This fall, John Burroughs will open the Wayne Salomon Theatre in the new $45 million performing-arts center.

In 1989 (the same year that Salomon directed Clarke, Goldenhersh and their classmate Jon Hamm in Godspell) Miller started a full-service motion-picture and video production company that has served scores of national and regional clients, from Anheuser-Busch to Volkswagen. Miller and Syer divorced in 1992, by which time she was associate artistic director at the Oregon Shakespeare Festival. ("We stopped making sense as a couple," Syer says, "but we loved each other for a long time and always will.")

For the next twenty years Miller avoided theater completely. Then in 2007 he directed I Love You, You're Perfect, Now Change at the Westport Playhouse. A year later he acted at New Jewish Theatre in The Tale of the Allergist's Wife and followed that with a return to Mamet's Glengarry Glen Ross, this time at HotCity. "Doing Glengarry again was when I knew I was back," Miller says. "But wouldn't you know: I returned to the theater at just about the same time Wayne pulled out, so we missed each other. Until now."

Salomon and Miller rehearsing for Theatre Project Company’s 1979 production of Waiting for Godot.
Salomon and Miller rehearsing for Theatre Project Company’s 1979 production of Waiting for Godot.

Location Info


Center of Creative Arts (COCA)

524 Trinity Ave.
University City, MO 63130

Category: Art Galleries

Region: Delmar/ The Loop


The Lyons
Performed August 22 through September 1 at the Center of Creative Arts, 524 Trinity Avenue, University City.
Tickets are $25 to $30. Call 314-725-6555 or visit

Tuesday, July 30, 6:30 p.m. The cast of The Lyons — Aaron Orion Baker, Charlie Barron, Julie Layton, Meghan Maguire, Judi Mann — convenes around a rectangular table in a second floor rehearsal hall at the Regional Arts Commission. Bobby Miller was right about one thing: Salomon has cast the show impeccably. Actors who don't know each other introduce themselves. Others, already old campaigners, embrace. But between Miller and Salomon there is no sense of anticipation, no acknowledgment that 26 years of theater separation are about to end. The scenic designer passes out renderings of the set; the sound designer discusses music cues. Now Salomon takes charge. All eyes (except those of Miller, who focuses on peeling an obdurate orange) turn to their director.

"I don't know what the play's about yet," Wayne Salomon tells his cast. "I get almost everything about the play from you. During rehearsals I will spend virtually no time looking at the script. I'll spend all my time watching you. That's about it. I think we can start to read."

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