Historical November 1985 report or notice. Original dates, prices and contacts describe the source period; current availability has not been established.
In her Post-Dispatch review of our latest production, EXTREMITIES, Judy Newmark wrote, “in all the excitement over the marvelous renaissance of Union Station, it’s worth pausing to say happy birthday to Theatre Project Company, the troupe that performed in the cold, abandoned terminal back when people said, ‘the play is where?’ ” This is our eleventh season.
During our four years in Union Station (1977-81), we established an identity as St. Louis’s OffBroadway theatre, known for fine acting, imaginative directing, and innovative play selection. Shows like LENNY, SEXUAL PERVERSITY IN CHICAGO, and CATCH-22 played to standing room only crowds in our intimate 150-seat theatre.
We had the hottest ticket in town.
But the good old days were not always so good. I lived in constant fear that one cold winter night a rat would decide to go downstairs just as the audience was coming upstairs into our lobby—the Grand Hall.
At Union Station our scenic artists were frustrated by the limitations of our 20′ x 20′ stage, our directors were tired of telling our actors to stand with their backs to the pillars which framed the stage, and our increased enrollment in Saturday classes for children necessitated twice as much teaching space.
Besides, our audience deserved adequate heat and restrooms.
When we left Union Station “because they were going to do a little work there,” we were riding high and full of hope.
We even called our first season on the road (1981-82) “a moveable feast.” We opened with SCAPINO!, the first of four outdoor productions at the Missouri Botanical Garden.
In October, the late Harold Koplar gave us the Lyn Theatre in Grand Center.
The next season put us on the national map.
Our subscription brochure had advertised that we would be producting “another new play—one of the most controversial plays of the decade—BENT.” But the controversy wasn’t fueled by Martin Sherman’s explosive play about homosexuals in Nazi Germany.
Instead it centered on Christopher Durang’s satire on Catholic education—SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU.
Although no one believed us, we were surprised by the uproar. Really surprised.
It was the sleeper January comedy, not a careful plot to increase the box office sales.
Our surprise turned to exhilaration. “That year was fabulous, incredibly wonderful,” said Fontaine Syer in a recent Globe-Democrat interview. “Let’s sell some tickets and be on the front page.
The next year, we almost lost the ship. Part of it was the mental attitude of the people who worked here.
The controversy was invigorating.
After it was over, we were exhausted.” When the SISTER MARY dust settled, our loyal audience found us in residence at the New City School, 5209 Waterman, in the Central West End.
This season, in addition to EXTREMITIES, we’re producing four Mainstage plays: TO KILL A MOCKINGBIRD based on the novel by Harper Lee, November 15-December 8: ARTICHOKE by Joanna M. Glass, January 17-February 2; A DELICATE BALANCE by Edward Albee, February 21-March 9; and A FROG IN HIS THROAT freely adapted from Georges Feydeau by Eric Conger, April 4-27. “Our Mainstage plays are very different in story, style, and structure,” said Syer, “but fundamentally, they are all about people making choices, deciding what kind of people they will be.” In addition to the Mainstage series, the Project offers professional acting classes for adults, the most comprehensive theatre education program in the Midwest through The Muny/Student Theatre Project, and an innovative audience participation program called BACKSTAGE/ONSTAGE. “BACKSTAGE/ONSTAGE is actually three very different, very new opportunities, to expand both the boundaries of the live theatre experience and our company’s relationship with the audience,” said Syer.
The series began with new play readings and will continue with TOP 40 TERROR, a hilarious one-act about terrorism and the media by company member Tim Hendrixson (December 26-29) and in mid-March, the PERFORMERS’ FESTIVAL will showcase actors competing for cash prizes. “Looking ahead,” said Diane M. Holt, the Company’s new General Manager, “we need to reach out and get our message to a larger part of our community.
If we’re able to expand our base of support, we’ll have greater potential for creativity.
And we’ll be in a better position to secure a permanent home—I think it’s important that people know that we don’t plan to be at New City forever. What it’s really about is getting our message out—the artistic vision that Fontaine has—out to the people.” Sue Greenberg was the Project’s Production Stage Manager from 1977-1985.
Originally published in The Times of Skinker-DeBaliviere, November 1985.
Read this article in the original newspaper issue.
Original source: SD_Times1985_11.pdf, printed page(s) 4; PDF page(s) 4.
