by James E. Trainor III
Riverside - Jo responds to a Craigslist ad promising "sex to change the course of the world" with high hopes. She's doomed to be disappointed, though; not only is her would-be partner high-strung and more interested in the sleep patterns of fish than in her advances: he's gay. His lab doubles as a bomb-shelter and he's called her there not for a bit of fun but for a serious purpose: Jules is convinced that a comet is coming to destroy the earth, and that they, despite their flaws, must propagate the species.
It's a surprisingly simple setup, and playwright Peter Sinn Nachtrieb milks it for great mileage. There is one twist, however: the existence of a woman manipulating levers and adding editorial comments suggests that we are not in a lab or a bomb shelter. We are, in fact, in a museum. Barbara is not a detached narrator, but a passionate student of the past, and she tells the story with an enthusiasm her employers certainly don't appreciate. What she says seems ridiculous but could be plausible; after all, Jo, a journalist, did keep a record of the event. So we have to accept the fact that we just might be looking at a post-apocalyptic Adam and Eve.
Though the outcome is predetermined, it's still exciting to watch the cat-and-mouse game as Jules tries to cajole, convince and connive his way into impregnating Jo. I know, it sounds dark. It is dark, to be fair, but Boom is a comedy, and a very good one. Rarely does much time go by without a joke, from the silly setup to the ironic conclusion. As time passes, the situation escalates from the darkly comic to the satirically outrageous. Jo refuses to have children, citing her neuroticism and her mysterious fainting problem. Jules is that spark of life tirelessly looking for its niche that your biology professor warned you about.
Riverside Theatre, turning 30 this year, has built a reputation for tackling a wide variety of material with consistent quality and professionalism. This production is no exception. Bruce Wheaton's direction is tight, precise, and, as he puts it in his directors' notes, "playful." The acting is outstanding, and the cast approaches this fast-paced piece with courage and tireless creative energy. Kalen Harriman takes over the stage from the moment she enters. She has incredible presence as Jo: she's wild, sexy, violent, and above all, funny. Scot West creates a quirky yet grounded character in Jules. He's awkward but endearing, and we can see a calm center in his relationship with his work, his pragmatism and his confidence in "hunky, accurate data." The pair work together marvelously, and the constant physical comedy in the piece is a delight. Jody Hovland, who plays Barbara, articulates the themes of the piece quite well. Her struggle with "the management" brings home the evolutionary metaphor: we're all looking for the courage to break out, do something different. Her interest in the story is contagious, and her desperate hope gives the play a sense of urgency. Hovland delivers a variety of monologues both inspiring and amusing with the skill and nuance of a veteran performer.
The set fits the piece perfectly. Painted primarily in white and dark blue, the lab has a very dark, cool feel when lit, while being bright enough to see all the action. Barbara's area looks like a 1950s science-fiction vision of the future, with a panel of levers and a screen showing mysterious flashing shapes. The final touch is a white border around the proscenium, perhaps representing a video screen or the borders of the museum's stage. It is a barrier that Barbara ignores during her frequent interjections. All three performers interact well with the frightening but familiar environment the design team has built, and the result is a funny, entertaining and thoughtful piece of theatre.
Be prepared for adult language, loud noises, and intimate secrets. Be prepared for the unexpected. Be prepared to laugh yourself silly. Boom is a smart, funny script, and Riverside's production definitely does it justice.
Boom is being performed (sans intermission) at 213 N Gilbert St, 7:30pm Thursday - Saturday, 2:00pm Sunday, now through November 21st. Tickets are $12-26 and can be purchased by calling the box office at 319-338-7672.
Saturday, October 30, 2010
Boom is a Blast
Thursday, October 28, 2010
SPT's Writers' Room: White Knuckles
SPT - The next installment from SPT's "Tales from the Writers' Room" opens tomorrow (October 29th). The theme this season is "Body of Work," and this weekend's "White Knuckles" is just in time for Halloween.
The show features skits and monologues interspersed with music.
This installment's special guests are Jim Kropa and Phil Schramp on stage, and Billy Heller, Greg Kanz and Dave Ollinger in the band.
SPT's "Tales from the Writers' Room: White Knuckles" will be presented at the Cedar Rapids Museum of Art, October 29 & 30. Doors open at 7pm; performance at 7:30. The show on the 29th is sold out, but tickets are available for the 30th at $20.
Monday, October 25, 2010
Paraphrase hits home run with first show
by John Harper
Paraphrase - This weekend a friend persuaded me to go along with him to a show in the new black box theatre in the basement of Theatre Cedar Rapids. I knew almost nothing about what I was going to see, as my friend's primary interest was in checking out the space in which he will be acting next month.
All I knew in advance was that it was a one-actor show titled Witnesses. As a frequent director of one-actor shows myself, I know the challenges of holding the attention of an audience for a 
sustained period of time. Not to worry, though. The tour de force performance of Jonathan Swenson kept me totally engaged for well over an hour of running time.
The script, by Curt Cloninger, is really a series of eight different stories, each told by a character whose life was changed by his relationship with Jesus. They are alternately funny and sad, angry and amazed.
Swenson turned out to be a master of the gamut of emotions required to convey these stories credibly. The scenes transition flawlessly from one character to the next, underpinned by taped music as the actor makes simple costume changes in view of the audience.
These are not simply re-tellings of familiar gospel stories, but rather, imaginative re-creations, sometimes told from a perspective many years after the incident has occurred. They go in more-or-less chronological order, beginning with very funny and corrupt innkeeper who owns the stable where Jesus was born, and ending with Peter's relentless attempt to convince Thomas that he has seen the risen Christ.
One of my favorites was a middle-aged tailor, relating how he had been bullied and marginalized as a child in Nazareth for being a sissy and a mama's boy. Jesus, as a boy, had been his protector in a life-transforming way. Another favorite was a very humorous rendering of Lazarus, who can't quite believe he's been raised from the dead.
Throughout the performance, Swenson gives us well-differentiated characters, each with its own distinct energy level. And he manages to make each scene visually engaging as well. Even though the performance run at TCR is at its end, I have a feeling that there will be many more iterations of this production around eastern Iowa in the future. I encourage you not to miss it.
P.S. To make this an even more memorable and well-rounded evening, we were treated before the show to about 30 minutes of wonderful song stylings by Janelle Lauer, brilliantly accompanied by Gerard Estella.
John completed a B.A. degree at Stanford University and an M.B.A. at the University of Iowa. He completed his doctorate in higher education in 1974 and became a member of the UI English faculty in 1976. John first specialized in writing theory and the teaching of writing, and later shifted to American drama as his primary field of teaching and research. He is one of the founders of City Circle Acting Company.
Blithe Spirit? Super, naturally...
by Gerry Roe
Old Creamery - The Old Creamery Theatre’s production of Noel Coward’s Blithe Spirit opened with a Thursday matinee and settled in for a good run through November 14. The timing of the production couldn’t be better; in late October we begin to think of ghosts and things that go bump in the night. Tom Milligan not only directed the well-paced production but designed an attractive, cozy living room in which the action of the play Coward called an “improbable farce” could unfold. It’s just the sort of room in which the improbable becomes possible.
Sean McCall plays Charles Condimine, a successful author living in Kent with his 
second wife, Ruth (Deborah Kennedy). Their household includes an unseen cook and a new unskilled maid, Edith (Carrie Novell). To gather background material for his next book, Charles arranges for a séance to be conducted by a neighbor, the eccentric Madame Arcati (Marquetta Senters), a professional medium. Charles has invited the local physician, Mr. Bradman (David Tull) and his wife (Kristy Hartsgrove) to make up the foursome stipulated by Madame Arcati. The unintended result of the séance is the sudden appearance of the ghost of Elvira (Jackie McCall), Charles’s first wife, visible—and audible-only to Charles. Then, as they say, complications ensue.
Most of the actors are very familiar to Old Creamery audiences. One of the particular joys for me is watching familiar actors apply their skills to developing different characters. For example, Sean McCall and Deborah Kennedy must find the means to convince us that they are a devoted couple, then allow us to see the weak spots in their characters as Charles and Ruth begin to see each other in a new light. Can Charles adapt to a more demanding, domineering Ruth? Can she trust Charles? As they grow less content with each other their physical and vocal manners alter accordingly. Similarly, Charles and Elvira move beyond the strangeness of their spectral reunion through a weird sort of second honeymoon in their delight in each other’s company, to their ultimate dissatisfaction with each other. Sean and Jackie McCall more than meet the challenges of letting us in on their emotions.
The Bradmans could be just stock characters required by the story line but David Tull and Kristy Hartsgrove dig into these characters and individualize them. There is a lovely little bit with a glass of brandy in the second act that tells us perhaps all we need to know about the doctor and his wife and their relationship.
The role of Edith is deceptively difficult but Carrie Novell is surely on the right track. As she continues in this oddly paced role, she will undoubtedly capture the rhythm that will make her character even more convincing.
What can I say about Marquetta Senters as Madame Arcati? Senters brings to the role great exuberance and invention combined with the extraordinary mobility of her features and her masterful comic timing. She is a joy to watch. I hope I can be forgiven for mentioning her commanding performance in another play. On the previous Sunday I saw her play Martha in Who’s Afraid of Viriginia Woolf, a bravura performance of an enormously difficult role and I am grateful for having seen it.
An unhallowed afterthought: It might be interesting to speculate on how this play might have been developed by another writer. Imagine how a playwright with a bent more psychological than comic might treat this story of a man who rids himself of the ghosts of his marriages with no apparent regret and now feels “free…and enjoying it immensely.”
For a play written nearly 70 years ago, the script has aged very well. This production will age well, too. See it if you can.
Gerry Roe is an actor and director, having been seen onstage at Riverside Theatre, the Iowa City Community Theatre, the University Theatre, and Dreamwell Theatre. He is a lifetime member of the Iowa City Community Theatre.
Wednesday, October 20, 2010
Innocence Cast Chosen
Dreamwell - The cast for Dreamwell's Writers Joust winner, Innocence by Tom Deiker, has been chosen. The play tells the story of Pedro Lopez, “Monster of the Andes,” who raped and murdered over 300 young girls. Deiker’s play explores the choices made by individuals who encountered Lopez, and how those choices may have lead to more murders. The show, which is directed by Pauline Tyer, runs for one weekend only, November 19 and 20. The preceding weekend, the two runners up of the Joust will have staged readings. They are The Night I Kissed Osama Bin Laden: A 9/11 Comedy by Joe Jennison of Mount Vernon and Divergence by Janet Schlapkohl of Iowa City.
Cast List:
INTERVIEWER - Chuck Dufano
PEDRO - Kenneth Van Egdon
MOTHER - Elizabeth Breed
WARDEN - Kevin Moore
TEACHER - Nelson Gurll
SHERIFF - Brian Tanner
NUN - Ariane Parkes-Perret
Auditions for My Fair Lady: In Concert this weekend
ICCT - Auditions for My Fair Lady: In Concert will be on Saturday Oct. 23 (2-6pm) at the Robert A. Lee Recreation Center at the corner of Burlington and Gilbert streets in downtown Iowa City, and on and Sunday Oct. 24 (1-4pm) at the School of Music building on East Clinton Street (across from the Post Office in downtown Iowa City). Auditions will be for ELIZA, FREDDY and Ensemble. Actors will be asked to read from the script, and sing numbers from the show. For Eliza it'll be "I Could Have Danced All Night" and "Just You Wait" and Freddy will be asked to sing "On The Street Where You Live." They will schedule another date should actors want to audition but are not be able to make it this weekend.
Rehearsals are minimal, compared with a full staging of a musical. There will be no rehearsals on Thanksgiving weekend, and the last half of December. The show plays January 7-8 at the Englert Theatre in downtown Iowa City.
Boom opens Oct 29
Riverside - Boom, a playful riff on fish, sex and disaster, opens October 29 at Riverside Theatre. Written by Peter Sinn Nachtrieb, the show is directed by Bruce Wheaton, who along with Jody Hovland and Ron Clark founded Riverside Theatre in 1981.
In this “explosive” comedy, a grad student studying fish behavior lures a journalism student to his subterranean research lab with a Craigslist advertisement for no strings attached sex. But when their date coincides with a comet striking the planet, their interactions take on evolutionary significance and the fate of humanity hangs in the balance.
Riverside will host a Thursday Theatre Talk on Thursday, October 21 at 5:30 to complement the upcoming production. What kind of world do we see on stage in Boom? Who or what is in control? And what do fish and sex and impending doom have to do with each other? Miriam Gilbert, UI Dept. of English, and Taryne Taylor, Ph.D. student in English, with a special interest in feminist issues and science fiction, will discuss the play and possible contexts. The talk will take place at Riverside Theatre, 213 N. Gilbert Street, Iowa City. The event is free and open to the public.
The playwright’s background in both biology and theatre shine in a play that’s smart and cheeky. “His treatment of ideas—even big ideas—is playful,” Wheaton said. “Ideas are launched like little rockets. They collide; they flare; they burst into jokes—some of which would’ve made my mom blush.”
Scot West, who last performed at Gilbert Street in 2005 as Happy in Death of a Salesman, plays marine biologist and personal ad poster Jules. Kalen Harriman, who appeared in both the Riverside Theatre Shakespeare Festival and last season’s Mary’s Wedding plays journalist Jo. Riverside artistic director Jody Hovland plays Barbara, a narrator-slash-museum docent who plays the timpani, pulls levers and interjects commentary throughout the course of the comedy.
“The relationship between Barbara and the two young adults becomes clearer as this high octane play races on," said Wheaton. "Nachtrieb is an exuberant playwright and has laid out his track so that every tire-screeching turn is surprising and funny. Maybe after the ride is over folks will ask each other, ‘Say, did that play really end up the way I think it did?’ And, of course, the answer will be ‘yup.’”
Boom also features scenic design by Riverside technical director Shawn Johnson, lighting design by Courtney Schmitz Watson, costume design by Laura Ambrose, and sound design by Bruce Wheaton. T
Tickets range from $12-$26 with a $12 student rush 20 minutes before the performance. Tickets may be ordered through the Riverside Theatre Box Office at 213 N. Gilbert St., (319) 338-7672.
Tuesday, October 19, 2010
Blithe Spirit opens Oct 21
Old Creamery – Marriage can be difficult enough, but what if the ghost of your first wife moves in with you and your new wife and only you can see her? That’s exactly what happens to Charles (Sean McCall) when an eccentric psychic (Marquetta Senters) accidentally brings back the spirit of his late wife (Jackie McCall), setting off a hilarious battle between the women for rightful possession of their husband.
Just in time for Halloween, Blithe Spirit by Noel Coward opens Oct. 21 on the Main Stage at The Old Creamery and is rated Theatre PG. The cast includes Old Creamery company members, Marquetta Senters of South Amana; Deborah Kennedy of East Amana; Sean McCall of Marengo; and Jackie McCall of Marengo. Rounding out the cast will be Carrie Novell of New York; David Tull of Columbus, Ohio; and Kristy Hartsgrove of Iowa City.
Directed by Tom Milligan, Blithe Spirit runs through November 14. Tickets are $26.50 for adults and $17.50 for students. While walk-ins are always welcome if seats are available, reservations for this show are highly recommended. Show times are Wednesdays, Thursdays and Sundays at 3 p.m.; and Fridays and Saturdays at 7:30 p.m. call the box office or order tickets on line 800-35-AMANA or www.oldcreamery.com.
Monday, October 18, 2010
Once on This Island cast shines despite opening night glitches
by Joe Jennison
City Circle - Friday night’s opening 
performance of City Circle Acting Company of Coralville’s Once on This Island at the Iowa Children’s Museum offered an entertaining evening of song and dance and storytelling, despite some obvious technical issues.
The evening started with an alarm and a loudspeaker offering an “Urgent Storm Warning.” Immediately following this alarm, eleven cast members wandered into the playing area as if coming into the mall’s storm shelter: someone from the cleaning crew, a Target check-out person, a family of shoppers, teenagers with several shopping bags and an Iowa Children’s Museum employee wearing a cotton pullover shirt. One of the shoppers is a little girl with her family who is obviously frightened by the storm.
The play’s narrator (Matthew James) begins to comfort the little 
girl by telling her a story using music and grand gestures and dance. He is a fine narrator and the story he begins to tell becomes the story we are all here to see: the story of Ti Moune, a peasant girl from Haiti who falls in love with a rich man from the other side of the island. The play is based on the novel My Love, My Love by Rosa Guy and is an epic love story utilizing colorful legends and Haitian folklore. Telling the story is a cast of “storytellers” who individually play all manner of roles backed up by an offstage band.
Co-directed by Rachel Korach Howell and Chris Okiishi, the story of Ti Moune is told using minimal set pieces and simple costuming. Cast members drape colorful sarongs over their modern street clothes, a directorial choice that left me frankly a bit baffled. In my opinion the street clothes took away from the story, constantly reminding me that this is a modern company attempting to recreate a timeless folktale. This may work for some, but I found myself throughout distracted by the designer tags and the sneakers and the brand names (Target, Iowa Children’s Museum) that were prominently displayed throughout.
The set designed by Michael Blake consists of colorful swinging doors that serve as a backdrop for the piece; and three small wooden blocks that are used on the playing area itself. Okiishi and Korach Howell have a lot of fun creating interesting stage pictures with the actors above, on top and peeking from behind these pieces. However, the small blocks used on the main playing area, and manipulated in several of the dance numbers, did not seem secure, and twice I saw performers struggle on top of them, once causing an audible gasp from the audience.
The show seemed to be at its very best during the very creative dance sequences. Choreography by Patrick DuLaney is grand and well thought out. DuLaney takes the limiting set and costume pieces and convincingly uses them to his advantage. Throughout the production, these large 
colorful fabrics are creatively used to tell the story – a large blue fabric becomes a flood, a car accident is recreated by rolling the performer involved into and out of the fabric, and a beautiful moment at the end is created by using all the fabrics on stage at once to become tree branches. These moments are some of my favorite moments in the show. And all involved need to be commended for their creativity in staging.
This is truly an ensemble cast show, all of whom appear to be having a great time telling this Haitian folktale. Special note needs to be given to the two actresses that played Ti Muone. Fourth-grader Rachel Falduto was delightful as Little Ti Muone, a fine actress who seemed to hold her own alongside so many adults. And Melissa Melloy as older Ti Muone proved her power in several sequences, maybe most convincingly by using her hands and body to tell the 
story through dance. Several times throughout the piece, DuLaney choreographs Melloy center stage, and in those moments of pure movement, she was indeed a vision as she commits 100 percent to her dance sequences. Her love interest, played by Ryan Shellady, also is very comfortable on stage, in general, but particularly in the dance sequences, and the two together share a real chemistry that is honest and genuine. Megan Henry as Andrea, the woman who comes between the two, also delivers a fine performance.
Ti Moune’s adoptive parents played by John Bednarik and Genevieve Heinrich are convincingly parental, and both obviously have voices that carry. Heinrich’s a capella line at the end of the play: “You will always be a part of us” is delivered simply and directly and poignantly, and is much more effective than the over-pantomimed onstage discussions that take place between several cast members throughout the piece.
One of my favorite numbers was “The Human Heart” led by Megan Keiser as Erzulie with Rod McCrea shining here singing backup. Keiser seems to glow on stage – she certainly understands her medium and her audience and seems to relish every 
moment. She is one of those performers that has the right energy and voice, and is always just plain fun to watch.
Another favorite number was “Mama Will Provide.” The song, led very convincingly by cast member Lauren Baker as Asaka, asks the other cast members to portray breezes and frogs and birds and trees, and mosquitoes, which they all do with joy and commitment. The energy of the ensemble here, and throughout the show, is captivating and contagious, and Baker’s voice is obviously well trained and lovely to listen to. However, her voice, and the voices of several performers in solo throughout the evening, could not quite reach above the sounds of the orchestra.
Which brings me to my main concern about the opening night production: Although the orchestra was fabulous, I would argue that on opening night the music overpowered almost every performer on stage, with nearly every singer forced to attempt to out-project the fine 
piano, drums, woodwinds and bass that were placed upstage behind a curtain. Some succeeded such as Kehry Anson Lane as Papa Ge. His voice is indeed powerful and his evil laugh is deliciously sinister, and every time he is given the stage, he takes charge. Most of the others, however, were unfortunately overpowered by the music. (NOTE: Without prompting, director Okiishi asked me to move at intermission so that I might hear the piece better, which I did. This small step did indeed help, but I hope that this issue has been corrected for future patrons.)
I love the storytelling, the idea of an 11-piece ensemble working together to share this Haitian folktale. The music is memorable, the choreography is convincing and the creative use of textiles in the telling of the story is lots of fun. This ensemble spends much of the time genuinely smiling, and their joy is apparent. The opening night audience did indeed join the cast onstage at the finale to sing and dance, but cast members seemed a bit awkward and uncomfortable with the bit, especially when it came time to figure out how and when to end it. But even with that said, don’t be surprised if at the end of the show, you too will be compelled to get up and dance and sing with the cast at the finale as they remind us of their role as storytellers: “This is why we tell the story…”
City Circle Acting Company of Coralville’s Once on This Island continues this week at the Iowa Children’s Museum, 1451 Coralridge Ave., Coralville, Friday and Saturday, Oct. 22 and 23, at 7:30 p.m.; and Sunday, Oct. 24, at 2 p.m. Tickets are $20, with discounts for seniors and students. Reservations and information are available online through www.citycircle.org.
(Photos by ICPixx. Check out their website here.)
Joe Jennison is a freelance writer and playwright living in Mount Vernon. He can be reached at joejennison@hotmail.com.
A Walk in the Woods Opens Friday
ITAC - This Friday Iowa Theatre Artists Company will begin its run of Lee Blessing's A Walk in the Woods.
Originally written near the end of the Cold War, A Walk in the Woods is a comic drama involving a Soviet and an American who meet in Geneva to negotiate on behalf of their respective governments. Robert Gardner plays Andrey Botvinnik and Patrick Thomas O’Brien plays John Honeyman. Meg Merckens directs.
A Walk in the Woods runs until October 31. Afternoon performances are Friday and Sunday at 1:30 PM with a talkback after each matinee performance. Evening Performances are Friday and Saturday at 7:30 PM. Tickets are $25 for Adults and $10 for Students. ITAC is working with the Kirkwood Community College (Cedar Rapids) chapter of SIFE (Students in Free Enterprise) with a canned goods collection for the Linn County Food Bank. Bring canned goods for the barrel that SIFE has placed in the theatre lobby and receive $5.00 off of the ticket price.
Reward TCR's Risk-taking: Experience Six Characters
by Matthew Falduto
TCR - Director Jason Alberty notes in the program that Six 
Characters in Search of an Author is a difficult play to perform, direct and even watch. It's also a difficult play to review. It is extremely complex and compels audiences (and reviewers!) to think. It also has a controversial past. Luigi Pirandello wrote the play in 1921 and had to escape the theater on opening night because he had so enraged the audience. What Pirandello did with his play was tell the story of six characters from an unfinished play who invade the rehearsals of another play in hopes of having their story told. Much conflict ensues with The Actors on one side, The Characters on the other, and The Director mediating the action. This play forced theatergoers to examine what it means to be a character in a play and to contemplate reality itself. In the nearly ninety years since, we've become accustomed to this sort of meta-analysis in our theatre, movies, TV shows. Back in 1921, it nearly resulted in a lynching of the author.
The production of this important work features a blank stage, so unusual for a TCR show, which usually boasts such impressive sets. Later, a few set pieces are added during the action, which emphasizes the fact that we are 
witnessing theatre being created. The Characters are wonderfully costumed by Richie Akers with sparkles over (mostly) dark clothing, setting the dramatic mood and suggesting their unreal nature. Some other excellent choices include the engagement of the audience, particularly by The Director. We certainly feel we are part of the creation of a play, getting an inside glimpse into that creative process.
In Alberty's update of the piece, he has chosen to have The Actors and The Director live in our modern world of 2010. The Characters, however, appear to still be part of the past. As the audience is supposed to consider the possibility that The Characters are more real than The Actors, this decision undermines one of the central themes of the play. It's far easier to relate to The Actors who are just like us than it is to relate to The Characters. This is perhaps most obvious in the scene where two of the actors attempt to portray The Father and The Step-Daughter. The Step-Daughter ridicules the actor portraying her and ends up engendering sympathy for the entire group of actors, who seems far more "real" to us. Updating half of the cast to the modern world creates an uneven playing field moving the audience's empathy to The Actors instead of The Characters.
There are many excellent individual 
performances in this piece. Katy Slaven brings an intensity to her role as The Step-Daughter. As many of the other characters aren't given much to do, her passion is a needed element that keeps us engaged. Speaking of characters who don't have very much to do, both Jacob Coover as The Boy and Alice Conroy as The Child are continually present onstage despite having no lines. Coover, in particular, shows a lot emotion with just his facial expressions and body language, particularly at the end of the play. Kudos to director Alberty for bringing out such a smart performance in a younger actor. We were treated to another excellent performance by Noah Parks as The Director. He's the only of the acting company that's really given a lot to do and he makes wonderful use of the opportunity. He's a commanding presence on stage at all times. One quibble I had with the update of The Director character (called The Manager in the original version) was the number of times he used the word "f*ck" in the play. I get it; we swear in 2010. But his use of the word didn't show us anything about The Director and just struck me as an easy way to bring us to present day. It's one of my favorite words - I don't like to see it used in such a way. But then, that's a quibble.
The Father character is the philosopher of the play. David 
Morton has a challenging task to make this character relatable. Unfortunately, he is somewhat one-note, using a specific cadence throughout the entire show. Also, the cadence isn't particularly conversational, again undermining the idea that these Characters might be more real than the Actors. He does possess a strong stage presence and does his best work whenever he is interacting with Slaven.
The pace of the show is brisk, which is good since it's a three act play. The show comes to a powerful conclusion which surprises us in its suddenness despite the fact that we are well aware we're moving toward this dramatic end. One feels a bit blown away at the end, reeling from the action on stage and the multitude of questions inspired by the play. And isn't that an excellent end to a thought provoking play?
TCR must be commended for bringing this play to the stage. We are fortunate they have the Linge Series which allows them to take such risks. Reward their risk-taking by checking out this production of Six Characters in Search of an Author. I recommend hitting a quiet pub afterward for a beer and a good long discussion about the various thoughts this show will undoubtedly provoke.
(Photos by Rob Merritt.)
Friday, October 15, 2010
Weekend round up!
So much great theatre going on this weekend! Closing this week:
Dreamwell's A View from the Bridge has only two performances remaining. Word is this critically acclaimed show is sold out Saturday night. You might still be able to get in if someone who reserved a seat doesn't show up! There are still seats available for tonight.
(Rip Russell and Angelique VanDorpe in A View from the Bridge)
(Tom Milligan and Marquetta Senters in Who's Afraid of Virginia Woolf?)Three shows open tonight as we prove once again that we are the place to be for live theatre.
At City Circle, the enchanting musical Once on This Island premieres. I've seen parts of this in rehearsal - it's going to be great!
(The cast in a scene from Once on This Island)TCR's mainstage has Six Characters in Search of an Author, a classic that changed the course of drama forever. Also at TCR this weekend is the debut of a brand new company: Paraphrase Theatre, which will present Witnesses. For a whole lot more about this new endeavor, check out our interview with founder Jonathan Swenson.
Thursday, October 14, 2010
Paraphrase Theatre debuts at TCR
Paraphrase - There's a new theatre in town and this one has a specific mission. Paraphrase Theatre is brainchild of Jonathan Swenson, the worship pastor at St. Mark’s Lutheran Church in Marion. He has been 
seen onstage at Theatre Cedar Rapids in Annie and Fiddler on the Roof. His first show is Witnesses, which opens tonight at the Grandon Studio at Theatre Cedar Rapids. The one-man show was written by Curt Cloninger, who is described on his website as "a follower of Jesus, and a professional actor and writer. He uses his comic and dramatic skills to present story and theatre which move an audience to see and feel the startling good news of God in fresh and creative ways." Cloninger has presented his shows coast to coast, at many different churches and schools. Swenson has received permission from Cloninger to present Witnesses in the Midwest region.
In this dramatic yet personal performance, Swenson portrays eight characters (historical and imagined) as they each respond to Jesus. Through the eyes of these characters (both comic and serious) the audience is invited to see Jesus from a fresh perspective... not as a cold and distant figure, but as one who was intimately involved with the nitty-gritty of life.
$15 for Adults, $12 for Students. To order tickets please call 319-377-5253.
(This show is not recommended for children under 12 yrs old. The content is family friendly throughout, but the intensity of some scenes may be a bit scary for younger children.)
We had a chance to talk to Swenson about his new venture.
Let's start with the name, which I love by the way. Why Paraphrase?
Jonathan: I chose Paraphrase because it sounded really cool. Just kidding! But I do like the sound of it! Actually, I was looking for a name that had some faith-connotations but was not over the top cheesy... like "Children of the Light Theater" or "SONshine Players". Not that there is anything wrong with those, but I think they communicate that the message is for Christians only... and that makes it a sort of insiders club. I am not interested in that at all.
A "paraphrase" is a retelling of a story or message in a modern, more contemporary way in order to make the meaning of the story more accessible to its readers or listeners. My faith is not something that I think is meant just for people that believe the same things I do. I think it is meant to be shared and maybe more importantly, experienced, in a winsome, engaging, unforced way... that allows people to enter into conversation and reflection with each other about such matters. I am a pastor, let's face it... I have a strong faith. But one of my favorite places to be is OUTSIDE the walls of the church where I can engage with people who believe differently than me and we can have some good honest conversation about those things and both grow in the process and maybe, together, arrive a little closer to the truth. The world of theater allows me to do that and frankly, it also allows me to just go play and have a blast with people I love. It is good therapy for me.
So that's why you started Paraphrase? 
Jonathan: I've been dreaming of this for quite some time. I have often thought that I would love to develop a community of actors and crew members who would be very intentional about building a positive, supportive community around the shared passion of the arts. I've done so many shows where the cast and crew grows quite close over the course of the production, but when the show ends you break up and everyone goes on their way. Among other things I would love to be able to keep that wonderful sense of community going after the production and into the next one.
It's clear that you consider this a part of your ministry. Can you talk a little about that perspective and how that affects your approach and the shows you choose?
Jonathan: I do consider this an extension of my ministry, but not in a "force my religion on other people" kind of way. My friends in the theater world know that I am a pastor and sometimes that role ends up carrying over a bit into those friendships. Just like everyone else in the world, my artist friends have hurt and pains from time to time and it is just a natural thing for me to lean into those times with them a little bit and to try to offer what I can. I enjoy loving people and if that is connected to my faith perspective on life, I think that's an okay thing.
In terms of my faith affecting the shows Paraphrase will do it certainly will be at the base of what we are about, but I have been hoping to be very clear about the fact that not every show we do will be directly related to a faith theme. Some will. And certainly this first show, Witnesses is a faith-based story! Other times, though, we will just do a good old fashioned comedy or farce, maybe eventually a musical... we'll see where it goes... but the common theme will be that the productions are family-friendly. I want people in the area to know that Paraphrase is a place where they can consistently bring the family for a fun and hopefully meaningful night of quality entertainment that supports their family values.
At the same time, however, I do not want Paraphrase to become known as the theater group that just does "church skits" that are preachy and simplistic and, frankly, not always done with a value of excellence (though I want to go on record as saying that some of the drama ministries I know of and have helped lead are have been done very, very well.) Still, there are those stereotypes out there, and I do not want to be that.
Instead, I hope that the shows Paraphrase produces will, again, be done with excellence... and when they are faith-related, they will inspire, stretch, challenge and invite people into deeper dialogue about faith matters rather than talking down, pointing fingers or preaching at anyone. I think drama has a unique ability to do things that even the best of sermons, done well, can't pull off in the same way. It doesn't take the place of good preaching, nor should it try to, but there IS power in drama as an illustrative tool to raise issues that reach the heart and challenge the mind, which is why it is such an effective communication tool.
Are one-man shows going to be Paraphrase's choice in the future or do you plan to do other types of shows?
Jonathan: Paraphrase will actually have two components to it. Some shows I will take on the road to churches, conferences, retreats, theaters... secular or faith-based. Anyone who will take me! The other component will be the local productions and most of those will not be solo projects. One of the main goals of this endeavor is to build community. That's tough to do alone!
Why did you choose Witnesses?
Jonathan: I first saw a production of Witnesses, performed by the playwright, Curt Cloninger, about 15 years ago. I immediately felt a kindred spirit with both Curt and with what he was doing with this show. The Jesus I believe in was a real person, whom people were attracted to and fell in love with. Either that, or they tried to kill him. There wasn't much in between. He was radical in his approach to life and radical in loving people. That is the Jesus I know and base my faith on and this show allows me to express that in a non-threatening, non-preachy, fun, entertaining and yet, quite meaningful way. I think that is ultimately what I want Paraphrase to be about. That approach to life and to relationships, that shows the character of who I believe Jesus was. This play shows him as a real person, engaged in the very real matters of life. Real. Authentic. Fun-loving, but committed to his mission. That is what I want my life to be about as well and it is what I want I want the way I spend my time to be about also. So, it seemed like the perfect tone to set as I launch this new endeavor.
Did you have a director help you with the show or did you direct yourself?
Jonathan: I have self-directed it, but much of it is based on Cloninger's staging. He has given me free reign to make it my own, but I like a lot of what he did, so why change what works? Some elements are totally unique to this show though. A good friend of mine, Tammy Whitlow, is a gifted artist who has a great eye for costumes, sets, and the overall look of a production. She has contributed a great deal to the look and shape of this show. I also have a completely original soundtrack that I perform the show with, which was composed by Gerard Estella of SPT Theatre. He is unbelievably talented and has written, very informally, a score that highlights the drama and depth and fun too... of the character of each unique scene and character.
Are you the first person to perform the show outside of Curt Cloninger?
Jonathan: Curt has allowed one other actor to do this show, mainly in the South. He has given me permission to perform it in the Midwest, primarily... but also for the church contacts and circles that I run in. It is an extension of his ministry and I am extremely grateful and excited that he is taking me on board and allowing me to perform his baby. He really has written something quite profound and beautiful with this show.
What else do you want the readers to know about Witnesses?
Jonathan: I like what my friend, Seth Walters, a gifted photographer who took the PR photos for this show... I like what he wrote about it after seeing a preview performance. He said, "It is is like a non-musical Godspell, perfect for Christians and non-Christians alike." I kind of like that summary. I certainly approach it from a faith perspective, but I do think it is a great show for anyone to attend who is interested in a fun night of entertainment that will also give a fresh and hopefully uplifting take on a man who has caused discussion, debate and everything in between for over 2,000 years. Christianity is getting more and more of a bad reputation these days. Sometime deservedly so. We Christians have not always done a good job of carrying out what we profess to believe. But this show does an excellent job of getting back to the basics and showing, in a very real way, I think, who Jesus really was... and what, I believe anyway, he wanted his mission to be about. It is fun, engaging, non-threatening, meaningful and a heck of a good time. I hope people will check it out.
Thanks, Jonathan. And readers, you can check out a preview of the show below.
Tuesday, October 12, 2010
Once on This Island opens Friday
City Circle - City Circle Acting Company of Coralville will present the musical Once on This Island October 15-24 at the Iowa Children’s Museum in the Coral Ridge Mall.
Once on This Island is directed by Rachel Howell and Chris Okiishi. This lively and moving musical by the creators of Seussical and Ragtime is the story of a poor young Island girl and her quest to become part of the affluent society from the other side of the Island. Her journey, in which she encounters helpful and mischievous gods, fierce storms, true love and even death itself, is enacted by an ensemble of actors, singers and dancers.
The score’s Caribbean-influenced music is part of the appeal for Rachel Howell, co-director. “The incredible music that illustrates the story creates a beautiful frame for weightier issues of love, trust and community. It's a fairy tale, and a fable, and a Caribbean rock musical all in one. The momentum is nonstop.” The story, based loosely on The Little Mermaid, is at once familiar and inspiring and will appeal to audiences of all ages.
Once on This Island is produced in collaboration with the Iowa Children’s Museum and will be held at the Museum Theater in the Coral Ridge Mall. Producer Dawn Clark says “the Museum is a great setting because the mission of the Iowa Children’s Museum is to explore the world through the power of play. Children at the ICM are encouraged to interact with the exhibits, and by putting on a show in that space, we can show children and their families how far the imagination can take us.”
Performances will be held Oct. 15, 16, 22 and 23 at 7:30pm and Oct. 17 and 24 at 2pm. Tickets are available online at www.citycircle.org and at the door. Tickets are $10 for children under ten, $15 for students/seniors and $20 for general admission.
Auditions for Shattock Schoole of Defence
Rage - Rage Theatrics is excited to announce auditions for the 12th season of The Shattock Schoole of Defence. Shattock performs a variety of shows at renaissance and community events throughout the Midwest from approximately May-October. Total commitment for the season will consist of approx 5-7 weekends (Friday evening – Sunday) as well as Sunday evening rehearsals starting a few months before the first show.
Troupe members will learn a variety of parts in 2-3 short (~30 minute) shows. Material consists of a mixture of acting, comedy, improv and stage combat disciplines. Experience in one or more areas is a plus, but no specific experience is required.
Auditions will consist of an interview followed by a small group session for fight call and readings. Interviews will take place during October and early November with the group session tentatively scheduled for November 13th.)
For more information or to schedule an interview, contact Scott Lewis at (319) 936-1847, or email director@ragetheatrics.com
Monday, October 11, 2010
Six Characters Opens Friday
TCR - This Friday, TCR will present an adaptation of Luigi Pirandello's modernist classic Six Characters in Search of an Author. A group of actors are rehearsing a play (Mixing It Up) when they are ambushed by the fictional subjects of an unfinished play. Director Jason Alberty has specially adapted the play, modernizing the language of the cast of Mixing It Up while keeping the dialogue of the fictional characters in an archaic tone.
The play is an interesting theatrical experiment and plays with some interesting philosophical ideas, while the story itself is dark and gripping. From the director:
"Six Characters is not an easy play. It’s an emotional and philosophical workout. It’s difficult to direct. It’s difficult to perform. Which, in my mind, makes it a delicious artistic endeavor...It is almost Greek in its tragic possibility. By the end of this fascinating and difficult show both actors and audience should be spent. It’s like the emotional equivalent of a good workout in the gym.”
Six Characters in Search of an Author will be performed Oct. 15-30, with shows at 7:30 p.m. Thursdays through Saturdays and one matinee at 2:30 p.m. Sunday, Oct. 24. Tickets are $20-25 for adults and $15 for youth. $12 rush tickets are available at the door one half hour before every performance. For tickets, call (319) 366-8591, visit the box office at 102 Third St. SE or TCR's website.
Auditions for Cinderella this week
ICCT - The Iowa City Community Theatre will be holding auditions for Rodgers and Hammerstein's Cinderella Thursday, October 14th at 7pm at Iowa City Rec Center (220 S. Gilbert), Friday, Oct 15th at 7pm at Johnson County Fairgrounds (4265 Oak Crest Hill Road) and Saturday, Oct. 16th at 2:30pm at the Iowa City Rec Center. Performances are December 10-19. Rehearsals begin Oct 18. Looking for all ages/ranges. Please bring a song to sing and be prepared for a cold read. For more information, contact Ben Bentler at 319-512-9834 or pianoartist@mac.com.
This show replaces Celebration,which was to be directed by Michael Stokes. After Michael resigned from the show, Ben Bentler offered to step in, but there were concerns about the short time frame. Ben suggested a different show with a later run. The board enthusiastically supported Ben's suggestion of Cinderella.
"Cinderella is a great fit for ICCT and our audiences," said Kehry Lane, ICCT president. "We feel it has great appeal for all ages, and will be a great show for the holiday season."
There's been a spate of replacement shows in the last year. ICCT replaced Bend in the Road with All the Timing last season. Similarly, City Circle went with Baltimore Waltz after having to cancel Threepenny Opera.
Dreamwell's View Deserved their Standing O
by Rachel Brown
Dreamwell - Arthur Miller's A View From the Bridge is striking show. Its fit as part of Dreamwell's “Taboo Bijou” season is a good one. The story told is one of Eddie Carbone and his 
family who take in two illegal immigrant cousins from Italy. One is saving money to send home to his wife, and one instantly takes a liking to Eddie's niece whom he has raised from a childhood. Eddie is forced to face the idea that she is no longer a young girl, and his growing feelings towards her as a woman. Many of the issues raised during this show are powerful and thought provoking. Even though it was written in the 50's, it is still very relevant to today's society and issues we are facing everyday in this community and across the country.
I started my theater career at a small liberal arts college in Iowa. Our theatre space was a small 150ish seat black box with sometimes as little as a foot of separation between actors and audience. Maybe this is why I have a fondness towards the intimacy provided at the Unitarian Universalist Society where Dreamwell performs its show. Granted, I did choose to put myself in the front row and anyone who finds themselves there will be inches from the actors. Dreamwell has never shied away from pulling their audience members right into the thick of the action and it is something I have always found effective there. With such limited space, there is always a need for creative staging and I enjoyed the set pieces on the floor. Director Krista Neumann made a great staging choice and it was easy to distinguish between the apartment, the street and the office of Lawyer Alfieri.
I also really enjoyed how, acting as both narrator and involved character, Alfieri, played by Demetrios Hadjis, was allowed to wander in and out of the scenes, commenting on or being part of the action. One of the only awkward blocking moments in the show, was when the immigration officers were stuck on stage, twiddling their thumbs until the lights faded. I'm not sure if this was an oversight, a instance of necessity (they were removing set pieces for the next scene), or an opening night timing issue.
On to the actors.
This is the second show I have seen Rip Russell perform in and I have yet to be disappointed in his commitment to his character. Eddie Carbone is both a simple and complicated man. Rip take the words on the page and turns them into a powerful depiction of one man's flaws, love, and conviction to his family. Kathy Maxey's Beatrice is a complex, devoted and conflicted woman. The emotions were there and you can tell she is right there in the moment. I enjoyed the way K Michael Moore was able to make himself burly and intimidating as Marco. Even if size wise he may actually be smaller than Rip, I never doubted his ability to physically dominate. Hadjis as Alfieri is the grounding member of the cast. He keeps the action centered and focused where it needs to be.
Aaron Brewer. I actually heard one of the audience members say “...could he be any cuter?” Rudolfo is a young illegal immigrant who instantly falls for the 18 year old niece of his cousin. It takes a lot of energy to go from singing and 
dancing and to then switch gears completely for the show's more dramatic and emotional moments. I could see the connection between Aaron and Angelique who plays Catherine.
Angelique VanDorpe's portrayal of Catherine was admirable. This is very much a coming of age story for Catherine and perhaps for Angelique as well. It is very clear they're both are saying “I'm not a young girl anymore, I am a woman who deserves to be taken seriously.” This show is, for a lack of a better word, very heavy stuff. Angelique has the experience and the tools necessary to handle it in a believable way and convey thoughts and emotion in her voice, her face and her connection to the other actors.
Music and lights both consciously and unconsciously set the tone of a show. While the UU doesn't offer a great variety of lighting options, the set and actors were still well lit. I enjoyed the house music, especially coming back from intermission. I sat down in my seat to “White Christmas” and was like”...um...okay... this is strange”, until I took a look at the set and saw the Christmas tree and garland. It was an obvious choice and the songs were chosen with purpose. Often I think productions fail to remember the impact that music can have on the audience.
Please take the time to attend Dreamwell's production of A View from the Bridge. They are a quickly growing company both in numbers and reputation. The Little Theatre that Could, perhaps, but their shows are nothing but ambitious. This cast deserved it's opening night standing ovation.
Rachel Brown has been a part of the Iowa City theatre community for three years. She graduated from Waldorf college with a BA in Theatre Arts, has acted in and directed shows for Iowa City Community Theatre and performed in shows with the now defunct Catalyst Acting Company as well as Red Door Ensemble and Washington Community Theatre.
Auditions for paid acting gig
ITAC - The Iowa Theatre Artists Company of Amana announces auditions for a new production of Playing Doctor, a comedy by Thomas P. Johnson, which is based on a previous version by Mick Denniston and Thomas P. Johnson.
They are casting three paid positions.
Dr. Matt Cramer, Male, 25 to 30, a young medical researcher, serious, brilliant, and somewhat conservative. Underneath it all he has a super sense of humor.
Joe Cramer, Male, 25 to 35, Matt’s out-of-work actor brother. Fun loving, imaginative, and outrageous, he is just as brilliant as Matt. However, he uses the opposite side of his brain.
Dr. Wanda LaVoe, female, 25 to 30, young and idealistic. She operates a small free clinic in New Orleans.
Casting is to be completed by October 21, 2010. The production opens November 12 and runs through December 5. There are four shows per week, Friday, Saturday and Sunday. Please email picture and resume immediately to Tom Johnson at itac@southslope.net. Call 319-622-3222 to schedule an interview and audition. Check out their website.
Thursday, October 7, 2010
'Woolf' is a wonderfully intimate theatrical experience
by Andrew Juhl
Old Creamery - The Old Creamery Theatre’s Studio Stage is a small space. I dare say it’s tiny, even, relatively speaking. There are times during Who's Afraid of Virginia Woolf where the characters are sitting almost literally amongst the audience—and necessarily so, considering the austerity of the set. It is precisely this familiarity, this intimacy that makes seeing shows at the Studio Stage such a pleasure. Every member of the audience is but a few arms’ lengths away from the actors, making it a fuller, more real experience than to which some might be accustomed.
With Woolf’s running time clocking in at just a shade over three hours, apprehensive theatergoers might be wary of making such a commitment. I, however, found that the only time I was checking my watch was during the two intermissions, wondering how much longer before the theatrics would resume. resume. I love this play, probably playwright Edward Allbee’s greatest, and the closeness of the space combined with the dedication of the cast makes the reviewed production the best I’ve ever seen live.
For those unfamiliar with the play, the action centers around George, a middle-aged associate professor of history at a small northeastern college, whose undistinguished career is an immense disappointment to his slightly older wife, Martha, the daughter of the college’s president. At the beginning of the play, George and Martha are returning home from a faculty party, and although it’s
already after 2 in the morning, a new faculty member (Nick) and his wife (Honey) are coming over for drinks. But hospitality turns into hostility as George and Martha trade barbs in continually hurtful mind games. At first, guests Nick and Honey don’t know how to react to the emotional eruptions and unbridled animosity of their hosts. After a few drinks, however…
Stars Tom Milligan and Marquetta Senters perform ‘George’ and ‘Martha’ with enviable skill. Both actors reveal an obvious reverence for the material, along with a dogged unwillingness to let it down. Milligan’s delivery of the play’s few sprinkled bits of humor is—like his overall timing—nearly impeccable. And although I was initially doubtful as to whether Senters, an actress whose look I would not normally expect to be seen cast as Martha, could carry-off the sensuality and seduction required of
the role, I couldn’t have been more wrong. Milligan’s ‘George’ and Senters’ ‘Martha’ go from loving to hateful to deceitful and back again numerous times, making many stops along the way, and all of them believable, well-choreographed, and tight-spoken.
David Tull and Jackie McCall could have easily been overshadowed in this production, as I’ve seen more than a few pair of ‘Nick’ and ‘Honeys’ be in the past. This pair, however, turn in beautifully restrained performances, turning the four actors into what is truly an ensemble cast.
If you love a good, well-acted, well-staged piece of American-made drama, do yourself a favor, get to the Old Creamery Theatre Studio Stage in Middle Amana before October 17th, and see this production. You’ll be so glad you did.
Wednesday, October 6, 2010
City Circle and Children's Museum offer workshops
City Circle - City Circle Acting Company of Coralville will present the musical Once on This Island October 15-24 at the Iowa Children’s Museum in the Coral Ridge Mall. To celebrate the production and provide additional opportunities for interaction, the Iowa Children’s Museum will be presenting two free workshops on Oct. 9 and 10.
Once on This Island is directed by Rachel Howell and Chris Okiishi. This lively and moving musical by the creators of Seussical and Ragtime is the story of a poor young Island girl and her quest to become part of the affluent society from the other side of the Island. Her journey, in which she encounters helpful and mischievous gods, fierce storms, true love and even death itself, is enacted by an ensemble of actors, singers and dancers. The story, based loosely on The Little Mermaid, is at once familiar and inspiring and will appeal to audiences of all ages.
Once on This Island is produced in collaboration with the Iowa Children’s Museum and will be held at the Museum Theater in the Coral Ridge Mall. Producer Dawn Clark says “the Museum is a great setting because the mission of the Iowa Children’s Museum is to explore the world through the power of play. These workshops are an opportunity for children and families to experience a part of another culture.”
The first workshop, held Oct. 9, will highlight the exciting choreography in the production. Museum visitors will learn dance steps from the numbers “We Dance” and “Why We Tell the Story.” The second workshop, Oct. 10 will be an art project in which visitors will create their own rain sticks – percussive instruments with a unique sound.
Workshops will be held Oct. 9 from 1-3pm and Oct. 10 from 11am-1pm. Both workshops are free with museum admission. Workshops will be held in the Art Room of the Iowa Children’s Museum, Coral Ridge Mall.
Performances of Once on This Island will be held Oct. 15, 16, 22 and 23 at 7:30pm and Oct. 17 and 24 at 2pm. Tickets are available online at www.citycircle.org and at the door. Tickets are $10 for children under ten, $15 for students/seniors and $20 for general admission.
City Circle Auditions Happening right now!
City Circle - City Circle Acting Company of Coralville is holding auditions for the holiday cabaret event Celebrate Me Home now through October 10 by appointment only.
Celebrate Me Home is directed by Patrick Du Laney and Chris Okiishi. City Circle will continue its tradition of off-kilter holiday fare with this fun, touching, sweet, and hilarious variety show, made up of the best talents of all those involved. The show is entirely artist-driven; the show will be built around the talents, skills, joys and holiday memories of the cast!
The producers are seeking performers in the age range 16-70. No experience is necessary. Singing actors should prepare a short song. Non-singers are encouraged to audition and may demonstrate a talent or tell a short story.
Performances of Celebrate Me Home will be held at Riverside Theatre Dec. 16-18.
To schedule an audition or request more information, contact Patrick Du Laney at
patrick.dulaney@gmail.com or Chris Okiishi at cokiishi@gmail.com.
One thing we can say for sure... This Patrick fellow has a sense of humor, as you will see below...
OH NO! ANOTHER HOLIDAY SHOW??
Well, YES and NO! Yes, since it's the Holidays, it seems like the right time to do a Holiday show...HOWEVER, this year, Chris Okiishi and I (Hi, I'm Patrick Du Laney, nice to meet you!) Have hit upon a BRILLIANT idea...well, maybe not brilliant, but FUN...no wait, it IS brilliant! Anyway, I took the liberty of having a press conference with myself just the other day, so I can answer all your questions...here you go!
Patrick: Hey Patrick, I hear you're doing this weird Holiday Show this year...what gives?
Patrick: I'm glad you asked that, Patrick. The show is called CELEBRATE ME HOME. Basically, it's a fun, touching, sweet, hilarious variety show, made up of the best talents of all those involved. The show is entirely artist-driven; the show will be built around the talents, skills, joys and Holiday memories of the cast!
Patrick: Wait just a second! You mean, the show isn't even WRITTEN yet?
Patrick: Good observation, Patrick. Actually, Chris and I have spent the last few months compiling ideas and songs for the show, and we are excited to get started! But no, in the strictest sense, the show has not been written yet!
Patrick: Isn't that a little risky?
Patrick: In the hands a community theatre with less skill and talent than City Circle, I'd agree. But you gotta SEE these People, Patrick! There's so much talent and joy in all of the people I've met so far, that I think the biggest challenge of the show won't be what to add, but what to cut!
Patrick: Okay, Patrick, you've got me interested...so what and when is the audition?
Patrick: I'm glad you asked that, Patrick. The audition is WHATEVER YOU WANT TO DO! Sing a song, do a speech, tell a story, stand on your head, juggle fire batons, whatever! Just do something you LOVE to do! And the auditions are by appointment!
Patrick: Wait wait wait! By appointment? That's kind of unusual, doncha think?
Patrick: I suppose so, but since everyone's got a crazy schedule, and since we're asking for such a wide range of talents, we thought it's be easier that way. That's also why we're holding auditions so early: We want to take our time and assemble the most diverse cast possible.
Patrick: Where's the show gonna be? And When?
Patrick: Well Patrick, this is very exciting...the show is going to be in the Riverside Theatre Space! Ron Clark and Jody Hovland have very thoughtfully and generously offered up their wonderful intimate space for our use. How cool is that? And we'll be there December Thursday - Saturday, December 16 -18th, 2010.
Patrick: Well, very! But hey, how many people are you casting?
Patrick: Well..we don't know yet! We're excited to see who shows up for auditions, and we'll decide a cast based on who we get!
Patrick: I understand there's some singing in this...I am super excited about the Holidays, but I don't sing a note....should I even bother?
Patrick: ABSOLUTELY! Again, this show will be a wonderful collage variety show of people, musical and not! No worries!
Patrick: Hey Patrick, if I have any other questions about the show, or want to schedule and audition, what should I do?
Patrick: Great question! The best way is to reach Chris Okiishi or Me at our email addresses, cokiishi@gmail.com, or patrick.dulaney@gmail.com. All questions and queries will be answered!
Patrick: Thanks for your time, Patrick, I am super excited about the show!
Patrick: You're welcome!
Tuesday, October 5, 2010
Jake's Women's pace is slow, acting great
by Meghan D'Souza
ICCT - The cast and crew of Jake's Women made a complicated concept simple. The story deals with Jake's personal struggle accepting the relationships with the women in his life: the fact that his first wife died, his daughter is grown up, his second marriage is failing. Jake prefers to shut himself in his home office where he can create characters and control what they do rather than deal with reality. A majority of the play takes place in Jake's mind, which sounds much more confusing than it is. As Jake was summoning his sister, his daughter at different ages, his wives as they once were, and even his therapist, the audience could follow along because of the lighting, costumes, and well-delivered dialogue.
The set had two levels with Jake's office up high and comprised of a desk, word processor and phone. The stage level was the living room he shared with his second wife, designed with a couch, chair, coffee table, phone and scotch with tumblers that the characters used throughout the show.
The show had its slow parts, likely due to long dialogues between Jake (Chuck Dufano)and Maggie (Barb Arceneaux) that were supposed to be sharp and intense. These conversations were intended to help Jake and Maggie work through their relationship and come to a conclusion about what was wrong and what they could do to move forward. My date and I found ourselves wishing for a resolution sooner. Stay together or not; we just wanted a new scene. This might have been resolved with more movement on the stage or perhaps by finding a way to break up the conversation to help us digest it and feel the pain with the characters instead of feeling like we were watching a soap opera.
The good news is that the actors made up for the slow flow. Of course, there was Dufano, who had a large load on his shoulders by taking on this play. He did a fabulous job delivering his lines, setting the right atmosphere through his acting, eliciting laughs at the appropriate time, and making our hearts ache just a bit when he reminisced about days that Jake missed.
I won't lie... though Dufano is a little young, I wished he were my dad during his scenes with Alison DeVore and Emily Larson, who played Jake's daughter Molly at two different ages. Both girls exhibited the right sort of familial chemistry with Dufano, and managed to be believable as different versions of the same girl. Outside of resembling each other, they also held themselves similarly, acted with the same cheerful disposition (when the script called for it), and, simply put, became Younger and Older Molly. They did a wonderful job bringing relatable nostalgia to the play.
Ellen Stevenson played Jake's sister Karen, who was always brought forth solely as a character in his mind. Her excellent acting abilities is what initially helped the audience understand that she was not supposed to be in Jake's house as a physical entity, but that we were watching what he was thinking. Her ease on the stage, ability to be Karen, not just act like she is Karen, and good humor served the entire play well.
So, I review plays. I have to be honest and say this one moved a little slow. It's my job, even if I'd rather sugar coat it. However, I also get to be honest and say the actors were wonderful. Dufano and the ladies are on stage for a reason and that's because they know how to act.
A View from the Bridge Opens Friday
Dreamwell - As part of its "Taboo Bijou" season, Dreamwell will present Arthur Miller's A View from the Bridge at the Unitarian Universalist Society beginning October 8th.
Eddie Carbone, a Brooklyn longshoreman, is unhappily married to Beatrice and unconsciously in love with Catherine, the niece that they have raised from childhood. Into his house come two brothers, illegal immigrants, Marco and Rodolpho. As one of them embarks on a romance with Catherine, Eddie’s envy and delusion play out with devastating consequences.
Cast:
Eddie Carbone - Rip Russell
Beatrice - Kathy Maxey
Catherine - Angelique VanDorpe
Rudolfo - Aaron Brewer
Alfieri - Demetrios Hadjis
Marco - Kevin Moore
Louis - Brian Tanner
Mike - Kobe E. Reese Sr.
Tony - Thomas Henrich
Immigration Officer 1 - Brad Quinn
Immigration Officer 2 - Stephen Polchert
Mr Lipari - Nelson Gurll
Mrs Lipari - Jill VanDorpe
Two submarines (illegal aliens) - Thomas Henrich
Neighbors - Elizabeth Ross, Jackie Allen
Director - Krista Neumann
A View from the Bridge opens Friday and runs until October 16th, Fridays and Saturdays only. The show starts at 7:30pm at Unitarian Universalist Society (10 S Gilbert St. in Iowa City). Tickets can be reserved at www.dreamwell.com or 319-541-0140. $12 general, $10 senior and $8 student.
Monday, October 4, 2010
Jake's Women continues this weekend
ICCT – Jake's Women by Neil Simon is the first play the Iowa City Community Theatre is presenting at the 4-H Johnson County Fairgrounds. The show opened last weekend and continues October 8-10. Regular ticket prices are $18, with student and senior discounts.
Jake's Women recounts the travails of Jake, a successful novelist, who copes with a marital crisis by having imaginary conversations with the women in his life. Although imaginary characters playing their roles on multiple reality levels is not the typical Simon play, many of his hallmarks are still evident here, including masterful one-liners, glib psychoanalysis references, and simultaneously funny and serious lines delivered by a self-absorbed and self-effacing protagonist.
The play features a variety of actors, both veterans and newcomers to the ICCT stage, including Chuck Dufano as Jake, with Barb Arceneux, Ottavia de Luca, Alison de Vore, Emily Larson, Ariane Parkes-Perret, Robin McCright and Ellen Stevenson. It is directed by Josh Sazon.
