Stray Dog Theatre Triumphs With Poised, Polished Copland Opera ‘The Second Hurricane’

Stray Dog Theatre Triumphs With Poised, Polished Copland Opera ‘The Second Hurricane’

By Lynn Venhaus

A refreshing breeze is blowing through the cozy confines of the Tower Grove Abbey in Stray Dog Theatre’s ambitious youth opera, “The Second Hurricane,” and it’s a breath of fresh air.

An earnest, well-rehearsed ensemble – 12 youth choir members and 11 adult choir members accompanied by a 12-piece orchestra, are unified in song and spirit in this rarely performed piece by Aaron Copland, flawless in their harmonies and heartfelt interpretation.

The remarkable young performers are as poised and polished as the adults are, and the entire effort is impressive. Director Gary F. Bell and Music Director John Gerdes strived for the highest level of excellence of all involved, and their dedication shows.

Copland is known as the Dean of American Music for his distinct musical identity that evokes the American landscape and spirit. One of the most influential composers of the 20th century, he wrote this opera, his first, in 1937, specifically for schoolchildren.

During a career that spanned 60 years, Copland incorporated jazz, folk and classical music in his traditional themes, shaping an American voice, and connecting deeply with audiences.

The dynamic dozen – the mighty musicians of “The Second Hurricane.” Photo by Stray Dog Theatre.

Perhaps you’ve heard “Fanfare for the Common Man,” a 1942 orchestral piece commissioned as a tribute to World War II soldiers; “Rodeo,” a 1942 ballet choreographed by Agnes de Mille honoring the American West that includes the very recognizable “Hoe-Down” (Remember the “Beef. It’s What’s for Dinner” ad campaign?); and his symbolic 1944 ballet “Appalachian Spring” that features the iconic “Simple Gifts” melody. He won an Oscar for the film score to “The Heiress,” among other accolades.

Bell, a longtime fan, was part of the opera’s revival in 1985 for the composer’s 85th birthday celebration. Then a 21-year-old artist living in New York City, Bell was honored to be cast in the production at the Henry Street Settlement, its original site, and met Copland, who died five years later.

His impact on Bell was significant, and the SDT artistic director said this opera is very personal to him.

Inspiring this ensemble to achieve their full potential was important, and Gerdes, a respected local musician and educator, also attained new artistic heights with the choirs and conducting the superb orchestra. They both carried this off with precision and perseverance.

The entire creative cast and crew executed Stray Dog’s first opera splendidly with an appreciation of the material, and emotional storytelling that resonates. An unmistakable feeling of community and its American essence is apparent.

The libretto by poet Edwin Denby was written specifically for young people and set during the Great Depression. It’s succinct and matter of fact, without frills or flourishes.

The accomplished adult choir. Photo by Stray Dog Theatre.

The program notes describe the time and place as: “A small Middle West town following a devastating hurricane in the 1930s. We start in a local high school and move to a rise in ground in a waste country near a great river.”

Inspired by a true story, a group of enthusiastic high school students volunteered to help with delivering supplies to victims of a recent hurricane. Little do they realize the dangers involved, for they are in harm’s way as the weather forecast predicts the possibility of a second hurricane.

With their different personalities and social hierarchy, the students tussle with each other, not agreeing much on duties and strategies. But faced with another natural disaster, frightened and with little resources as they’re stranded on a remote island, they learn to work together, cooperating and demonstrating courage and tolerance.

It’s a terrific lesson on teamwork. The six students on the rescue mission include Nadja Kapetanovich as top of the class Queenie, Bryn Sentnor as determined Gwen, Jabari Boykin as brainy Lowrie, Soren Carroll as new kid Butch, Wesley Balsamo as bully Fat, and Ben Hammock as Gyp, Fat’s younger brother. Cece Mohr plays Jeff, a country boy they discover living in a rural area.

Nadja Kapetanovich performs “Queenie’s Song.” Photo by Stray Dog Theatre.

They are bolstered by new friendships and a sense of belonging, and there’s tangible relief and gratitude from the parents.

The other expressive, self-assured students that shine in the chorus include Eliana Bryson, Margot Carroll, Abby Donald, Sydney Fendler, Sierra Hale and Ava Hettenhausen.

Demonstrating substantial technical skill, the adult choir includes Madeline Black, Leah Bryson, Jacob Cowley, Gansner, Rebecca Hatlelid, Lizzie Klemm, Brittany Kohl, Jess McCawley, Chris Moore, Jan Niehoff and Terrell Thompson. Kohl acts as the school principal and Niehoff as an aviator, Miss Maclenahan (she’s nearly unrecognizable, swallowed up in a cumbersome coat and hat).

From a first-row perch, Gerdes guides the 12 accomplished musicians to create a stirring sound and passionately interpret Copland’s music.

Jabari Boykin, Soren Carroll, Bryn Sentnor, Wesley Balsamo, and Ben Hammock. Photo by Stray Dog Theatre.

The cohesive musicians, behind the singers on stage, are– Helen Bednara, bassoon; Mo Carr, violin 2; Andrea Clark, flute; Jill Hamill, viola; Bill Howells, trombone; Michaela Kuba, double bass; Emily Mehigh, clarinet; Paul Rueschhoff, cello; G Schmiedeke, violin 1; Brandon Lee Thompson, oboe; Deborah Thuet, percussion; and Chris Dressler and Larry Levin each play trumpet at select performances.

Costume designer Colleen Michelson collected numerous print dresses for the period looks, and some of the boys wear overalls to reflect their rural life. Sarah Gene Dowling designed wigs for several singers. Tyler Duenow designed the lighting and Justin Been again created impeccable sound, simulating weather and making the music fill the theater.

Ava Hettenhausen, Sierra Hale, and Sydney Fendler

The two-act musical is only an hour, and the numbers are mostly presented as choral pieces, but four youngsters deliver moving and memorable solos.

Displaying clear, crisp and confident tones, Wesley Balsamo, Ben Hammock, Nadja Kapetanovich and Cece Mohr are affecting in their songs, simply titled with their characters’ names. Their stage presence is notable, too.

“The Second Hurricane” appears to be a rewarding collaborative experience, where everyone seemed to bring out the best in each other.

Stray Dog Theatre presents the Aaron Copland opera “The Second Hurricane” Aug. 7 – 30, Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. on Aug. 10, Aug. 17 and Aug. 24 at the Tower Grove Abbey, 2336 Tennessee Avenue. For more information or for tickets, visit the website, www.straydogtheatre.org.

Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre. The opera is 1 hour long, with an intermission.

Rebecca Hatlelid, Lizzie Klemm, and Jess McCawley

New Line’s ‘Rent’ Strikes a Discordant Note with Some Tune, Tone Troubles

New Line’s ‘Rent’ Strikes a Discordant Note with Some Tune, Tone Troubles

By Lynn Venhaus

One of the big-bang bursts in musical theater history, “Rent” is why transformative composer Jonathan Larson endures 30 years after his masterwork spoke to the dreamer in all of us.

Therefore, it’s disappointing when people entrusted to perform his deeply emotional and vocally demanding songs fall short because of repeated off-key issues.

After producing “Rent” in 2014, New Line Theatre has brought it back 11 years later as its 100th show, a milestone achievement in its 33 years. Artistic director Scott Miller, an early Rent-head, enthusiastically co-directed, with assistance from associate artistic director Chris Moore, who also amiably played good-natured anarchist Tom Collins.

Using Puccini’s opera “La Boheme” as his template, Larson set his Gen X characters in New York City’s East Village in the 1990s as they struggled with life, love and HIV/AIDS over the course of a year.

As a struggling artist for many years, Larson knew the world he wrote about, which was based on a concept by Billy Aronson. For making their doubts, anxiety and commitments relatable, emphasizing community and connection, Larson posthumously won the Pulitzer Prize for Drama.

He won three of the show’s four Tony Awards (Musical, Book, Score and Actor in a Featured Role – Wilson Jermaine Heredia as Angel Dumott Schunard) out of 10 nominations.

Tragically, Larson did not live to see the first Off-Broadway preview performance, because he died that day — Jan. 25, 1996, after suffering an aortic dissection. He was 35.

While intentions are noble, because this treasured show resonates with so many, the noticeable aural flaws marred this production’s overall effectiveness. The rock opera’s celebrated reputation, inevitable expectations and music challenges are hard to live up to if key performers can’t stay in tune.

These shortcomings made me wonder what rehearsals were like because the band is sensational, and some of the singers’ soar, but voices allowed to make repeated mistakes didn’t adjust or correct before opening. This performance was a week later.

As is customary, the New Line band was outstanding. Musicians John Gerdes on bass, Clancy Newell on drums, Adam Rugo and Zack Kempen on guitar, and music director Randon Lane and Jason Eschoflen on keyboards were a major asset. But they couldn’t be miracle workers rescuing in-trouble vocalists every time, no matter how often they tried.

Corrinna Redford and Nathan Mecey as Mimi and Roger, with Chris Moore as Tom Collins. Photo by Jill Ritter Lindberg.

“Rent” features various musical styles. The biggest hurdle were those singers who relied on belting to convey their emotions, but unable to stay on key, wound up screeching,

Corrinna Redford, who played exotic dancer-junkie Mimi Marquez, was erratic vocally and pushed out of her range in “Out Tonight” and “Goodbye Love.” They were messy, breathy and undisciplined, as was “Your Eyes.”

Shouting less, which resulted in a softer interpretation, helped in “Without You” and “I Should Tell You.” Portraying her love interest Roger, Nathan Mecey often went flat when they sang together, thus trying to achieve their spark was difficult.

As lovestruck Collins, Moore fared the best delivery-wise — a sweetly romantic “I’ll Cover You” shared with Angel (and later his heartbreaking reprise) and a hopeful, melodic “Sante Fe.”

With Aarin Kamphoefner as Angel, they displayed the most chemistry of the couple pairings. To their credit, starting with their introduction “You OK, Honey?,” then becoming the positive and compassionate pair did not seem like a stretch.

Chris Moore singing “I’ll Cover You” reprise, with Angel in background. Photo by Jill Ritter Lindberg.

Angel, a street musician and drag queen afflicted with AIDS, is the glue that holds all her friends together. She is such a vibrant life force that when Kamphoefner didn’t go full ebullient RuPaul, you wanted more oomph because she is the life of the party, especially in “Today 4 U” and “Happy New Year.” However, Kamphoefner gave the role its necessary warmth, and was achingly vulnerable in “Will I?”

A too-large circular centerpiece restricted movement, which didn’t help when it came time for the pivotal “Contact,” because Angel’s death was less impactful staged that way, pulling focus away.

In a different choice, he remained on stage afterwards, wearing a white-cream pants ensemble. Usually, Angel’s absence is a big hole that you feel, not see.

As roommates/best friends, aspiring documentary filmmaker Mark Cohen (J. David Brooks) and struggling musician and ex-junkie Roger Davis are tasked with delivering the show’s most dynamic numbers, including “Rent,” which started fine because of the cohesive band’s skills, but veered off-key.

As written, Mark is nerdy and quirky, and Brooks showed the brainy side, if not the skepticism. Roger is complicated because of recent traumas and initially more withdrawn. It’s a tough role to nail, and if there are vocal irregularities, that’s hard to overcome.

Jazmine Kendela Wade and J David Brooks as Joanne and Mark. Photo by Jill Ritter Lindberg.

The grand statement “What You Own” could be a vibrant exclamation —although an ongoing issue of their blocking behind the oversized table/platform hampered their delivery, for in that intimate confine, they seemed farther away, especially Roger

While bouncy Sarah Lueken, as self-centered Maureen Johnson, is appealing, capitalizing on being a flirt and using her sexuality, daring and sass, her big number “Over the Moon” could have been bolder and more defiant.  The cow print pants were inspired.

As Maureen’s Harvard-educated lawyer girlfriend Joanne Jefferson, Jazmine Kendela Wade was confident, but their song interpretations weren’t convincing.  

Because of Brooks’ foot injury, “Tango: Maureen” couldn’t be performed as expected, a playful dance, and “Take Me or Leave Me” lacked verve as well as pitch..

Aaron Tucker played an undistinguished Benjamin Coffin III, former friend turned foe who owns Mark and Roger’s building, married well, and had a fling with Mimi. It’s a stock villain character whose purpose is to advance several conflicts.

Brittany Kohl in ensemble.

Several fine singers played multiple roles  — as parents, marginalized citizens on the streets, AIDs patients, muggers, employers – and understood the complex demands of the music.

Both blending in and standing out were Rafael Da Costa, Lauren Gottreu, Chelsie Johnston, Brittany Kohl, Gabriel Scott Lawrence, Sofia McGrath, Tawaine Noah, and Rachel Parker. Lawrence and Noah were exceptional in “Will I?”

All performers projected earnestness and conviction, often giving off spirited summer camp energy in the ensemble numbers like “La Vie Boheme.”

But when it came time to express yearning, fear, and gut-wrenching sadness, it was not uniform in fervor, and supporting players brought more of the potency in those company numbers.

The signature piece “Seasons of Love” had some wobbly phrasing, but most soloists brought out its potency, especially daCosta and Noah. At first, it was hard to discern who was singing because of their placement.

The set, designed by Todd Schaefer, was a similar set-up that resident set designer Rob Lippert came up with when the first New Line “Rent” was staged at Washington University’s South Campus Theatre (the former CBC High School), which was effective. This tabletop swallowed up so much stage, it made transitions difficult.

Designers adding their personal touches to the overall effect included Zach Thompson, costumes; Ryan Day, sound; and Ryan Thorp, lighting.

The show is meant to be a celebration of life. In 2025 America, AIDS is no longer a death sentence, but because “Rent” captures a specific harrowing time and place, it can feel timeless and universal with its life-and-death themes.

Having seen Puccini’s opera twice, it was interesting to find out how the “Rent” characters closely resembled it – except in a different century and country, Paris in 1830.  

Sarah Lueken as Maureen. Photo by Jill Ritter Lindberg.

As a longtime fan who has seen “Rent” at least 12 times, starting with the first national tour in 1997, and experiencing chill-inducing Adam Pascal and Anthony Rapp reprise their roles in a 2009 national tour that remains one of the greatest highlights of my theater-going life, it is distressing to hear missteps.

New Line’s shaggy, raw, imperfect production still features moments so dear and emphasizes the evergreen message of “Measure your life in love.”

The cast believed in the dignity and acceptance aspect, that I’m certain of — if only they had devoted more effort to be in tune in service of that glorious score.

The rough spots hampered reaching the heights we expect with “Rent.” Had they all found their voices, this would have been a memorable show for all the right reasons.

New Line Theatre presents “Rent” May 30 – June 21, with Thursday through Saturday performances at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive. The musical contains adult content and language and deals with explicit sexual situations. For more information, visit www.newlinetheatre.org

Corrinna Redford and Nathan Mecey as Mimi and Roger. Photo by Jill Ritter Lindberg.

Audience Has As Much Fun as the Cast in New Line’s ‘Rocky Horror Show’

Audience Has As Much Fun as the Cast in New Line’s ‘Rocky Horror Show’

By Lynn Venhaus

Madness takes its toll, yes siree, so who needs fantasy to free you? If you are yearning for a time slip, step back into another dimension and do the Time Warp again!

After all, in 2025, many of us are craving an escape, especially after a very long dreary winter and escalating chaos in the world. What better way than to join like-minded theatregoers and be entertained in a feel-good another-world way? (At least, if you can’t afford a tropical vacation).

The enduring much-revered fan-favorite musical “The Rocky Horror Show” is being produced by New Line Theatre after the company first staged the daring cult smash hit 23 years ago.

But it’s not a rewind. This time, a playful cast interprets the original live stage show, which varies slightly from the raucous cult classic 1975 movie “The Rocky Horror Picture Show,” and may provide a fresh perspective in this changing current climate (as in catch it now before Missouri legislators may outlaw it).

Fifty-two years ago, Richard O’Brien created “The Rocky Horror Show” as a satire for what was happening with the post-60s sexual revolution – that ye olde ‘sex, drugs, and rock ‘n roll’ era and repurposing the Frankenstein legend.

Katie Orr as Magenta. Photo by Jill Ritter Lindberg.

He wrote the music, lyrics and book. O’Brien’s snarky cocktail of tongue-in-cheek, wink-wink behavior, a pre-punk glitter rock concert, and plenty of sexual innuendo were mixed with a homage to old horror and sci-fi B-movies (Think Ed Wood meets The New York Dolls). It caught fire as a London stage production in 1973.

The musical’s book is keen on comedy, so the suggestive one-liners are abundant and so are the flying freak flags in Transexual Transylvania. After all, it was always meant to be tawdry and tacky.

New Line’s production attempts to re-ignite the fervor for sassy and saucy iconic characters who proudly live their life out loud (but in a spooky setting that erupts into dance parties at will).

For the uninitiated, the story follows the transgressive space explorer Dr. Frank N. Furter, his fellow aliens, his Creature, and a few hapless humans.

Todd Schaefer as Frank. Photo by Jill Ritter Lindberg.

Todd Schaefer, who played Brad Majors in New Line’s 2002 endeavor, returns as the wickedly naughty, sexually ambiguous, mad scientist Dr. Frank N. Furter. He leans into the kitschy, campy vibe, confidently strutting in risqué leather and asserting that he is the master of his domain in “Sweet Transvestite.”

Schaefer, who has appeared in 14 shows with the company, grabs hold of the spotlight and delivers his audacious come-ons and comebacks with charming zest and perfect timing. In the second act, he brings the house down with the power ballad “I’m Going Home” after lamenting in “Don’t Dream It, Be It.”

Also standing out were Brittany Kohl and Rafael DaCosta, who earnestly play the lost, scared and confused newly engaged couple Janet Weiss and Brad Majors, a nubile ingenue and her nerdy preppy who are mocked for their naivete and later are energized by their sexual awakening (mostly in the dark, as told in narration).

Their strong voices blend beautifully, especially in “Super Heroes,” and while projecting their characters’ cluelessness in “Damn It, Janet” and “Over at the Frankenstein Place,” they display a sweet innocence together.

Many times, you see people over-exaggerating these roles, but Kohl and DaCosta offer endearing sincere portrayals. And then sure have fun in the second act. Brittany spryly handles “Touch-a Touch-a Touch Me” while Rafael offers a poignant “Once in a While” (cut from the movie).

Another actor having a blast from the past is Christopher Strawhun as doomed biker-greaser Eddie in his raucous solo “Whatever Happened to Saturday Night?” and in a dual role, playing serious expert Dr. Scott, who sings the peppy “Eddie’s Teddy.”

A blonde Zachary Thompson is a bold and brave boy-toy using his physicality as the freshly minted lab Creature, wearing only a skimpy gold lame G-string, and running all over the stage. He delivers a brisk “The Sword of Damocles.” In the second act, I was worried about his very hard fall landing, for he was giving 100% in his characterization.

Brittany Kohl and Rafael Da Costa as Janet and Brad. Photo by Jill Ritter Lindberg.

Katie Orr as Magenta and Tori Shea Cole as Columbia go full glam rock. Orr sets the mysterious mood with the opening “Science Fiction/Double Feature.” She joins her brother Riff-Raff and Columbia on the frisky “The Time Warp.”

I’ve seen the stage show where they have added ensemble characters, called “The Phantoms,” to provide more singers and dancers for the group numbers. But co-directors Scott Miller and Chris Moore have kept the original 9-person ensemble intact.

The butler/handyman Riff-Raff, who is loyal to but also resentful of Frank, usually has a sinister quality. Sporting an androgynous look, Bee Mercer’s interpretation varies from the typical characterization, and while sometimes menacing, acts less creepy and more bizarre.

In another departure, she didn’t develop a strange alien-like voice but uses one like the strange butler Lurch in “The Addams Family.” But everyone presents their own interpretation, as actors tend to do, and not be carbon copies of past performers.

The narrator is crisply played, in authoritative, somber fashion, by Chelsie Johnston, a multi-hyphenate who also choreographed and assisted directing the show.

Christopher Strawhun and Tori Shea Cole as Eddie and Columbia. Photo by Jill Ritter Lindbergh

Making sure the musical numbers keep a lively beat is music director Randon Lane. He superbly conducted a robust 5-man band – John Gerdes on bass, Adam Rugo on guitar, Brandon Thompson on saxophone, Clancy Newell on drums and Jason Eschhofen on second keyboard, while he is pounding away with the driving verve of Jerry Lee Lewis. I enjoyed the sax addition.

It helps that the sound design by Ryan Day is flawless, and use of the hand-held microphones stationed on stands lining the runway was a terrific idea. A new lighting designer, Jack Kalan, had to deal with a multitude of cues, blacking out the room on several occasions, and only highlighting specific people at times using the broader expanse of the Marcelle for entrances and exits.

“The Rocky Horror Show,” and by extension, the movie version, has always been a pop culture rite of passage, enticing with its spicy blend of Halloween Party, drag show, and midnight movie madness.

Those of us old enough to be part of the Varsity Theatre’s midnight screenings in the Delmar Loop during its 1977 and 1978 glory days can wax nostalgic on the experience. The former movie house, now Vintage Vinyl, was one of the first 30 theatres in the U.S. to show “The Rocky Horror Picture Show.”

The movie began showing as a regular feature in March 1976, then a midnight movie on occasional weekends for the rest of that year and through 1977. By May of 1978, it became the regular weekend midnight movie and played until the theatre closed in 1988.

People fondly recall those packed houses and how shenanigans ensued. It’s a touchstone akin to the Mississippi River Festival and the old Busch Stadium II nostalgia that Boomers love to wallow in (including me).

For a time, the Tivoli Theatre programmed the picture, especially during the Halloween season, and usually featured a shadow cast to mimic the action on the big screen. One could purchase a bag of the props, so you didn’t have to bring them from home.

Now, “Rocky Horror” has reached four generations! Its message of acceptance and acknowledging personal freedom continues to resonate.

It doesn’t matter if you are a first-timer or a super-fan, you’ll be able to ease into the festive party atmosphere because the audience always has as much fun as the performers on stage (although it varies from the midnight movie phenomenon’s interactive encouragement).

Photo by Jill Ritter Lindberg.

A warning – this version is non-participatory, so no singing along, shouting out or tossing objects, so leave your toast, rice, toilet paper, noisemakers, and other props at home.

Signs placed around The Marcelle remind everyone to enjoy watching the two acts, which last about 1 hour, 45 minutes, and if opening night is an indication, with a spirited crowd. You can, however, dress in costume.

For New Line Theatre’s 99th show in 33 years, scenic designer Rob Lippert has created a modest set for maximum movement, with a runway allowing ample flexibility for the characters to cavort, and scaffolding acting like floors of the castle. An old-timey Coca-Cola cooler becomes a de facto lab.

Costume designer Erin Goodenough has outfitted everyone in what would be considered eccentric standard looks for Rocky Horror, including many pairs of fishnet stockings. A surprising number of sequins went into sparkly attire for character transformations in the finale.

These days, a rebel yell is good for the soul, as more conservative views sweep the land, wishing life were a ‘50s sitcom dream. Anyone not wanting to conform to outdated social mores and go back, those who can take a joke, could get fired up at “The Rocky Horror Show.” Just saying.

New Line Theatre presents “The Rocky Horror Show” from Feb. 27 to March 22, on Thursdays, Fridays and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, three blocks east of Grand. The show has adult themes and is for mature audiences only. For more information: www.newlinetheatre.com.

Photo by Jill Ritter Lindbergh.

‘Dracula’ Musical Embraces the Myth’s Mystery and the Macabre

‘Dracula’ Musical Embraces the Myth’s Mystery and the Macabre

By Lynn Venhaus

The children of the night are making some lusty music in the musical “Dracula,” a different take on the gothic horror classic whose folklore has become a pop culture staple.

Lush voices soar in a foreboding dark shadow setting, with New Line Theatre putting their own stamp on a stripped down, impressionistic version of Frank Wildhorn’s much-maligned 2004 Broadway musical that has since been heavily revised and became a hit overseas.

Of the many variations of Bram Stoker’s 1897 horror fantasy novel, this very dramatic musical version combines alluring romance with an unsettling thriller narrative devoid of any humor or camp, which has been easy to slide into with vampires over the years. (Case in point: “What We Do in the Shadows.”)

However, Chris Strawhun amuses as one of the characters, a straight-talking Texan named Quincey Morris while delivering his good ol’ boy dialogue.

This tight-knit group, of both familiar and fresh faces, is committed to getting the tone and tempo right. They strive to convince in their portrayals as either under Dracula’s hypnotic spell, resisting it, or desperate vampire hunters.

Brittany Kohl, Vanessa Simpson. Photo by Jill Ritter Lindberg

Their vocal prowess is its strongest suit because this show’s intention is to have more of an emotional core, not aiming to scare or even conjure suspense, in this supernatural world.

Supporting players circle the bewildering nobleman, Count Dracula, an imposing yet enigmatic figure confidently played by Cole Gutmann.

He has summoned solicitor Jonathan Harker (Ian McCreary) to assist in the purchase of a home in England.

Despite being told not to wander around the castle in the Carpathian Mountains, Harker does just that, encountering the Weird Sisters, a trio of nubile undead, who entice him to do bad things. McCreary presents the character as a stand-up guy, but weak.

Ann Heir Brown, Chelsie Johnston and Sarah Lueken bewitch as the seductive trio, slithering around the minimalist stage. With sinful looks and slinky attire, the characters add a provocative edge. They are choreographed by co-director Tony L. Marr Jr.

They initially set the eerie mood with the opening number, “Prologue,” then join McCreary in “Jonathan’s Arrival.” All three have melodic voices, evident on “Forever Young” and joining Guttmann on “Fresh Blood.”

Well, that situation doesn’t go well for Harker, and he winds up in a hospital. His smart and lovely fiancé Mina Murray (Brittany Kohl) changes her holiday plans with best friend Lucy Westenra (Vanessa Simpson) and leaves Whitby Bay, a seaside town in England.

Kent Coffel, Ian McCreary, Kohl, J.D. Pounds. Photo by Jill Ritter Lindberg

A sense of dread surfaces in Mina and Lucy’s duet, “The Mist,” and their nightmares begin.

The women, confined to the society standard of being an adornment on the arms of successful men, keep ignoring red flags but this mysterious aristocrat has captured their fancy. Kohl and Simpson are believable as women who may want more out of life.

The fetching Lucy, wooed by three men, chooses the dullest guy to marry, Arthur Holmwood, earnestly portrayed by Alex Vito Fuegner. Another suitor is Jack Seward, a doctor specializing in psychoanalysis, who is played with authority by J.D. Pounds.

Their number, “How Do You Choose?” sets up their relationships. Despite Lucy marrying Holmwood, the guys are friends and factor into the group trying to protect everyone from sinister forces.

Seward is the gateway to his patient, the insane assistant Renfield (Rafael DaCosta), who is mind-controlled by the count.

DaCosta and the Weird Sisters collaborate on “The Master’s Song,” indicating their servitude.

DaCosta adds some verve to the proceedings, as does Kent Coffel as Professor Abraham Van Helsing, the obsessed vampire slayer. Sporting a Dutch accent and explaining how to snare a vampire, Coffel grounds the show as the iconic presence.

Rafael DaCosta as Renfield. Photo by Jill Ritter Lindberg

Coffel, an MVP in supporting roles, has more contributions musically — two solo numbers, “Nosferatu” and “Summers Come, Summers Go,” and performs “Undead One” and ‘Deep into the Darkest Night” with the suitors. Van Helsing also duets with Dracula in “It’s Over.”

This production focuses on the seriousness of the times, and the traditional roles in Victorian society. Stoker’s aggressively sexual characters were a novel idea in that era, for polite society followed rigid rules of decorum.

Flirting with forbidden eroticism has always been an appealing aspect of the mythology – and if you’ve seen Francis Ford Coppola’s “Dracula” movie in 1992, the ‘True Blood’ series on HBO, and even the ‘Twilight’ franchise, you don’t have to be Fellini to figure out the temptation metaphors.

Director Scott Miller and co-directory Marr keep it tasteful, implying the blood lust without fangs or special effects, or icky graphic stuff.

Both Mina’s and Lucy’s seductions are simply staged, and the deaths through various implements are downplayed. (Although blocking prevented me from seeing Lucy’s beheading).

This cast must build the desire and the fear into their characterizations because, unfortunately, the book by Don Black and Christopher Hampton is like a Cliff Notes version of the source material. It’s neither fascinating nor passionate, and the actors have to do the heavy lifting on their own.

Coffel, Cole Guttmann. Photo by Jill Ritter Lindberg

It’s important to be aware of the basic Dracula scenario, for this script has little world-building, assuming you’re well-versed in it.

The setting toggles back and forth between a castle in Transylvania, England, a ship, Budapest, and a mental asylum, which can be difficult to follow if you’re not plugged into the most famous vampire figure in history.

Black’s lyrics have more exposition than the book. Gutmann’s soulful voice stirringly delivers Wildhorn’s grandiose ballads, injecting a more tortured, troubled persona rather than a monstrous villain into the numbers.

And he does so admirably, from his first number “Solitary Man” to “At Last” and finale. His anguish and his power are explored in “A Perfect Life/Loving You Keeps Me Alive” with Kohl and McCreary, one of the standout numbers.

Lucy is doomed, and Simpson is impressive as the poor unfortunate soul. She and Gutmann display a palpable chemistry, and that may be chalked up to being partners in real life.

Their number, “Life After Life,” joined by the company, sets up the inevitable trajectory, and their harmonies are solid.

Kohl, Guttmann. Photo by Jill Ritter Lindberg.

When Dracula falls in love with Mina, that allows for some outstanding vocal work by Kohl and Guttmann. Kohl is capable of pathos, as exemplified in “Please Don’t Make Me Love You” and “If I Had Wings.”

I wouldn’t say sensuality is evident, but as accomplished singers, they know how to deliver poignancy.

The designers have expertly crafted a creepy atmosphere, with Matt Stuckel’s lighting design and Ryan Day’s sound design establishing an off-balance feel.

Costume designer Zach Thompson has fashioned appropriate 19th century styles and sultry outfits for the Weird Sisters, with nifty little details to make the looks interesting..

Lippert’s skills have highlighted functionality for the scenic design, making the most with a few signature pieces – a centerpiece crypt doubles as a bed and a table and there is a striking stained glass window.

Music Director Jenna Lee Moore, who helmed “Nine” last year, has a terrific group of six musicians and plays keyboard. Paul Rueschhoff is on cello, John Gerdes on brass/bass, Mary Wiley on reeds, Mallory Golden on violin, Buddy Shumaker on guitar and second keyboard, and Clancy Newell on percussion.

Wildhorn is a hit-and-miss with me. When New Line spiffed up his “Bonnie and Clyde” in 2014, it was one of my favorites that year, showcasing top-notch performances and telling a compelling story.

He is the composer of both pop songs (“Where Do Broken Hearts Go” for Whitney Houston) and musicals, including his most famous, “Jekyll & Hyde” that ran for four years on Broadway. In 1999, he made history by having three shows run simultaneously – besides Jekyll & Hyde, “The Scarlet Pimpernel” and “The Civil War” were also on Broadway.

This musical version of “Dracula” isn’t as fascinating as one expects, given our knowledge of the story, and a reference base from more than 30 films based on the world’s most famous vampire. But this is a sturdy cast whose efforts are noteworthy.

You may not leave humming a tune or consider any of the songs as memorable as Wildhorn’s “This Is the Moment,” from “Jekyll and Hyde,” but you won’t forget the music New Line’s team made.

Photo by Jill Ritter Lindberg.

New Line Theatre” presents “Dracula” May 30 – June 22, Thursdays, Fridays and Saturdays at 8 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, in the Grand Center Arts District. For more information, visit: https://www.newlinetheatre.com.

To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

Photo by Jill Ritter Lindberg.