedy and one ribald musical.) 98% of survey respondents were women.

Pam also conducted informal research among 10 local small professional theatre companies to gauge the number of available women roles between 2013-14 vs. the number of men's roles. The findings were pretty astonishing although unfortunately akin to what's happening across the nation: Most plays produced are written by male playwrights and most roles in St. Louis go to men, despite the fact that the number of women showing up at auditions is significantly larger than the number of men. In fact, out of 10 companies casting in 2013-14, we found that 63% of all roles went to men, and a piddly 37% went to women.

The Orange Girls had a successful five-year run producing plays by, for and about women. We hope to pick up where they left off.

DLP isn't necessarily going to produce plays exclusively about women's "issues" but rather stories that resonate with women. They might feature a strong (or weak) leading female character, a particular issue pertaining to women in our past or present, or a particular story written by a female playwright like Beth Henley. Will we exclude male roles, male playwrights or stories that appeal to men? No! We think men will leave the theatre with keen insight not only into women's "issues" but also into their hearts, their desires, their history, their hopes, and their feelings about the opposite sex, among other things. They may just change their minds about how they view women. If we can spark thought and discussion among either of the sexes from our productions, we're doing our jobs and have accomplished our goal.

Chuck: Dramatic License also produces a cabaret series. Will that share the emphasis on women as well? And if so, what form will that take?

Kim: In the interest of providing what our audiences have come to know and expect from DLP: high-quality musical presentations by the areas best vocalists and musicians, we will continue to present an annual Valentine Cabaret (cancelled in 2015 due to maintenance to our theater space) and the popular Holiday Musical Revue Dec. 11-13. This season we've added a June cabaret which will include music by both male and female composers but about themes that resonate with women such as motherhood, marriage, career, the opposite sex and more. More on this show will be announced later.

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The first show of Dramatic License Production’ sixth season—the first one under its new artistic mission—is The Odd Couple (Female Version), Neil Simon’s 1985 rewrite of his hit comedy from two decades earlier. In this version Felix and Oscar become Florence and Olive, with the sex of other characters changed accordingly. The Pigeon sisters, for example, became the Costazuela brothers, Manolo and Jesus. The show opens on April 24 and runs through May 10. For more information: dramaticlicenseproductions.org.

Minterview: Emilie Nevins-Carter makes her cabaret debut

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The cabaret scene in St. Louis continues to expand, and this Thursday marks the cabaret debut of Emilie Nevins-Carter, a singer whose sister, Dionna Raedeke, has already made quite a name for herself in town.

Emilie's show, “When We're Together,” is presented on Thursday, July 3, by Mariposa Artists (headed up by Robert Breig, a notable cabaret artist in his own right) at The Chapel Venue. I took a few minutes catch up with Emilie during the final week of rehearsal.

Q: Putting together a solo cabaret show involves a huge commitment, in terms of both time and money. What made you decide to take the plunge?

A: I've been singing in some capacity almost my entire life. I believe that, for myself, singing isn't an optional activity. Over the last several years I've spent a lot of time thinking about where and how I want to continue to use my gift and passion both for my enjoyment and hopefully for the enjoyment of others. Finally, in the last year everything has come together in such an obvious way that I knew the time was now. I chose the setting of a solo cabaret show because I love the intimate way it allows an artist to weave music and story together. And also because of the freedom that an artist has to combine different musical genres. It's more than simply a handful of songs back to back. It allows us to use the elements of music to amplify the story and tell it better than we ever could otherwise.

Q: So what is the story behind “When We're Together”?

A: The arc of the show really tells the story of my life and how love and music have woven themselves into every area of my life and family. The particular lyric “when we're together…” comes from the song “Could I Have This Dance”. To me, the song represents an incredibly significant time in my life and...well…you'll have to wait to hear the rest Thursday night! ;)

Q: Fair enough. I'm always curious as to how performers decide on their artistic collaborators. Your music director is Beckie Menzie is well known in Chicago and your director Lina Koutrakos is famous as both a performer and teacher. What made you decide to work with them?

A: A few years ago, I attended a workshop that was led by these two incredibly talented ladies. My level of respect for them and their respective art is through the roof and their combined encouragement played a big role in helping me decide to do a show. Beckie has the rare gift of being able to go seamlessly from the stylistic extremes of classical piano to jazz/improv piano and everything in between. Lina is such an experienced performer and writer and has an incredible ability to take an artist's vision for their show and turn it into reality. Most importantly, there's the hard-to-put-a-finger-on-it “chemistry” that I have shared with both of them from the very beginning!

Q: What's the most important thing you'd like people to take away from your show?

A: I want people to leave the show feeling inspired to love. Life can tend to knock us down and keep us so busy that we only give love our left over energy or even forget to intentionally love at all. In sharing my imperfect but hopeful story of love through music I hope people will leave filled with a new passion to love their family, love music, love God, love life and love themselves.

For more information on Emilie's show, visit emilie.brownpapertickets.com. The show begins at 7:30 PM on Thursday, July 3, the The Chapel Venue, 6238 Alexander Drive in Clayton. Doors open at 6:45 PM and the admission price includes two complimentary drinks.

The Chapel is a unique performing arts venue that charges no fee to the artists, so every cent of your ticket price goes straight to the performers. The space is non-smoking and wheelchair accessible. Note that while the City of Clayton is discouraging Fair St. Louis attendees from parking on Alexander Drive, it's OK to park there for this show.

Minterview: Emily Bergl

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The Presenters Dolan present "Emily Bergl: Until The Real Thing Comes Along" Thursday through Saturday, March 13-15, at 8 PM as part of the Gaslight Cabaret Festival. Most widely known for her roles on television and in film—as Rachel in "The Rage: Carrie 2," Beth on "Desperate Housewives" and now on "Shameless—as well as for her extensive work on Broadway and Off, Emily Bergl burst onto the cabaret scene just two years ago, garnering raves.

She has performed at the Oak Room, the Cafe Carlyle, and the new Feinstein's. I ran a few questions by her about her eclectic approach to the genre.

Q: It has been said that cabaret, as an intimate art form, is closer to film than theatre. You've had lots of film and TV experience. How do you think this informs your cabaret work?
A: I consider myself a character actor, so no matter what I'm working on I try to transform into a different person each time. Cabaret gives me the opportunity to bring all those characters together in one show. You never know who might show up, from a country girl to a Russian aristocrat.

Q: In September of 2011, The New York Times called your 2010 show "Kidding on the Square" "a gust of fresh air that could knock you off your feet." What is it about your approach to cabaret that sets it apart from more traditional shows?
A: What sets apart my cabaret show is that I'm presenting a complete evening of entertainment with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!

Q: You already had a pretty busy stage and screen career before you started doing cabaret. What got you started down that path?
A: I was inspired to create my own show because it seems like a lot of people don't even know what cabaret is anymore. I want to reintroduce this wonderful art form with music that's relevant while still honoring the classics. Modern day life can be very isolating; I think we're all craving the kind of intimate experience you get in an evening of cabaret.

Emily Bergl with Jet Li for Habitat for Humanity
Chiang Mai, Thailland

Q: I see you're heavily involved with Habitat for Humanity. How did that happen?
A: I became involved with Habitat for Humanity because I've been a huge Jimmy Carter fan ever since I was fifteen years old. I've built houses in Borneo, Thailand, DC, NYC, Pascagoula, Charlotte, Los Angeles, you name it. Last year I even got to sing “Aint' Misbehavin'” for President Carter himself

Q: Is there anything you think the audience needs to know about your show before they come to see it?
A: All the audience needs to know is that they're going to have a fabulous time! You don't have to know anything about my show to enjoy it, but you will definitely recognize some of the songs no matter where your musical taste lies. We do everything from Billie Holiday to Blondie. And if possible it's best enjoyed with a cocktail or two.

For more information on Emily Bergl's appearance at the Gaslight Cabaret Festival: gaslightcabaretfestival.com.

Minterview: Gary F. Bell

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Stray Dog Theatre's 11th season kicks off on October 9th with the return of the company's 2010 hit Evil Dead: The Musical.  "Tickets are going fast," says Stray Dog artistic director Gary F. Bell, "especially the coveted Splatter Zone."  I ran a few questions by Gary about the upcoming season and Stray Dog's commitment (to quote from the mission statement on the SDT web site) to "unleashing the art of theatre and community service on Saint Louis and the surrounding community."

Q: I had the pleasure of appearing in Stray Dog's first musical, My Fair Lady, back in 2006.  Since then musicals, both contemporary and traditional, have become more prominent at SDT, taking up half of the season since 2011.  What was behind that change?
A: The Stray Dog Theatre team always had a plan to one day offer musicals.  We knew early on that we would need to wait until finances were more stable in order to afford the costs inherent in producing these larger shows.  Stray Dog Theatre uses a "menu" approach in planning and producing a season.  We like to offer a wide variety of opportunities to please a wide variety of tastes.  Like a good restaurant - we hope that our season has a little bit of something for everyone to enjoy.

Q: Many theatre companies have some community outreach component to their work, but SDT seems to have been especially effective in that area over the years.  What are your plans in that area for the coming season?
A: We are very proud of our outreach endeavors at Stray Dog Theatre.  We have grown to offer 4 highly successful After School Programs and 8 flourishing Summer Camps for Saint Louis area children.  Stray Dog Theatre was built on the premise of "giving back" to the community- to share with others our successes and achievements.  Look for a new addition to the Stray Dog Theatre pack this year - Stray Pups.  Stray Pups will have even more opportunities for kids of all ages to appear onstage at Tower Grove Abbey in a fully produced show.  And, yes, it will be a musical!

Q: One of the things I've noticed acting with Stray Dog over the years is how well the company treats its actors.  How do you think your own background as a working actor in New York informed that?
A: Working in New York, I learned early on that you can get the most creativity out of your cast, designers, and crew by treating them with respect and kindness. Creativity can't grow in an atmosphere of fear.  I do have very high expectations for those who work with me - and I do demand a respect for the craft of theatre.  I feel a huge responsibility in accepting payment from our audiences - and I am so grateful for their support.  I honor the financial and emotional commitment our patrons offer to Stray Dog Theatre, therefore, Stray Dog Theatre has an obligation to produce the highest quality productions possible.   To do this - I need to rely on the creative abilities of all those who work with us at Stray Dog Theatre.  I do demand a lot - but I feel in the end it is all worth it!  I also like to treat others as I would like to be treated - an old saying that has a lot of resonance for me.

Stray Dog's 2013-2014 season consists of Evil Dead: The Musical October 9 - November 1, William Gibson's The Butterfingers Angel, Mary & Joseph, Herod The Nut, & The Slaughter Of 12 Hit Carols In A Pear Tree December 5 - 21, Douglas Carter Beane's satirical The Little Dog Laughed February 6 - 22, Cabaret (with limited "Signature Seating" at cabaret tables on the set in addition to regular seats) April 3 - 9, Terrence McNally's Love! Valour! Compassion! June 12 - 28, and Funny Girl July 24 - August 9.  Performances take place at Tower Grove Abbey, a century-old former German Evangelical church now owned by Stray Dog, at 2336 Tennessee in Tower Grove East.  For more information: straydogtheatre.org.

And the group's name (you had to be wondering...)?  According to the company web site, "Stray Dog Theatre derives its name from Brodyachaya Sobaka (Stray Dog) a legendary bohemian café frequented by the area’s most cutting edge artists.  Every evening during the early 1900s, diverse audiences gathered to enjoy an evening of eclectic entertainment as the café played host to an array of actors, directors, playwrights, artists and poets. In recognition of the café‘s legacy, SDT seeks to enhance the theatre experience for all by encouraging a collaborative approach."  Seems to be working.

Minterview: Christina Rios

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Christina Rios is the driving force behind R-S Theatrics and the director of their production of the Jason Robert Brown/Alfred Uhry musical drama Parade (profiled in an earlier blog post), which runs September 6-15. I've done some cabaret showcases with Christina and R-S in the past, but this was my first chance to pick her brain on the subject of Parade.

Q: What made you choose this particular play?
A: I first heard this piece in 1999 and I was immediately hooked.  Not just intrigued, not just moved - but hooked.  I started shopping it around to friends I had who enjoyed musicals (and in an opera department, that wasn't many) and did so for years just to share it with others and have meaningful discussion afterwards.  But it was several years later when I shared it with a friend and his roommate that I really remember distinctly: the roommate and I stayed up until 2am debating the merits of the piece, the message, etc...and when I got home I was exhausted both emotionally and physically - but I felt the most alive that I had in years.  Ultimately it was THAT that I was looking for for years - thought-provoking, conversation-starting theatre.  I suppose that I had always known that theatre was a powerful medium, but up until that moment I didn't know how powerful it could be.  And I began to see everything differently.  I didn't want to be an ingénue anymore and show up in the 3rd scene and fall in love, I wanted to do pieces that felt like they really mattered.  I wanted to be a part of something bigger than myself.

I actually shopped Parade around for years to other theatre companies and no one would touch it with someone else's hands - and in a way, I see now that that was the way it was supposed to work, because, R-S Theatrics was really born out of that 2 am night and it makes total sense that it should be R-S giving Parade its St. Louis debut.

I chose this piece because I have been blocking it for the last 14 years.  Because I have had costumes and lighting and music in my head since I was 18 and I can't imagine a better time and a better cast and crew to produce this piece with.

Q: What would you like the audience to take away from Parade?
A: Well, you probably won't like my answer much, but I don't think it really matters what I want people to take away from this show.  Not that we all haven't worked our tails off on this piece, but for me, the real magic of theatre happens once people have stopped applauding and start really thinking and discussing what they just saw and how it made them feel and what THEY took away from it.

I don't do "director's notes" in the program, because I truly believe that my vision for the piece is never even remotely as important as the impact it has on the individual audience member.  I just want it to make people think.

Q: Would it be safe to say Parade is a good fit for the R-S Theatrics mission?
A: Our mission statement is to produce St. Louis premieres of thought-provoking works that demand conversation long after the applause has died down. If there is any show ever that demands conversation post-show, it is most definitely Parade.

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For more information on Parade and other R-S Theatrics shows, visit r-stheatrics.com.