City Circle - That intrepid theatre in Coralville is producing not one, but two shows this summer for younger actors. Auditions for Godspell will be Wednesday June 2nd, 7:00 pm to 10:00 pm and Thursday, June 3rd, 7:00 pm to 10:00 pm at Community of Christ Church, 2121 South Ridge Drive in Coralville. Call backs will be Friday, June 4th, at 7:00 pm.
Godspell is part of City Circle's summer musical program for junior and senior high school students. To be eligible to audition, actors must be in grades 7-12 (this includes incoming 7th graders and graduating seniors). Performances will be July 23-25 at the Englert Theatre.
What to prepare and bring to the audition:
* A short prepared song with sheet music, an accompanist will be provided. Actors may bring a CD and player. Actors may sing a song from the show.
* A list of ALL conflicts between the audition and closing performance.
* Clothes one can move in (including shoes - no flip flops or sandals please).
* A positive attitude
There are roles for 5 men and 5 women.
They are looking for:
* Strong singing voices, capable of singing solo and 4 part harmony.
* Good movement skills, able to perform choreography with precision and style.
* Excellent acting skills, including improvisation, comic timing, good creative skills, believability.
This is a very high energy show so leave the inhibitions at home. They are also looking for a cast that works well together. Everyone is on stage almost the entire show.
Based on the Gospel of Matthew, Godspell recreates many familiar parables and goes through the passion, trial and crucifixion of Jesus. The show has a great pop/rock score. All the characters have a solo and their moment to really shine and everyone sings and dances backup for the soloists.
For more information, email info@citycircle.org.
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Contact us at ictheatreblog@gmail.com.
Wednesday, April 28, 2010
Backstage with Chapter Two
ICCT - The cast and crew of Chapter Two are working hard to be ready for opening night of what could be ICCT's final show (see this post for more information about that). The main character of this lesser known Neil Simon play, George, is a widower who is still recovering to some extent, but decides it may be time for a new beginning. He becomes involved with a woman who is recently divorced and not sure if she is ready for another romance so soon. Eventually they meet because of his brother and her best friend and hit it off and maybe a little too well. We took some time to talk to Brian Tanner, director of the show, and David Pierce, who plays the lead character, George.David, tell me about your character. What's he like? Was it difficult to get into his skin?
David: George is a writer. He loves turning a phrase, loves verbal combat. He's trying to put the memory of his late wife behind him, though his success at that is open to question. He works too hard to put his new love into the mold of his late wife, without much success, and his attempts cause him to be more than a bit of a jerk at times. Those have been the toughest scenes to get into; even in meaty parts, it's tough to let go and be an ass, particularly when your co-star is so sweet and does such a great job of crying onstage.
How has this experience been similar to or perhaps different from other ICCT experiences?
David: Well, it's the first performance since my first couple of productions where I wasn't a member of the ICCT board. That's provided a different perspective, though I'm not sure you really want me to get into that. I will say that I feel more like an outsider with this production than I have since those first few productions. I don't mean that in a bad way - everyone has been absolutely wonderful about welcoming me back to the stage. Another difference is simply the cast size. This is the smallest cast I've been a part of at ICCT. It's nice; it allows you to get to interact with the people you're working with far more than a large cast does.
Can you talk about the rehearsal process for this show?
Brian: We spent the first week just working with the script, reading it and doing character analysis. I really enjoy exploring characters in this way and I think it's a big help for the actors. If the cast can understand their characters better, then that is going to show through in their performance. It's important to me that they know their character's wants, needs, where they've been, and where they are going. Not only of their own part but in relation to all the others'. I tend to ask a lot of behavioral questions early on and there's not always a right answer.
I think the character work paid off because all four of the actors really hit the ground running when we got into the scene work. I say we did rough blocking because much of the play is very conversational between two characters, and so we needed to follow the flow of the dialogue about when it felt right to move from one place to another and when to stay still. This cast has been very much fun to work with and very open to this rehearsal process.
What was it like working with Brian?
David: Brian has been great. He's been really open to all of our suggestions, yet can put his foot down in a very nice manner when he needs or wants to do so. He did a great job of casting the show, if I do say so myself, which has led to us being ahead of the pace for most of the rehearsal process. I really appreciated the way he used the first few rehearsals to help us focus on who our characters were.
What moments in this play stand out for you?
Brian: I really like the phone exchange between George and Jennie where they talk on the phone for the first time before meeting face to face. You really get to see this progression of two characters suddenly finding each other and there's a very sweet quality to it. On the flip side they have a couple very dynamic scenes when they are married and really hash some stuff out. They both have heavy emotional baggage from previous relationships and there are some passionate exchanges. There's a lot of emotion in this script and the cast is doing a great job letting it all out there.
Were there any moments that were particularly challenging for you?
David: There are a couple of things in Act Two. One of those is the thing I mentioned above, where George has to be more than a little of an insensitive jerk. The other comes at the end of the play. I had to struggle to find a way that the outcome made sense to me as opposed to being a tacked on happy ending. I found that internally; I hope it comes across to the audience.
Brian, tell us about your actors...what was their process like? What surprised you?
Brian: I've worked briefly with David on a couple other shows and have seen Ken in a number of ICCT productions. Their reputations proceeded them and they certainly filled the bill. I worked with Robyn the most, both as a fellow cast member and as a director. It's been a pleasure to watch her grow over the past year or so and I think she was ready to handle this role. All of these characters are complex and deep and they all get their moments to shine. Which leads me to Caroline. She hasn't done a whole of lot of theater recently but there were certain things that stood out for me in her audition and I'm happy that we were able to expand on these in the show. She has been holding her own, if not raising the bar, for the other three folks in the cast. I think she's going to raise a lot of eyebrows and has a bright future in our theater community. That's not to say that the others aren't doing well, everyone is bringing their "A" game to this show and it's paying off well.
What's your take on your fellow actors, David?
David: I don't share any scenes with Robyn, which is a shame, cause she's a fun person to hang around the set with. Ken, who plays my brother, has been a blast to share the stage with. While our scenes together aren't entirely comedic, there are a lot of nice comedy beats when we are onstage and he has been great to work with on those. And I can't say enough about Caroline. She's an extremely talented actress, with a light comedic touch as well as an intense dramatic side. She's got good stage sense. We've bounced ideas back and forth off each other, and her instincts are good. Brian gets credit for a real find here.
What have you learned about the show or about yourself through this experience?
Brian: I feel like I always take away something from each show that I work on, whether it's working the sound board or directing. I learn a lot from those I work with like Rich [Riggleman], who did the set design and Rachael [Lindhart], who did the costumes. They're very good at what they do and I really enjoy working with them. One of the reasons I was attracted to the show was that it was about adults in love, and not the traditional boy meets girl type of romance. These are not people discovering love for the first time, they have been around the block. They've been hurt, they have defenses, and they need to work things out in order to progress. I liked that complexity and nothing is ever black and white. It can certainly make you think about your own personal relationships and reflect on those.
ICCT has had its difficulties lately. If this turns out to be the last show ever for ICCT, how would you feel about that?
David: I'd be quite sad if this were the last ICCT show. I know I've been away for awhile, and that my times there weren't always that great, but I have a great deal of fondness for ICCT. I'd hate to see it go away, although in a strange way, it'd be an honor to be a part of the last ICCT show. I hope it doesn't come to that, though. I plan on donating, and hope anyone reading this will give what they can to keep ICCT alive.
Brian: Yeah, it would be a dubious distinction I can't say that I would feel the best about. I'm certainly honored to be included in this season and if it is the last show, I'm grateful for the opportunity to have been included in this long and illustrious run. I think this show is a great way to end the season but I would be sad if it were the end of something that should be embraced more by the community. Theater is meant to entertain, to inspire, to create, and explore. It should be a reciprocal relationship. The theater should enrich the community, and the community should keep the theater alive. The arts are there for all of us. I remember a line from "Mr. Holland's Opus" when they were cutting the music program. The Vice Principal said "If I'm forced to choose between Mozart and reading and writing and long division, I choose long division." and Mr. Holland replies, "Well, I guess you can cut the arts as much as you want, Gene. Sooner or later, these kids aren't going to have anything to read or write about." I think that's very true. I would love to see the community support their local theater. Also, it doesn't seem that ICCT gets the same support from Iowa City that City Circle gets from Coralville. ICCT is basically left up to it's own devices to try to keep things going. They aren't related to the University or generally a part of the downtown district so that puts them at a disadvantage. I know that there is currently a drive to save the theater and I really hope that the community will rally for something that has been giving to them for over 50 years.
David: You know, even if the worst happens, I don't think ICCT will go away forever. If this version of ICCT folded, I don't think it would be too long before a new ICCT rose from the ashes.
Check out Chapter Two at ICCT beginning this Friday!
Sunday, April 25, 2010
ICCT needs help
ICCT - As we have reported previously, the Iowa City Community Theatre is deeply in debt. It's make or break time. If you want to see ICCT continue, please read this email plea from Kehry Lane, ICCT board member, and do what you can.
Folks,
I wouldn't normally use my personal contact list for this kind of e-mail. However, circumstances compel me to write to you all, as my personal friends, my family, and my theatre friends/family.
As some of you may know, Rachel and I have been serving on the board of Iowa City Community Theatre during the past year. When we joined the board last summer, we learned that the organization had fallen on economic hard times. This past year has been a struggle. We nearly canceled Wonderful Town (due to lack of funding), which was saved by the extraordinary fund raising efforts of it's production team. Due to their hard work, ICCT was able to proceed with the show, and make some money in the process.
Unfortunately, the money made on WT wasn't enough to bring us out of the hole. We still find ourselves in need of a substantial amount of money, or we should seriously consider closing our doors. The target is $20,000.00 by the end of May. We're hoping for 200 theatre lovers to contribute $100.00 each. If we meet this goal, we'll be able to retire our debt, and start next season with some cash on hand.
We've assembled a line-up of shows (and directors) for next year that we believe will enchant and delight audiences. We're planning on pursuing grants to help us sustain ICCT over the long term. We've got a strong slate of candidates for next year's board. We're moving in the right direction, and we need some brave, generous folks to contribute.
Simply go to our website, and click on the Donate button in the top right corner. You may use a major credit card, and the transaction will be securely handled by Paypal.
I'm writing to you folks, because I believe you all love local theatre. You believe in the mission of presenting theatre to the community, participating in theatre, and the joy that these shared experiences bring to all involved.
I got my start in my hometown of Council Bluffs, Iowa, with Chanticleer Community Theater. They too have been around for over 50 years. It was a precious resource for me as an individual, my theatre friends/family, and my community. It changed my life for the better, and I will be forever grateful for the opportunities they provided me.
Although, I am not a life long resident of Iowa City, and my involvement with ICCT only started 18 months ago (when we were cast in Bus Stop), I do feel a connection to this long lived organization. I have the desire and hope to see the mission and tradition of community theatre live on in our city. I want community theatre to be there for others, as it was for me. If you are able, please help.
Sincerely,
Kehry Anson Lane
P.S. Please pass this e-mail along to anyone you feel may be interested.
Folks,
I wouldn't normally use my personal contact list for this kind of e-mail. However, circumstances compel me to write to you all, as my personal friends, my family, and my theatre friends/family.
As some of you may know, Rachel and I have been serving on the board of Iowa City Community Theatre during the past year. When we joined the board last summer, we learned that the organization had fallen on economic hard times. This past year has been a struggle. We nearly canceled Wonderful Town (due to lack of funding), which was saved by the extraordinary fund raising efforts of it's production team. Due to their hard work, ICCT was able to proceed with the show, and make some money in the process.
Unfortunately, the money made on WT wasn't enough to bring us out of the hole. We still find ourselves in need of a substantial amount of money, or we should seriously consider closing our doors. The target is $20,000.00 by the end of May. We're hoping for 200 theatre lovers to contribute $100.00 each. If we meet this goal, we'll be able to retire our debt, and start next season with some cash on hand.
We've assembled a line-up of shows (and directors) for next year that we believe will enchant and delight audiences. We're planning on pursuing grants to help us sustain ICCT over the long term. We've got a strong slate of candidates for next year's board. We're moving in the right direction, and we need some brave, generous folks to contribute.
Simply go to our website, and click on the Donate button in the top right corner. You may use a major credit card, and the transaction will be securely handled by Paypal.
I'm writing to you folks, because I believe you all love local theatre. You believe in the mission of presenting theatre to the community, participating in theatre, and the joy that these shared experiences bring to all involved.
I got my start in my hometown of Council Bluffs, Iowa, with Chanticleer Community Theater. They too have been around for over 50 years. It was a precious resource for me as an individual, my theatre friends/family, and my community. It changed my life for the better, and I will be forever grateful for the opportunities they provided me.
Although, I am not a life long resident of Iowa City, and my involvement with ICCT only started 18 months ago (when we were cast in Bus Stop), I do feel a connection to this long lived organization. I have the desire and hope to see the mission and tradition of community theatre live on in our city. I want community theatre to be there for others, as it was for me. If you are able, please help.
Sincerely,
Kehry Anson Lane
P.S. Please pass this e-mail along to anyone you feel may be interested.
Saturday, April 24, 2010
Everybody Loves Opal open April 29
The Old Creamery Theatre in Amana opens its latest show, Everybody Loves Opal, this weekend. It's a quirky comedy about a lovable, optimistic woman who becomes the target of three inept con artists. Their repeated attempts to do Opal in and collect her money are thwarted in this "prank in three acts."
Everybody Loves Opal runs through May 23. Show times are Wednesdays, Thursdays and Sundays at 3 p.m. and Fridays and Saturdays at 7:30 p.m. Tickets are $26.50 for adults and $17.50 for students. Call 1-800-35-AMANA or visit Old Creamery's website for tickets or more information.
Wednesday, April 21, 2010
Rent cast chosen
TCR - After a huge turnout and a callback, the Rent cast has been chosen. Rent opens July 9th.
Anderson, Jennifer: Mimi
Brewer, Aaron: Roger
Byrd, Cameron: Tom Collins
Caraway, Alisabeth: Maureen
Goedken, Steve: Mark
Jones, Tevin: Benjamin Coffin III
Larios, Stephanie: Joanne
Neville, DiAndre: Angel
Arnold, Tim: Ensemble
Barnts, Anna: Ensemble
Braden, Justin: Ensemble
Cooper, Nathan: Ensemble
Drtina, Emma: Ensemble
Foizey, Ryan: Ensemble
Harlander, Brooke: Ensemble
Kane, Michael: Ensemble
Kramer, Amanda: Ensemble
Strong, Alicia: Ensemble
VanDerMillen, Derrick: Ensemble
Williams, Nick: Ensemble
Anderson, Jennifer: Mimi
Brewer, Aaron: Roger
Byrd, Cameron: Tom Collins
Caraway, Alisabeth: Maureen
Goedken, Steve: Mark
Jones, Tevin: Benjamin Coffin III
Larios, Stephanie: Joanne
Neville, DiAndre: Angel
Arnold, Tim: Ensemble
Barnts, Anna: Ensemble
Braden, Justin: Ensemble
Cooper, Nathan: Ensemble
Drtina, Emma: Ensemble
Foizey, Ryan: Ensemble
Harlander, Brooke: Ensemble
Kane, Michael: Ensemble
Kramer, Amanda: Ensemble
Strong, Alicia: Ensemble
VanDerMillen, Derrick: Ensemble
Williams, Nick: Ensemble
Charlie Brown Auditions coming up - revised!
City Circle - We were sent revisions to this notice, so please check it out again.
City Circle will hold auditions for You're a Good Man, Charlie Brown! based on the Charles Schultz cartoon Peanuts at the Community of Christ Church, 2121 South Ridge Drive in Coralville. Auditions times are Friday, April 30th from 5:00-8:00 PM and Saturday, May 1st from 3:00-6:00 PM. Callbacks will be May 2nd from 4:00-7:00 PM.
Please prepare a short song that shows your vocal strengths. You may be asked to read lines and sing additional music from the show. Auditions are open for students ages 13-18 (or 2010 graduate).
Performances will be the second and third weekends in June. If you are unable to attend one of the audition times, please contact Angela Howard to set up a time that works for you at anghoward@gmail.com.
For more information, contact City Circle at info@citycircle.
City Circle will hold auditions for You're a Good Man, Charlie Brown! based on the Charles Schultz cartoon Peanuts at the Community of Christ Church, 2121 South Ridge Drive in Coralville. Auditions times are Friday, April 30th from 5:00-8:00 PM and Saturday, May 1st from 3:00-6:00 PM. Callbacks will be May 2nd from 4:00-7:00 PM.
Please prepare a short song that shows your vocal strengths. You may be asked to read lines and sing additional music from the show. Auditions are open for students ages 13-18 (or 2010 graduate).
Performances will be the second and third weekends in June. If you are unable to attend one of the audition times, please contact Angela Howard to set up a time that works for you at anghoward@gmail.com.
For more information, contact City Circle at info@citycircle.
Sunday, April 18, 2010
SPT's "Best of" Show opens Friday
SPT - Our reviewers have been raving about SPT Theatre's Tales from the Writers Room series since day one. This is your chance to catch this a "best of" performance of this unique theatre. The show features original works by writers David Martino, Mary Sullivan, Adam Witte, Jason Alberty and Akwi Nji-Dawson. Musical performances by Doug Elliott, Janelle Lauer, Jane Pini and Gerard Estella.
The show runs for two performances only - April 23 and 24. Tickets are $20. Doors open at 7:00 pm To reserve tickets, contact Riverside Theatre at 319-338-7672. Riverside Theatre is located at 213 N. Gilbert in Iowa City.
The show runs for two performances only - April 23 and 24. Tickets are $20. Doors open at 7:00 pm To reserve tickets, contact Riverside Theatre at 319-338-7672. Riverside Theatre is located at 213 N. Gilbert in Iowa City.
Saturday, April 17, 2010
Body and Sold need actors
Soroptimists International of Cedar Rapids/Marion will produce a staged reading of the documentary play Body and Sold by Deborah Lake Fortson and Tempest Productions. The they are seeking actors for this production. Interested people can go to TCR's Rent auditions Sunday and Monday at 7 pm. They will have a table set up with information and anyone interested can schedule an audition time. Alternately email Susan Scharnau at suzastock@yahoo.com. The performance will be Saturday, June 26th at 7:00 p.m.
Body and Sold is a powerful tool to create community dialogue about teen prostitution and child abuse. In Body and Sold, the audience hears the voices of eight young Americans, six girls and two boys, who were lured or coerced into this underground life and escaped. Beaten and threatened daily, some were moved from state to state. Some became drug addicted. Many have histories of child abuse. Their stories come from Minneapolis, Boston, Hartford, and New York.
The performance will be followed by an expert panel of local professionals who work to protect those affected by human trafficking. Profits from the evening will be donated to local agencies that protect and educate local children.
Actors Needed:
4 Men (who can play/look ages 16-30)
8 Women (who can play/look ages 15-33)
1 Girl (who can look ages 9-11, but is 16 or older)
Actors of all ethnicities are needed. There will be limited but intensive rehearsals at the Crowne Plaza Five Seasons Hotel in the Commerce Club-16th floor, primarily on Sundays from 7:00-10:00 PM. Actors will be familiar with the script, but not fully memorized, as it is a staged reading. A rehearsal schedule for the actors who commit will involve Actors auditioning who are under 18 must have parent/guardian permission, as the subject matter is, at times, explicit. The work is volunteer, and in support of the eradication of human trafficking. For more information, go here.
Body and Sold is a powerful tool to create community dialogue about teen prostitution and child abuse. In Body and Sold, the audience hears the voices of eight young Americans, six girls and two boys, who were lured or coerced into this underground life and escaped. Beaten and threatened daily, some were moved from state to state. Some became drug addicted. Many have histories of child abuse. Their stories come from Minneapolis, Boston, Hartford, and New York.
The performance will be followed by an expert panel of local professionals who work to protect those affected by human trafficking. Profits from the evening will be donated to local agencies that protect and educate local children.
Actors Needed:
4 Men (who can play/look ages 16-30)
8 Women (who can play/look ages 15-33)
1 Girl (who can look ages 9-11, but is 16 or older)
Actors of all ethnicities are needed. There will be limited but intensive rehearsals at the Crowne Plaza Five Seasons Hotel in the Commerce Club-16th floor, primarily on Sundays from 7:00-10:00 PM. Actors will be familiar with the script, but not fully memorized, as it is a staged reading. A rehearsal schedule for the actors who commit will involve Actors auditioning who are under 18 must have parent/guardian permission, as the subject matter is, at times, explicit. The work is volunteer, and in support of the eradication of human trafficking. For more information, go here.
Wednesday, April 14, 2010
Red Door offers staged reading
Red Door - As part of the CRecycle Eco-Art Fest and part of their ongoing season of new plays Red Door Ensemble will be performing a free reading of James Trainor's Blood on the Canvas on April 17th at 3pm at the Matyk Building, 1029 3rd Street SE Cedar Rapids, Iowa.
This play concerns the fundamental question: what would you sacrifice for your art? Some characters try to connect with a recently deceased artist and the painting she lost her life to. Others resist connecting to her. This play also concerns such topics as responsibility of the family, drug use, and how to handle the greatest decisions of our lives.
The production will be one of two arts productions at the Matyk Building on April 17th involved with the Eco-Arts Festival. The festival is the first of its kind in the New Bohemia cultural district and is intended to promote the preservation of our communities and promote the reuse of man-made objects in the form of art.
Red Door Ensemble is a nonprofit arts organization dedicated to the production of new plays in an ensemble environment throughout the Iowa Cultural Corridor.
For further information please contact the Red Door Ensemble at reddoorensemble@gmail.com or 319-329-6612.
This play concerns the fundamental question: what would you sacrifice for your art? Some characters try to connect with a recently deceased artist and the painting she lost her life to. Others resist connecting to her. This play also concerns such topics as responsibility of the family, drug use, and how to handle the greatest decisions of our lives.
The production will be one of two arts productions at the Matyk Building on April 17th involved with the Eco-Arts Festival. The festival is the first of its kind in the New Bohemia cultural district and is intended to promote the preservation of our communities and promote the reuse of man-made objects in the form of art.
Red Door Ensemble is a nonprofit arts organization dedicated to the production of new plays in an ensemble environment throughout the Iowa Cultural Corridor.
For further information please contact the Red Door Ensemble at reddoorensemble@gmail.com or 319-329-6612.
Glass Menagerie doesn't shine
by Matthew Falduto
Old Creamery - The Old Creamery has a new studio space to replace the one that was lost in the flood. The space is located in an old school building. Last weekend, in this wonderfully intimate venue I experienced a classic in American theatre, The Glass Menagerie by Tennessee Williams. Unfortunately, this production did not shine as brightly as it could have.
The Glass Menagerie is the story of Amanda, a proud Southern belle who was abandoned by her husband many years before and had to care for her children, Tom and Laura. Tom works in a factory to support his mother and sister and resents them for it. Laura has a mild physical impairment and is painfully shy and introverted. She spends all of her time with her glass menagerie, a collection of glass animals. Amanda's one goal is to find a husband for her daughter. To that end, she convinces Tom to bring home a "gentleman caller." What happens next is the main action of the play.
One of the most curious decisions was the location of glass menagerie. Laura's collection is the central part of the show, perhaps only slightly less important than the framed photo of the absent father. The choice to place it downstage and low so parts of the audience couldn't see it or more importantly couldn't see Laura interacting with it was a poor one. The importance of the menagerie to Laura was not as impactful as it needed to be.
Some of the lighting decisions were also curious. Sometimes the lights would change in the middle of a scene and I sensed that they were trying to create an impact, but what that impact was supposed to be was a mystery to me. It is not always easy to light a more intimate space effectively; with more shows forthcoming, Old Creamery will learn the tricks needed to make it work.
Of the four actors, Cheryl Black as Amanda stood out. She perfectly captured the character of the southern woman trying to re-create the past for her daughter. Her desperation and neediness were on display for all to see. As Laura, Emily Peterson was hampered by the staging decisions of the director. She seemed to embody the role well when she was visible to the audience. The men both performed well, although Jonesy McElroy as Tom sometimes uncomfortably came across as a detective out of a noir film when he narrated the action from the future. One of the strongest parts of the show were how well the actors worked together in a scene. McElroy and Black were especially good in their confrontational scenes. Peterson and Patrick McGee as Jim created a sweet relationship in their pivotal scene near the end of the play.
Old Creamery's new studio space has wonderful potential. That a theatre would make a commitment to creating more intimate shows in a separate space has to be applauded. We can all look forward to upcoming shows such as Red, White and Tuna and even more exciting to my mind, Albee's Who's Afraid of Virginia Woolf?.
Matthew has a Bachelor's degree in English from the University of Iowa. He has directed, acted in, and produced theater in the Iowa City area for over twelve years. He has worked with the Iowa City Community Theatre, City Circle and Dreamwell, of which he is a founder. Two of his plays have been produced in the Iowa City area. In another brief life, he also worked as a technical writer.
Old Creamery - The Old Creamery has a new studio space to replace the one that was lost in the flood. The space is located in an old school building. Last weekend, in this wonderfully intimate venue I experienced a classic in American theatre, The Glass Menagerie by Tennessee Williams. Unfortunately, this production did not shine as brightly as it could have.
The Glass Menagerie is the story of Amanda, a proud Southern belle who was abandoned by her husband many years before and had to care for her children, Tom and Laura. Tom works in a factory to support his mother and sister and resents them for it. Laura has a mild physical impairment and is painfully shy and introverted. She spends all of her time with her glass menagerie, a collection of glass animals. Amanda's one goal is to find a husband for her daughter. To that end, she convinces Tom to bring home a "gentleman caller." What happens next is the main action of the play.
One of the most curious decisions was the location of glass menagerie. Laura's collection is the central part of the show, perhaps only slightly less important than the framed photo of the absent father. The choice to place it downstage and low so parts of the audience couldn't see it or more importantly couldn't see Laura interacting with it was a poor one. The importance of the menagerie to Laura was not as impactful as it needed to be.
Some of the lighting decisions were also curious. Sometimes the lights would change in the middle of a scene and I sensed that they were trying to create an impact, but what that impact was supposed to be was a mystery to me. It is not always easy to light a more intimate space effectively; with more shows forthcoming, Old Creamery will learn the tricks needed to make it work.
Of the four actors, Cheryl Black as Amanda stood out. She perfectly captured the character of the southern woman trying to re-create the past for her daughter. Her desperation and neediness were on display for all to see. As Laura, Emily Peterson was hampered by the staging decisions of the director. She seemed to embody the role well when she was visible to the audience. The men both performed well, although Jonesy McElroy as Tom sometimes uncomfortably came across as a detective out of a noir film when he narrated the action from the future. One of the strongest parts of the show were how well the actors worked together in a scene. McElroy and Black were especially good in their confrontational scenes. Peterson and Patrick McGee as Jim created a sweet relationship in their pivotal scene near the end of the play.
Old Creamery's new studio space has wonderful potential. That a theatre would make a commitment to creating more intimate shows in a separate space has to be applauded. We can all look forward to upcoming shows such as Red, White and Tuna and even more exciting to my mind, Albee's Who's Afraid of Virginia Woolf?.
Matthew has a Bachelor's degree in English from the University of Iowa. He has directed, acted in, and produced theater in the Iowa City area for over twelve years. He has worked with the Iowa City Community Theatre, City Circle and Dreamwell, of which he is a founder. Two of his plays have been produced in the Iowa City area. In another brief life, he also worked as a technical writer.
Sunday, April 11, 2010
Proof is a powerful intimate show
by Matthew Falduto
TCR - And now for something completely different. For their second show back in the refurbished space, Theatre Cedar Rapids chose the exact opposite of The Producers. Proof, by David Auburn, has no splashy musical numbers, no stunt casting, and no elaborate set. What it does have is four expert actors tackling a demanding script and bringing to life an intimate story.
The expectation of intimacy is set from the
moment the audience enters the theatre. The beautifully simple set depicting the back porch of a Chicago home sits center stage, an oasis amidst the black. Sometimes it is difficult to pull off an intimate show like this on a big stage, but this design embraces the size of the stage and uses the blackness around it to emphasize the solitary life of its two principal characters and set the melancholy mood of the piece. The use of lighting to place the shadows of trees on the house was also a nice touch.
The story follows Catherine coming to terms with the death of her mathematically brilliant father and her fear that she will lose her mind as he did. The story has a number of twists and turns that I don't want to ruin, but suffice it to say the action begins with the arrival of Hal, a grad student who considers Catherine's father a legend in the field of mathematics, and Claire, Catherine's older sister who attempts to take control of Catherine's life because she believes her sister is not capable of making good decisions. What surprised me most about this show is how funny it is. Humor is key catalyst to every scene and the actors skillfully play the comedy for just the right amount of laughs, ensuring that the weightiness of the subject does not overwhelm the audience. Rob Merritt, as Hal, has especially good comic timing.
But the fact is all four actors are excellent under the skillful direction of J David Carey, a TCR veteran. As Robert, Catherine's brilliant but unstable father, Demetrios Hadjis adopts a almost too soothing voice that suggests warmth but at the same time hints that perhaps all is not right beneath the surface. In a flashback, Hadjis uses soulful eyes and a sagging mouth to show us the pain of his realization that his mind is not the sharp machine it once was. He is an actor who understands the physical tools at his disposal and uses them to excellent effect. Equally good is Jessica Link as Claire. She sashays onto stage, sweater folded over her shoulders, in complete control of herself and determined to take control of her sister, who resists at every step. When the script finally allows Link to lose it, she lashes out with a ferocity that is frightening. And then just as quickly, she takes control of herself again. Link gives us a fascinating character to reflect upon.
Rob Merritt has more tools in his arsenal than comic timing. His Hal is sweetly endearing and it's easily understandable why Catherine would fall for him. The character of Catherine is the emotional center of the play and the character the audience must identify with and care about. Rachel Korach Howell excellently captures our empathy with an affecting portrayal of a woman paralyzed with fear who often seeks refuge in biting wit. Howell is equally adept at portraying the complete vulnerability of Catherine as well as her internal strength. As each of these characters move forward in the play, the actors intelligently play off one another. This is truly an excellent ensemble.
Proof is a powerful show the deserves sold out audiences. The splashy musicals are fun, sure, but this show makes you think. This show sticks with you long after you may have forgotten the big dance number. Proof is powerful, intimate work in a beautiful theater. Don't miss it.
Matthew has a Bachelor's degree in English from the University of Iowa. He has directed, acted in, and produced theater in the Iowa City area for over twelve years. He has worked with the Iowa City Community Theatre, City Circle and Dreamwell, of which he is a founder. Two of his plays have been produced in the Iowa City area. In another brief life, he also worked as a technical writer.
TCR - And now for something completely different. For their second show back in the refurbished space, Theatre Cedar Rapids chose the exact opposite of The Producers. Proof, by David Auburn, has no splashy musical numbers, no stunt casting, and no elaborate set. What it does have is four expert actors tackling a demanding script and bringing to life an intimate story.
The expectation of intimacy is set from the
moment the audience enters the theatre. The beautifully simple set depicting the back porch of a Chicago home sits center stage, an oasis amidst the black. Sometimes it is difficult to pull off an intimate show like this on a big stage, but this design embraces the size of the stage and uses the blackness around it to emphasize the solitary life of its two principal characters and set the melancholy mood of the piece. The use of lighting to place the shadows of trees on the house was also a nice touch.The story follows Catherine coming to terms with the death of her mathematically brilliant father and her fear that she will lose her mind as he did. The story has a number of twists and turns that I don't want to ruin, but suffice it to say the action begins with the arrival of Hal, a grad student who considers Catherine's father a legend in the field of mathematics, and Claire, Catherine's older sister who attempts to take control of Catherine's life because she believes her sister is not capable of making good decisions. What surprised me most about this show is how funny it is. Humor is key catalyst to every scene and the actors skillfully play the comedy for just the right amount of laughs, ensuring that the weightiness of the subject does not overwhelm the audience. Rob Merritt, as Hal, has especially good comic timing.
But the fact is all four actors are excellent under the skillful direction of J David Carey, a TCR veteran. As Robert, Catherine's brilliant but unstable father, Demetrios Hadjis adopts a almost too soothing voice that suggests warmth but at the same time hints that perhaps all is not right beneath the surface. In a flashback, Hadjis uses soulful eyes and a sagging mouth to show us the pain of his realization that his mind is not the sharp machine it once was. He is an actor who understands the physical tools at his disposal and uses them to excellent effect. Equally good is Jessica Link as Claire. She sashays onto stage, sweater folded over her shoulders, in complete control of herself and determined to take control of her sister, who resists at every step. When the script finally allows Link to lose it, she lashes out with a ferocity that is frightening. And then just as quickly, she takes control of herself again. Link gives us a fascinating character to reflect upon.
Rob Merritt has more tools in his arsenal than comic timing. His Hal is sweetly endearing and it's easily understandable why Catherine would fall for him. The character of Catherine is the emotional center of the play and the character the audience must identify with and care about. Rachel Korach Howell excellently captures our empathy with an affecting portrayal of a woman paralyzed with fear who often seeks refuge in biting wit. Howell is equally adept at portraying the complete vulnerability of Catherine as well as her internal strength. As each of these characters move forward in the play, the actors intelligently play off one another. This is truly an excellent ensemble.
Proof is a powerful show the deserves sold out audiences. The splashy musicals are fun, sure, but this show makes you think. This show sticks with you long after you may have forgotten the big dance number. Proof is powerful, intimate work in a beautiful theater. Don't miss it.
Matthew has a Bachelor's degree in English from the University of Iowa. He has directed, acted in, and produced theater in the Iowa City area for over twelve years. He has worked with the Iowa City Community Theatre, City Circle and Dreamwell, of which he is a founder. Two of his plays have been produced in the Iowa City area. In another brief life, he also worked as a technical writer.
Friday, April 9, 2010
Still Life with Iris cast
TCR - Directed by Leslie Chariper, TCR's family friendly production of Still Life with Iris will open May 14. The cast list follows (in alphabetical order).
Akers, Harrison: Elmer / Tunnel Dweller
Akers, Richie: Mr. Matternot / Dad
Arnold, Autumn: Hazel / Tunnel Dweller
Arnold, Stephanie: Mom / Miss Matternot
Canfield, Chad: Flower Painter / Captain Also
Davidson, Dyanna Dawn: Leaf Monitor / Gretta Good
Davidson, Scott: Thunder Bottler #1 / Mr. Otherguy
Gerhold, Alisa: Annabel Lee
Hayes, Denzell: Jay
Lamas, Lanessa: Third String
Mlodzik, Anna: Iris
Schulte, Grace: Rainmaker / Tunnel Dweller
Stevenson, Annie: Ray
Struttman, Len: Memory Mender
Tiwari, Vipul: Thunder Bottler #2 / Mr. Himtoo
Williams, Alex: Bolt Bender / Grotto Good
Wisner, Jon: Mozart
Akers, Harrison: Elmer / Tunnel Dweller
Akers, Richie: Mr. Matternot / Dad
Arnold, Autumn: Hazel / Tunnel Dweller
Arnold, Stephanie: Mom / Miss Matternot
Canfield, Chad: Flower Painter / Captain Also
Davidson, Dyanna Dawn: Leaf Monitor / Gretta Good
Davidson, Scott: Thunder Bottler #1 / Mr. Otherguy
Gerhold, Alisa: Annabel Lee
Hayes, Denzell: Jay
Lamas, Lanessa: Third String
Mlodzik, Anna: Iris
Schulte, Grace: Rainmaker / Tunnel Dweller
Stevenson, Annie: Ray
Struttman, Len: Memory Mender
Tiwari, Vipul: Thunder Bottler #2 / Mr. Himtoo
Williams, Alex: Bolt Bender / Grotto Good
Wisner, Jon: Mozart
Auditions for Ushers Ferry's Why Marry?
Ushers Ferry - Auditions for Usher Ferry's production of Why Marry? will be held April 12 and 13, 7:00 at Ambroz Rec Center on 20th and Mt. Vernon. Actors so not need to prepare anything; readings from the script will be provided. Why Marry?, by Jesse Lynch Williams, is a comedy of social mores from 1918. It was the first play ever to be awarded the Pulitzer Prize for drama, and remains a fascinating artifact of its time, as well as an intriguing mirror on the present.
Character descriptions:
JEAN, the host's younger sister, who has been brought up to be married and nothing else.
REX, an unmarried neighbor, who has not been brought up to be anything but rich.
LUCY, the hostess, who is trying her best to be "just an old-fashioned wife" in a new-fashioned home.
UNCLE EVERETT, a Judge, who belongs to the older generation and yet understands the new --- and believes in divorce.
COUSIN THEODORE, a clergyman and yet a human being, who believes in everything --- except divorce.
JOHN, who owns the house and almost everyone in it --- and does not believe in divorce .
HELEN, the host's other sister, whom every one wants to marry, but who doesn't want to marry any one.
ERNEST, a scientist, who believes in neither divorce nor marriage but makes a great discovery.
BUTLER
FOOTMAN
Auditions will be held April 12 and 13, 7:00 at Ambroz Rec Center on 20th and Mt. Vernon. No need to prepare anything. We will be reading from the script.
This show will be performed May 13 - 15 and 20 - 22. Rehearsals will be held Tuesday through Friday evenings and Saturday mornings starting on April 15. We will rehearse everyday of tech week starting on Sunday evening. Some conflicts with the rehearsal schedule can be worked around. Tech week (and, of course, show week) is mandatory and non-negotiable.
All of the eight main parts are meaty and the play has a light playful tone.
This play, unfortunately, is rarely revived. Ushers Ferry believes that this may be an Iowa premiere - 92 years after the fact!
Character descriptions:
JEAN, the host's younger sister, who has been brought up to be married and nothing else.
REX, an unmarried neighbor, who has not been brought up to be anything but rich.
LUCY, the hostess, who is trying her best to be "just an old-fashioned wife" in a new-fashioned home.
UNCLE EVERETT, a Judge, who belongs to the older generation and yet understands the new --- and believes in divorce.
COUSIN THEODORE, a clergyman and yet a human being, who believes in everything --- except divorce.
JOHN, who owns the house and almost everyone in it --- and does not believe in divorce .
HELEN, the host's other sister, whom every one wants to marry, but who doesn't want to marry any one.
ERNEST, a scientist, who believes in neither divorce nor marriage but makes a great discovery.
BUTLER
FOOTMAN
Auditions will be held April 12 and 13, 7:00 at Ambroz Rec Center on 20th and Mt. Vernon. No need to prepare anything. We will be reading from the script.
This show will be performed May 13 - 15 and 20 - 22. Rehearsals will be held Tuesday through Friday evenings and Saturday mornings starting on April 15. We will rehearse everyday of tech week starting on Sunday evening. Some conflicts with the rehearsal schedule can be worked around. Tech week (and, of course, show week) is mandatory and non-negotiable.
All of the eight main parts are meaty and the play has a light playful tone.
This play, unfortunately, is rarely revived. Ushers Ferry believes that this may be an Iowa premiere - 92 years after the fact!
Wednesday, April 7, 2010
Glass Menagerie opens Thursday
Old Creamery – The Glass Menagerie opens April 8 on The Old Creamery’s new intimate 70-seat Studio Stage.The play centers on the efforts of Amanda, who hopes to find a husband for her daughter, Laura. Abandoned years ago by her own husband, Amanda has had to fight for financial survival in order to raise Laura and her brother, Tom. Now, she longs for a husband to care for Laura, while Tom - who works in a warehouse to support his mother and sister - longs for his own freedom.
The Glass Menagerie by Tennessee Williams - considered one of America’s best playwrights - premiered in Chicago in 1944 and won the prestigious 1945 New York Drama Critics Circle Award. The cast consists of Cheryl Black, of Columbia Missouri; Jonesy McElroy originally of Belle Plaine, Iowa and now of Los Angeles; Emily Peterson of Kansas City, Missouri; and Patrick McGee of New York. Directed by Tom Milligan, producing director at The Old Creamery Theatre Company, the show will run through April 25 and is rated Theatre PG.
Performances are Thursdays and Sundays at 3 p.m. and Fridays and Saturdays at 7:30 p.m. Tickets are $22.50 for adults and $15.50 for students.
A special open house will be held on Friday, April 9 from 5 to 7 p.m. to celebrate The Old Creamery’s new Studio Stage. No reservations are needed for the open house, which is free and open to the public. The show, which starts at 7:30 p.m., is not included in the free open house.
Call the box office at 800-35-AMANA or visit the website at www.oldcreamery.com for tickets, directions to the new stage, or more information. The Studio Stage is housed in the former Clear Creek Amana Middle School.
Tuesday, April 6, 2010
Mary’s Wedding is a Touching Breath of Fresh Air
by Angie Toomsen
Riverside - Anything is possible in a dream, and anything is possible in theatre. In the beginning of Stephen Massciotte’s Mary Wedding, it is announced "tonight is just a dream . . . it begins at the end and ends at the beginning."
What follows is a fluid, free-associative journey from the night star-crossed loves meet in a barn during a thunderstorm in pre-WWI 1920’s Canada, to the eve of Mary’s wedding years later.
Mary (Kalen Harriman)—a wide-eyed, poetry-loving British transplant—meets Charlie (Martin Andrews), a farmer’s son. Mary is drawn to the skilled horseman, as is he to her. The literary imagery sets the stage for nascent true love as both seek shelter from a booming thunderstorm. In their first meeting, we learn that Charlie fears thunderstorms and Mary is deathly afraid of horses. We also learn that their respective strengths bolster each other’s vulnerabilities as Charlie coaxes Mary to ride, and as Mary pacifies Charlie’s thunderclap anxiety, leading him in recitation of Tennyson’s poem, “The Charge of the Light Brigade.”
As their fondness for one another develops through subsequent encounters, the dream skips around in time and space. Charlie has joined the Canadian Calvary and is ship-bound to Europe, where he is soon entrenched in real battle—a far cry from the poetic “Charge of the Light Brigade.” The violence Charlie faces in battle—and assuaging thoughts of Mary—are volleyed with scenes of an evolving pre-war courtship under the thumb of a class-conscious mother who does not immediately approve of the pairing.
The lines between these disparate places and times blur and overlap as Mary—who spends the entire play in a delicate white night dress—steps in and out of the role of Charlie’s superior officer, Sergeant Flowers, a friend and a comfort to Charlie.
Intersecting points on the timeline accelerate and, as they reach a final crescendo, the audience is reminded that this is, in fact, a dream. Mary’s dream. Not merely a dream in the sense that the a linear depiction of time can be disregarded, but that wishes can be fulfilled and moments re-imagined. The dream wakes Mary unto itself—like a waiting room to the reality of her waking life and pending nuptials—as a heartbreaking reality must be named.
Riverside Theatre’s current production, directed by Sean Christopher Lewis, is effectively executed in every respect.
The production is a tear-jerker, evidenced by the wet eyes, tissues and reassuring looks exchanged among theatre companions as the house lights came up at the end of this 90-minute piece in its opening weekend. Massciotte’s script blueprints the emotional journey, but it is the actors and Lewis’ economical direction that earn credit for the success of this production.
Martin Andrews is a gifted, sensitive professional who reveals a very genuine and believable picture of a young man touched by love and by the horrors of war. In a role that could seem overly sentimental or difficult for modern audiences to relate to if thinly interpreted, Andrews’ own commitment and generosity allow Charlie’s experiences to transcend the distance of era. Iowa City theatre goers are fortunate to have actors like Andrews in the area.
As Mary, Chicago actress Kalen Harriman is a walking angel. Simply delightful. Like a little girl as times, she captures Mary’s wonder and innocence in a way that makes it impossible for the audience not to fall in love with her. Her performance—skillful, specific, and marked with very clear navigation through abrupt transitions—is positively effortless. Harriman also effectively handles a British dialect in a way that is rare for American actors.
The play is staged on a beautiful set designed by Shawn Johnson. Lengthy gapped wood slats seem to reach on for days, creating the illusion of greater depth than the space affords on its own. There is just enough there for Lewis and the actors to play with—two gates, a long sturdy shelf/bench to create levels—and stacks of hay that become barricades in battle.
Courtney Schmitz Watson’s lighting design plays with the gaps in the boards in a way that makes the set seem other-worldly at times. The lighting, and Lewis’ sounds design, help transport the space from barn to battlefield with ease. Perfect ethereal touches, fitting for a dreamscape.
Mary’s Wedding plays through April 18th.
Angie Toomsen has an MA in journalism from the University of Iowa and a BA in theatre from UNI. She spent nearly a decade in New York City, seeing, participating in and studying theatre. She still enjoys writing, acting and directing as time permits.
Riverside - Anything is possible in a dream, and anything is possible in theatre. In the beginning of Stephen Massciotte’s Mary Wedding, it is announced "tonight is just a dream . . . it begins at the end and ends at the beginning."
What follows is a fluid, free-associative journey from the night star-crossed loves meet in a barn during a thunderstorm in pre-WWI 1920’s Canada, to the eve of Mary’s wedding years later.
Mary (Kalen Harriman)—a wide-eyed, poetry-loving British transplant—meets Charlie (Martin Andrews), a farmer’s son. Mary is drawn to the skilled horseman, as is he to her. The literary imagery sets the stage for nascent true love as both seek shelter from a booming thunderstorm. In their first meeting, we learn that Charlie fears thunderstorms and Mary is deathly afraid of horses. We also learn that their respective strengths bolster each other’s vulnerabilities as Charlie coaxes Mary to ride, and as Mary pacifies Charlie’s thunderclap anxiety, leading him in recitation of Tennyson’s poem, “The Charge of the Light Brigade.”
As their fondness for one another develops through subsequent encounters, the dream skips around in time and space. Charlie has joined the Canadian Calvary and is ship-bound to Europe, where he is soon entrenched in real battle—a far cry from the poetic “Charge of the Light Brigade.” The violence Charlie faces in battle—and assuaging thoughts of Mary—are volleyed with scenes of an evolving pre-war courtship under the thumb of a class-conscious mother who does not immediately approve of the pairing.
The lines between these disparate places and times blur and overlap as Mary—who spends the entire play in a delicate white night dress—steps in and out of the role of Charlie’s superior officer, Sergeant Flowers, a friend and a comfort to Charlie.
Intersecting points on the timeline accelerate and, as they reach a final crescendo, the audience is reminded that this is, in fact, a dream. Mary’s dream. Not merely a dream in the sense that the a linear depiction of time can be disregarded, but that wishes can be fulfilled and moments re-imagined. The dream wakes Mary unto itself—like a waiting room to the reality of her waking life and pending nuptials—as a heartbreaking reality must be named.
Riverside Theatre’s current production, directed by Sean Christopher Lewis, is effectively executed in every respect.
The production is a tear-jerker, evidenced by the wet eyes, tissues and reassuring looks exchanged among theatre companions as the house lights came up at the end of this 90-minute piece in its opening weekend. Massciotte’s script blueprints the emotional journey, but it is the actors and Lewis’ economical direction that earn credit for the success of this production.
Martin Andrews is a gifted, sensitive professional who reveals a very genuine and believable picture of a young man touched by love and by the horrors of war. In a role that could seem overly sentimental or difficult for modern audiences to relate to if thinly interpreted, Andrews’ own commitment and generosity allow Charlie’s experiences to transcend the distance of era. Iowa City theatre goers are fortunate to have actors like Andrews in the area.
As Mary, Chicago actress Kalen Harriman is a walking angel. Simply delightful. Like a little girl as times, she captures Mary’s wonder and innocence in a way that makes it impossible for the audience not to fall in love with her. Her performance—skillful, specific, and marked with very clear navigation through abrupt transitions—is positively effortless. Harriman also effectively handles a British dialect in a way that is rare for American actors.
The play is staged on a beautiful set designed by Shawn Johnson. Lengthy gapped wood slats seem to reach on for days, creating the illusion of greater depth than the space affords on its own. There is just enough there for Lewis and the actors to play with—two gates, a long sturdy shelf/bench to create levels—and stacks of hay that become barricades in battle.
Courtney Schmitz Watson’s lighting design plays with the gaps in the boards in a way that makes the set seem other-worldly at times. The lighting, and Lewis’ sounds design, help transport the space from barn to battlefield with ease. Perfect ethereal touches, fitting for a dreamscape.
Mary’s Wedding plays through April 18th.
Angie Toomsen has an MA in journalism from the University of Iowa and a BA in theatre from UNI. She spent nearly a decade in New York City, seeing, participating in and studying theatre. She still enjoys writing, acting and directing as time permits.
Monday, April 5, 2010
Proof opens April 9th
TCR - To follow up their return to the Iowa Theatre Building with The Producers, TCR has a show quite different in style and theme. Proof brings home the Linge Series, TCR's focus on smaller, more intimate shows. The cast of four includes Rachel Howell as Catherine, Rob Merritt as Hal, Demetrios Hadjis as Robert and Jessica Link as Claire.
David Auburn's Proof won both the Tony Award for Best Play and the Pulitzer Prize for Drama 2001. It tells the story of Catherine, the daughter of a famous but mentally ill mathematician. Catherine has just turned twenty-five and is struggling with depression, the death of her father and the advances of his protege Hal. To top it off, she's guarding a secret she hasn't shared with anyone, because she doesn't think anyone will believe her: a radical proof that could be more important than anything her father had every written.
Proof runs April 9-18 at the Iowa Theatre Building. Performances are 7:30pm Thursday through Saturday and 2:30pm Sunday. Tickets are $20-$25 (or $15 for students). Call 319.366.8591 or go to www.theatrecr.org for details.
David Auburn's Proof won both the Tony Award for Best Play and the Pulitzer Prize for Drama 2001. It tells the story of Catherine, the daughter of a famous but mentally ill mathematician. Catherine has just turned twenty-five and is struggling with depression, the death of her father and the advances of his protege Hal. To top it off, she's guarding a secret she hasn't shared with anyone, because she doesn't think anyone will believe her: a radical proof that could be more important than anything her father had every written.
Proof runs April 9-18 at the Iowa Theatre Building. Performances are 7:30pm Thursday through Saturday and 2:30pm Sunday. Tickets are $20-$25 (or $15 for students). Call 319.366.8591 or go to www.theatrecr.org for details.
Saturday, April 3, 2010
I'd Rather Eat Dirt Goes Beneath the Topsoil
by James E. Trainor III
After the opening scene of I'd Rather Eat Dirt, the latest installment of SPT's "Tales from the Writer's Room" series, Adam Witte comes onstage and confesses that this show's vague, open theme had them rather stumped at first. The question - what would you rather "eat dirt" than do? - seems to belong to a schoolyard dare or a slumber party, and it's not obviously conducive to creative writing. SPT's writing team, however, succeed in embracing the idea's awkwardness to create a series of scenes that range from the thoughtful to the confessional to the ridiculous.
The uniting concept that the writers arrived at when they discussed it amongst themselves, says Witte, was that they'd rather eat dirt than go back to middle school. So to create the segues that help glue the scenes together, they did something most of us would rather eat dirt than do: they dug up their middle school journals and shoveled the contents onto the stage.
The results of this - awkward poems and journal entries from young writers still discovering their voice, read by mature artists who can hardly keep a straight face when they see what they'd written - are riddled with sentimentality, irony, pathos, and a healthy helping of cliche. I can't help but admire the bravery of these artists, though. It takes a lot of courage to face up to the embarrassing task of revisiting your middle-school writing in public (as a writer myself, I'm perfectly happy that the contents of my "Amazing Comics" will never see the light of day), not to mention your adolescent musings of unrequited love (or, in the case of some, requited lust). The readings are done with humor and honesty, and the light-heartedness opens us up to explore the larger theme of reflection and life choices.
Many of the pieces go beneath the topsoil and dig up some forgotten treasures. Jason Alberty's monologue "The Truth Does Not Always Set You Free" airs some buried secrets from his family history. Akwi J. Nji-Dawson's "I'd Rather Play With Dirt" contrasts her childhood playing with dirt in Africa with the overabundance toy aisle at Wal-Mart. She draws a delightful and fascinating picture of childhood fantasy when she shares her story. Another thoughtful scene is "The Bait Shoppe" in which guests Steve Ginsberg and Rip Russell play a city slicker and a bait shop owner. Russell creates a wonderful character as the philosophical rustic who quotes Shakespeare.
Both Russell and Ginsberg are versatile performers, great in both the comic and the serious scenes. Ginsberg in particular is a great straight man, hilarious when set against Adam Witte, the waiter at a "dirtcentric" restaurant in "I'd Rather Eat Dirt." Guitarist Billy Heller was a great addition to the SPT band, jamming on some fun and energetic songs and holding his own on the mic in "Walk of Life."
The music in general was very good in this show; Janelle Lauer in particular shined in "I Like Dirt" and "Vertigo," both gritty, slightly funky songs. The band is always a joy, and the music helps fuse the wide range of styles in the theatrical pieces into a solid show. It was a shame, however, that the performance of "Break on Through" was somewhat truncated; it would have been nice to see Gerard Estella and Billy Heller get a chance to really jam on this blues-rock classic.
I'd Rather Eat Dirt is being performed again tonight, April 3rd, at 7:30pm at the Cedar Rapids Museum of Art. Tickets are $20 and may be purchased at the door.
After the opening scene of I'd Rather Eat Dirt, the latest installment of SPT's "Tales from the Writer's Room" series, Adam Witte comes onstage and confesses that this show's vague, open theme had them rather stumped at first. The question - what would you rather "eat dirt" than do? - seems to belong to a schoolyard dare or a slumber party, and it's not obviously conducive to creative writing. SPT's writing team, however, succeed in embracing the idea's awkwardness to create a series of scenes that range from the thoughtful to the confessional to the ridiculous.
The uniting concept that the writers arrived at when they discussed it amongst themselves, says Witte, was that they'd rather eat dirt than go back to middle school. So to create the segues that help glue the scenes together, they did something most of us would rather eat dirt than do: they dug up their middle school journals and shoveled the contents onto the stage.
The results of this - awkward poems and journal entries from young writers still discovering their voice, read by mature artists who can hardly keep a straight face when they see what they'd written - are riddled with sentimentality, irony, pathos, and a healthy helping of cliche. I can't help but admire the bravery of these artists, though. It takes a lot of courage to face up to the embarrassing task of revisiting your middle-school writing in public (as a writer myself, I'm perfectly happy that the contents of my "Amazing Comics" will never see the light of day), not to mention your adolescent musings of unrequited love (or, in the case of some, requited lust). The readings are done with humor and honesty, and the light-heartedness opens us up to explore the larger theme of reflection and life choices.
Many of the pieces go beneath the topsoil and dig up some forgotten treasures. Jason Alberty's monologue "The Truth Does Not Always Set You Free" airs some buried secrets from his family history. Akwi J. Nji-Dawson's "I'd Rather Play With Dirt" contrasts her childhood playing with dirt in Africa with the overabundance toy aisle at Wal-Mart. She draws a delightful and fascinating picture of childhood fantasy when she shares her story. Another thoughtful scene is "The Bait Shoppe" in which guests Steve Ginsberg and Rip Russell play a city slicker and a bait shop owner. Russell creates a wonderful character as the philosophical rustic who quotes Shakespeare.
Both Russell and Ginsberg are versatile performers, great in both the comic and the serious scenes. Ginsberg in particular is a great straight man, hilarious when set against Adam Witte, the waiter at a "dirtcentric" restaurant in "I'd Rather Eat Dirt." Guitarist Billy Heller was a great addition to the SPT band, jamming on some fun and energetic songs and holding his own on the mic in "Walk of Life."
The music in general was very good in this show; Janelle Lauer in particular shined in "I Like Dirt" and "Vertigo," both gritty, slightly funky songs. The band is always a joy, and the music helps fuse the wide range of styles in the theatrical pieces into a solid show. It was a shame, however, that the performance of "Break on Through" was somewhat truncated; it would have been nice to see Gerard Estella and Billy Heller get a chance to really jam on this blues-rock classic.
I'd Rather Eat Dirt is being performed again tonight, April 3rd, at 7:30pm at the Cedar Rapids Museum of Art. Tickets are $20 and may be purchased at the door.
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