Cast for C.S. Lewis classic chosen

Cedar Rapids - Theatre Cedar Rapids has announced the cast for The Lion, the Witch, and the Wardrobe. This stage adaptation of the C.S. Lewis classic opens May 13. Jason Alberty directs the show.

Cast:

Gracie Schulte: LUCY
Conner Ammar: EDMUND
Autumn Arnold: SUSAN
Skyler Matthias: PETER
Nick Walters: ASLAN a great lion
Marty Norton: WHITE WITCH an evil queen
Len Struttman: FATHER CHRISTMAS / SPECTRE
Bryant Duffy: TUMNUS a faun
Neal Caraway: MR. BEAVER
Dianna Dawn Davidson: MRS. BEAVER
Andie Paasch: MRS. FOX
Ashley Wagel: MR. SKUNK
Joe Brinkman: FENRIS ULF
Harrison Akers: DWARF
Susan Scharnau: LEOPARD
Scott Davidson: BADGER
Alice Cruse: FUNK CHIPMUNK
Katie Andreasen: WAGNALL CHIPMUNK
Ryan Watters: ELF / EDMUND / OGRE
Kimberly DePalma: HAG/ ADULT SUSAN
Lucie Riddell: GHOUL / ADULT LUCY
Memphis Reeves: BOGGLE/ ADULT PETER
Dylan Scharnau: CRUEL
Denzel Hayes: White Stag / Numbskull

5 Wood Nymphs:

Emily Comer: AMAI
Sydney Speltz: SHOPPAI
Grace Carey: NIGAI
Elizabeth Barrett: SUPPAI
Alisa Gerhold: UMAMI

Bottoms Up opens Friday

Cedar Rapids - Bottoms Up, the latest in SPT Theatre's Writers' Room series opens Friday. It runs only one weekend, April 1 and 2 at the Cedar Rapids Museum of Art. Guest artists are Tim Arnold and Kimberli Maloy. Tickets are $20 and available through their website.

Doors open at 7:00 p.m. and the show begins at 7:30 p.m. What's the Writers' Room all about you ask? Check out these past reviews.

Camp Rock Opens Friday

Tiffin - Young Footliters Act 2 will present a stage version of Disney's 2008 movie musical Camp Rock this weekend.

The story revolves around Mitchie, a young girl who wants to be a singer but doesn't have the money for rock camp. It's a well-known musical full of fun, energetic pop music.

Tickets are $8 for kids and seniors and $12 for adults. Tickets may be purchased at the Iowa City Rec Center, West Music, or at the door.

Camp Rock runs April 1-3 at Clear Creek Amana School, at 7pm with an additional 2pm show on Saturday.

The Syringa Tree opens Friday

Iowa City – Riverside Theatre closes its 30th anniversary Gilbert Street season with The Syringa Tree by South African playwright Pamela Gien. The show runs April 1-17, at Riverside Theatre, 213 N Gilbert St, Iowa City.

The Syringa Tree is a personal and deeply evocative story of an abiding love between two families---one black, one white---and the two children who are born into their shared household. The play follows these families’ destinies for four generations, from early apartheid to the present day free South Africa. Through the eyes of various characters---young, old, black, white, Afrikaans, Xhosa, Jewish, English---the complexities of the world they share are revealed.

The Syringa Tree is directed by Sean Christopher Lewis, an award winning playwright, actor, and director and features professional actor Saffron Henke, who takes on all roles in this production.

"Saffron plays around 20 characters of multiple ages, race and gender, often doing five or more characters in a single scene at one time,” Lewis said. “It's terrifying from the artistic end when you have to figure out the best way to make Saffron transform into a black South African at a student protest one minute and then see her walking the tarmac at an airport seconds later, but it's incredibly magical to see her pull it off. It's a truly heart-wrenching and impactful display of theatrical fireworks.”

“The way I’ve created all of these people has been to pick a simple gesture or vocal choice for each one that is very different from all the others,” Henke said.

Henke has performed all over the world and was the 2005 recipient of the Princess Grace Foundation Honorarium for Emerging Artists for her performance in The Syringa Tree at the Sacramento Theatre Company.

“When I did this show in 2005, I identified more with the children, especially six-year-old Lizzy who is the narrator. This time I’ve found that I identify more with the parents, particularly Lizzy’s mother, Eugenie. That’s surprising to me,” Henke said. “As I come back to these people, I still feel like I know them well but the way I think about them has changed.”

The Syringa Tree features scenic design by Shawn Johnson, costume design by Emily White, lighting design by Courtney Schmitz Watson, and sound design by Lewis.

Tickets are $26 for adults, $23 for 60 and over/30 and under, $12 for youth (18 and under). $12 student rush tickets are available 30 minutes prior to the show. Tickets can be purchased online or by phone at (319) 338-7672.

Art Opens March 31st

Amana, IA - Beginning this Thursday and running through April 17th, the Old Creamery Theatre will present its production of Yazmina Reza's Art. Translated by Christopher Hampton and directed by Tom Milligan, the cast consists of Sean McCall, Tim Budd, and Patrick Du Laney.

The plot revolves around three old friends and a controversial painting. Serge (played by Budd) decides to spend a large sum of money on a modernist painting, which is essentially a blank white canvas. Marc (played by Du Laney) thinks this is foolish and tells him so, with growing frustration and viciousness. Yvan (played by McCall), stuck in the middle, tries desperately to keep this feud from souring their friendship.

Art is a comedy with mature themes. Old Creamery rates it Theatre R. Tickets are $27 for adults and $17.50 for students. Show times are 3 p.m. Thursdays and Sundays and 7:30 p.m. Fridays and Saturdays. Tickets can be purchase by calling the box office at 800-35-AMANA or visiting the website.

Throughout the run of the play, Old Creamery will display paintings, drawings, fiber arts and sculptures from local artists.

Working Group's Was the Word This Sunday

Iowa City - Was the Word is Working Group’s monthly spoken word series. They believe that the theatre is a place for connection and communion. Their troupe of storytellers and poets share their words at the Englert Theatre on March 27 at 7:30 pm. This month's theme is "The Last Straw." The show is hosted by Martin Andrews and Idris Goodwin and is a benefit for the Domestic Violence Intervention Program.

The lineup includes:

Sean Christopher Lewis: Playwright and Performer, recently featured on This American Life, also a Professional Wrestling fan
Kate Krohn: Poet and Prophet...will prophecy for Girl Scout cookies
Megan Gogerty: she of the sharp wit and fancy shoes

The event will feature the music of Skye Carrasco. Tickets are pay what you can at the door. Visit the ">event page on Facebook for updates.

People needed for Key of Gee: The Musical

Iowa City - This isn't something we'd normally put on the blog, but the idea just sounds so interesting. So check it out if you're interested...

A team of scientists develops a machine, Key of Gee (played by a chorus), which was created to translate indecent phrases into something morally acceptable for all ages. When Key of Gee fails to operate, the scientists throw it away. It’s discovered by Jo, a former member of the band The Stinking Meemies, who is struggling with her solo musical career in the shadow of her more famous bandmate, Anna.

This short, humorous musical (about 30 minutes) will be performed on Saturday, April 16th as part of the University of Iowa Craft Critique Cultural Conference.

NEEDED:
Two lead actors:
* Jo, a singer who has recently been kicked out of her band
* Anna, the other band member, who now has a successful solo career
One supporting actor:
* Sandra, a devious personal fitness trainer

8 to 13 chorus members to perform two to three short, original songs while pretending to be elements of a machine. Chorus members also have some spoken lines in the play.

A percussionist with shakers, washboard or other instrument(s)

1-2 other instrumentalists not including piano

Someone with silkscreening equipment

1-2 tech/support people

A stage manager

All actors should be willing to sing and perform simple, choreographed dances. People of all ages, genders, and abilities are welcome!

TIME COMMITMENT (ALL PARTS):
* 10 hours per week (or fewer) until April 16, 2011
* The day of April 16th from 2-6 pm

COMPENSATION:
None, just taking part in the U of Iowa Craft Critique Culture Conference. This performance will also be listed as part of the ACE Experiment Dance Festival.

PLEASE CONTACT: Rae Winkelstein, rae-winkelstein@uiowa.edu

Horatio's Purgatory Comes to Iowa City

Iowa City - Theatre Cedar Rapids is graciously allowing the Iowa City Community Theatre to present Horatio's Purgatory, the TCR submission to the AACTFest in April. Performances are Friday, March 25th and Saturday, March 26th at 7:30 pm at the ICCT space at the Johnson County Fairgrounds. Running time is 55 minutes. Tickets are $10.

Matthew James and Kehry Anson Lane perform Rachel Horach Howell's poetic and tragic reflection between the lines (literally) of William Shakespeare's "Hamlet," told from the perspective of the ever-faithful friend, servant and "brother," Horatio. Angie Toomsen directs.

"Horatio's Purgatory" was presented at TCR's Underground Festival in November and was named TCR's official selection to compete in the state theatre competition in Newton, IA. The production team has working to refine the script, acting and staging in preparation for its state performance, April 2rd.

Auditions for Lion, Witch and the Wardrobe

Cedar Rapids - Theatre Cedar Rapids will be holding auditions for their upcoming show, The Lion, the Witch and the Wardrobe later this month. Kids can audition on March 26 at 1:00 pm. Adult auditions are March 27 or 28 at 7:00 pm. This is a stage adaptation of the classic book by C.S. Lewis which follows the adventures of four children who wander from an old wardrobe into the exciting, never-to-be-forgotten land of Narnia.

Roles

Aslan
White Witch
Lucy - female / youngest child
Edmund - male / second youngest child
Susan - female / second oldest child
Peter - male / oldest child
Mr. and Mrs. Beaver
Unicorn
Centaur
Tumnus
Fenris Ulf
Dwarf
Father Christmas
Elf
White Stag
And more...

For more information, go here.

Auditions for None of the Above

Anamosa - Starlighters II Theatre in Anamosa will hold auditions for the new comedy, None Of The Above, by award-winning playwright Jenny Lyn Bader on Sunday, Monday, and Tuesday, April 10, 11, 12 at 7 pm on the mainstage at the Starlighters Theatre, 136 E. Main Street, in Anamosa. The director is Bob Furino.

THE STORY:

This character driven play takes place in the urban setting of New York City where we meet Jamie, a 17-year-old daughter of excessively affluent parents, living on the Upper East Side. She would rather spend her time being a cause célèbre at her exclusive private high school than studying for the SATs. To take on the challenge of tutoring her, Jamie’s father hires Clark, a geeky college student who likes to count the words in every sentence he hears. On the surface, the duo couldn’t be more different. But when Jamie learns of the conditions and rewards in her father’s contract with Clark, the snap judgments between the two fade away, and they form their own pact, which might just prove to benefit both of them. Written by critically acclaimed playwright, Jenny Lyn Bader, this endearingly clever new comedy will prove that in life, the answer isn’t always as clear cut as A, B or C.

Production Dates:
June 17, 18, 19, 24, 25, 26
Fridays and Saturdays at 7:30 pm
Sundays at 2 pm

Characters in None Of The Above:
Jamie (Female; Late teens-early 20s)
Clark (Male; 20s-early 30s)

Actors do not necessarily need to be in the age ranges given, as long as they could possibly play someone in that age range. Prepared monologues are welcome at auditions, but the director wants to emphasize that they are NOT required in order to audition for the show.

Those interested can read a 10-page preview of the script of None Of The Above at Google Books.

If you have questions, or wish to read a perusal script, contact director Bob Furino by sending an e-mail to bfurino@mchsi.com or check out their website.

Kid actors needed for UI play

Iowa City - One of the the University of Iowa's New Play Festival's shows, Proficient by Jess Foster, needs to cast children. They are having a casting session for First Graders through Fourth Graders on Wednesday March 23 from 5:30-8 pm at the University's Theatre Building. For questions please contact Kristin Kurz at kristinp.kurz@gmail.com or 732-865-5987.

A description of the show follows:

Ms. Delaney teaches first grade in a worn-out school district that can barely afford books. When an innovative educational program is presented to her with added financial incentives for the school, she jumps at the chance. However, she soon realizes that the program is turning her students into robotic test-taking machines. Ms. Delaney attempts to find her way out of the program and back to the old way of education only to find that she’s more deeply ensnared than she realized. In a world of No Child Left Behind and consistent government cuts to education, Proficient forces us to contemplate the dirty underbelly of America’s educational system, and asks the vital question: is what we are doing really serving our children?

There will be some language in the presence of the children on stage, such as "hell" and "shit".

“The Last Five Years” at Starlighters II: Time heals

By Joe Jennison

Anamosa - Two twenty-somethings meet and fall in love, get married, struggle with careers and family, and break up in just five year’s time. That is the basic premise of Jason Robert Brown’s The Last Five Years.

The musical play would seem like any other standard musical comedy about love and marriage except for the fact that this play tells its story not only from two perspectives (his and hers), but also from two places in time: the male in this story begins at the beginning of the relationship and moves forward; the female in this story starts from the end of the relationship and moves backwards.

Originally produced in 2001, the play’s simple production values, small cast and non-traditional story-telling style has made it very popular with theaters and audiences alike. As produced at the Starlighters II Theatre in Anamosa, the musical play is a thought-provoking, enjoyable and quick evening of theater. Anyone who has been in and out of a relationship in a similar time frame will find plenty to relate to, and Brown’s music and lyrics are fun and funny and accessible.

The play opens with Cathy (Amy Friedl Stoner) singing about the end of a relationship. The song, “Still Hurting,” performed by Stoner is sad and poignant and heart-breaking, with lines such as “Jamie arrived at the end of the line; Jamie’s convinced that the problems are mine; Jamie is probably feeling just fine; And I’m still hurting.” This number is juxtaposed nicely in the very next scene by Jamie’s (Isaac Helgens) “Shiksa Goddess.” This up-tempo number sung just after he has met Cathy contains some very funny lines including “If you had a pierced tongue, that wouldn’t matter; If you once were in jail or you once were a man; If your mother and your brother had ‘relations’ with each other; And your father was connected to the Gotti clan; I’d say, ‘Well, nobody’s perfect’; It’s tragic but it’s true; I’d say, ‘Hey! Hey! Shiksa goddess! I’ve been waiting for someone like you."

This is part of the charm of this musical – that these two characters are performing together at two different times in their lives, and at two different times in this relationship. This allows Brown to comment on the end of the relationship at the beginning, and vice versa. The final number has Cathy (just after their first kiss) singing “Goodbye Until Tomorrow”; and on stage with her, Jamie (after he has just moved out) singing “I Could Never Rescue You.” And, although the audience often sees them on stage at the same time, the two characters don’t see each other, and are forced to sing individually to a “memory” of a person or a situation that has moved on in time.

The scenic design by director Brian Glick and KC Kiner, sets up the evening well. A large clock permanently set to 10:09 stares back at the audience from the stage. A smaller version of the same clock is permanently reflected on the stage floor. The two performers sing and interact and argue in front of, next to, and on top of the timepieces reiterating for all of us the volatile nature of time itself. Maybe if the characters had truly understood how precious time is things wouldn’t have ended (or started?) as they did.

At play’s opening and ending, director Glick creates a small pas de deux that has the two actors directly interacting just before they take to their separate corners of the stage to tell their different versions of the story. A host of stagehands and technicians create the illusion of multiple scenes in time through the use of large set pieces that come and go very quickly adding to the speed of the show. A boat dock slips on and off the stage with ease, piles of books appear and disappear instantly, and loose leaf typewritten pages seem to fall magically from the ceiling.

A small hidden three-piece instrumental ensemble provides great musical support and the aforementioned set offers a lot of places for director Glick and his cast to create some interesting stage pictures. A wedding scene, for instance, has the two characters singing together on a platform in front of the large clock as rose petals fall from the rafters. Almost instinctively, Helgens quietly and tenderly picks the petals out of Stoner’s hair as they say their I dos. Beautiful.

Stoner is obviously very comfortable center stage and her voice is well-trained and fits the demands of the score. I loved watching her stand tall and sing her heart out as she powerfully proves her worth in this relationship. She is gorgeous and confident in this piece and shines in several numbers including “A Summer in Ohio” and “I Can Do Better Than That.”

Helgens, by contrast, doesn’t seem to match Stoner vocally. Yes, as an actor, he does seem to understand his complex (and at times unlikeable) character, and he does hit each and every emotionally complex acting note. However, he does seem to struggle with the score, and in this respect seems mismatched onstage with a thoroughbred musical comedy performer such as Stoner. A rock number in Scene Four titled “Moving Too Fast” does allow him to show off his voice and style, proving that he can deliver the musical goods when the score falls within his comfort level. But a regular switch from chest voice to falsetto and back again several times throughout the show was at times awkward and uncomfortable to watch and hear.

That said, I did like this play, the music, the set and the performances and would recommend it to anyone who has a memory of lost love. And throughout the play, thanks to Glick’s set design and staging, I was reminded again and again of the very essence of relationships and broken hearts: Time heals.

This show has closed, but Starlighters' next show is None Of The Above, which opens June 17.


Joe Jennison is a freelance writer and playwright living in Mount Vernon. Comments should be directed to joejennison@hotmail.com

Lughnasa travelling to Amana

by Gerry Roe

Amana - Ushers Ferry Theatre Company is taking their most recent production, Brian Freel's Dancing at Lughnasa, on the road to Amana. Lughnasa is show with an impressive history. The New York production received the 1992 Tony Award for Best Play. A movie starring Meryl Streep and Michael Gambon was released in 1998. The play continues to be very popular with regional and community theatres, with good reason: a compelling story with eight very good roles, well filled by The Ushers Ferry Theatre Company actors when they performed it in Cedar Rapids.

Each actor is to be commended for giving a rounded performance of considerable depth. The sisters are played by Ann Cejka, Paula Grady, Donna Heyvaert, Kaitlyn Davids and Kristen Stewart (who very ably directed the piece). Father Jack is played by Keith Kenel, Mike Wilhelm plays Gerry Evans, and Brian Tanner is Michael Evans, both the narrator and a seven-year old boy in the action of the play. (In the interest of full disclosure, I should say that I know and have worked with Paula Grady and Brian Tanner and I was delighted with their performances.)

Michael tells a story from his childhood in the 1930’s when he lived with his unmarried mother and her four sisters near a small village in Donegal. The sisters live very frugally, scraping together whatever they can to send to their brother Jack, a priest in a leper colony in Uganda. One of the few indications of the modern world is the sisters’ battery-operated radio, unreliable as it is. Change is imminent; Jack returns physically ill and frail, Michael’s Welsh father makes a brief unsatisfactory appearance, and the sisters face the loss of their livelihood and the break-up of the family unit.

The Festival of Lughnasa is central to the play. Lugh, the pagan god of the harvest, is celebrated with revelry, bonfires, drink, and dancing. The contrast of the old pagan customs with the repressive nature of the church is most fully realized in Father Jack who has, as they say, “gone native,” adopting African tribal ritual and ceremony and leaving his traditional faith behind.

Although the play raises deep questions and introduces difficult social issues, it is first and foremost a good story. We come to care very much about the characters in the play and to share in their pleasures as well as their problems. When the sisters break spontaneously into dance, we have to admire their sense of family as well as their courage in the face of whatever may come. There is a time to celebrate the moment and they have the good sense to do so and the generosity to share the moment with us. The Ushers Ferry Theatre Company’s production of Dancing at Lughnasa will be presented March 25, 26, 27 at Iowa Theatre Artists Company in Amana. Contact ITAC for more information at CALL: 319-622-3222 or email: itac@southslope.net.

TCR Announces 2011-12 Season

Cedar Rapids — Theatre Cedar Rapids has announced its lineup for the 2011-12 Season. As is usual with TCR, they feature some old standards (A Christmas Carol) as well as some unique choices (Gross Indecency).

For 2011-12, Theatre Cedar Rapids has expanded to 12 productions, to be staged in two different spaces in the Iowa Theater Building. While the majority of shows will be performed in the main auditorium of the Iowa Theater Building, several plays will be featured in the new, more intimate Grandon Studio. In some cases, more than one production will be performed simultaneously; for example, a theatergoer could attend a performance of The Importance of Being Earnest on Friday night in the auditorium, and then return Saturday night to see Gross Indecency-a play about Oscar Wilde, who wrote The Importance of Being Earnest-on Saturday.

The season also marks the return of the TCR Underground Theatre Festival. Last season’s festival focused on one-act plays, but for 2011-12, TCR has expanded it to include brand-new plays of all lengths, written by Iowa playwrights. Applications are currently being accepted for both playwrights and directors. If you are interested in participating in either capacity, e-mail erica@theatrecr.org by June 30.

Shows for 2011-12 will include:

13: The Musical (Aug. 4-7, 2011, Auditorium)

When his parents get divorced and he’s forced to move to a small town in Indiana, Evan Goldman just wants to make friends and survive the school year – which is easier said than done in the stressful and competitive world of middle school. With a rock score by Jason Robert Brown, “13” is a musical that’s all about discovering that “cool” is where you find it – and sometimes where you least expect it.

TBA (Sept. 23-Oct. 15, 2011, Studio)

TCR is currently securing the rights for a comedy that’s slated to be performed in this slot. We will announce that title soon.

Damn Yankees (Oct. 7-29, 2011, Auditorium)

Middle-aged baseball fanatic Joe Boyd trades his soul to the Devil for the chance to lead his favorite team to victory against the New York Yankees. As young baseball sensation Joe Hardy, he transforms the hapless Washington Senators into a winning team – only to realize the true worth of the life he’s left behind. A classic Broadway musical from the creators of “The Pajama Game.”

TCR Underground Theatre Festival (Nov. 4-13, 2011, Studio)

Two weeks of staged readings and fully-staged productions of original works by playwrights from Iowa. Submissions are currently being taken for this volunteer-produced festival, which highlights and celebrates the talent of Iowa writers, actors and directors. Audiences can attend just one show, or get a pass for the entire festival.

A Christmas Carol (Nov. 25-Dec. 17, 2011, Auditorium)

Charles Dickens’ famous tale of Ebenezer Scrooge’s transformation from bitter old man to generous benefactor returns to Theatre Cedar Rapids for the first time in decades, this time in an acclaimed new adaptation for the Royal Shakespeare Company.

The Importance of Being Earnest (Jan. 27-Feb. 18, 2012, Auditorium)

The famous comedy by Oscar Wilde, revolving around two young gentlemen in 1890s England who use the same false identity of “Ernest” on the sly. Their ruse works fine until they both fall in love with women using the fake name, which leads to a comedy of mistaken identities.

Gross Indecency (Feb. 10-March 3, 2012, Studio)

In 1895, the Marquess of Queensberry developed a feud with Importance of Being Earnest playwright Oscar Wilde over Wilde’s relationship with the Marquess’ son. The resulting scandal led to three separate trials – and with Wilde being sentenced to prison for “gross indecency with male persons.” Moisés Kaufman’s play explores how history is made, and how it can be so timely revisited in the theatre.

The Wedding Singer (March 9-31, 2012, Auditorium)

This Tony Award-winning musical makes its Eastern Iowa debut! Adapted from the Adam Sandler movie about a wedding singer who flies into a rage after his own fiancée leaves him at the altar, this romantic comedy features big hair, big musical numbers and plenty of references to the 1980s, as well as a comical story about finding the right one to grow old with.

Five Women Wearing The Same Dress (April 13-May 5, Studio)

Five reluctant and identically-clad bridesmaids hide out in an upstairs bedroom during a wedding reception at a Knoxville, Tenn. estate. As the afternoon wears on, the five women – each of whom has her own reason for avoiding the party below – discover a common bond in this irreverent comedy by the playwright who brought us Six Feet Under and American Beauty.

Alice In Wonderland (April 27-May 19, 2012, Auditorium)

An original adaptation of the classic story about what happens when young Alice follows a white rabbit, disappears down his rabbit hole and enters the merry, topsy-turvy world of Wonderland. This play is geared to young audiences. Script adapted by Jason Alberty of Cedar Rapids.

On Golden Pond (June 22-July 1, Studio)

The love story of Ethel and Norman Thayer, who are returning to their summer home for the 48th year. They are visited by their divorced, middle-aged daughter and her dentist fiancé, who then leave their teenage son behind with the Thayers for the summer. This classic story will be presented as a Readers Theatre production.

Hairspray (July 6-28, 2012, Auditorium)

An acclaimed musical set in 1960s Baltimore, where change is in the air as plus-size heroine Tracy Turnblad and her passion for dancing win a spot on the local dance program, “The Corny Collins Show.” Overnight she finds herself transformed from outsider to teen celebrity. Can she vanquish the program’s reigning princess, integrate the TV show and find true love without mussing her hair?

For more information about Theatre Cedar Rapids or about ticketing, call (319) 366-8591 or visit www.theatrecr.org.

MVLCT Presents Drama at Dry Gulch Creek

Lisbon - Mt. Vernon/Lisbon Community Theatre presents a new western comedy, Drama at Dry Gulch Creek, as dinner theatre at Gwen's Restaurant, 119 W. Main St., Lisbon on March 10 - 13. The play was written by Amy White, a member of the Black Doggers playwriting group. The play began as a 10 minute show written for the first All in a Day Play Festival. White has expanded it into a full length play.

The play is set in Nevada Territory, 1897, in a town that has lost its identity. Once a watering hole and stagecoach stop in the newly settled southwestern desert, Dry Gulch Creek has been turned into a tourist mecca by its sheriff, James Austen Wheelwright, Jr., and corrupt mayor, James Austen Wheelwright, Sr. Both positive and negative reactions to the change come to light when Lacey Anderson returns to his home town after some time away. The ensuing discussions bring up many of the same problems that still exist within any community.

Cast members are Connett Croghan, Grant Freeman and Meghan Yamanishi of Mt. Vernon; Kyle Langhurst and Melinda Hudson of Lisbon; Charly Martin of Iowa City; Duane Larson of Marion; Susie Burns of Fairfax; and Paul Freese of Cedar Rapids. Chrissy Berlin of North Liberty is directing the show, which was written by Amy White of Mt. Vernon.

Tickets include the buffet meal and are available in advance at Shepley Pharmacy, 113 1st St. East, Mt. Vernon and Lisbon Public Library, 101 E. Main St., Lisbon. On Thursday, Friday and Saturday, dinner is served at 6:30 PM and the show is at 7:30 PM. Tickets for evening shows are all $20 and the doors open at 6 PM. The Sunday show is a matinee and dinner is served at noon before the show starts at 1 PM; doors open at 11:30 AM. For this show only, tickets for children ten and under are $15; all other tickets are $20. Seating is limited.

OMG! Riverside Opens Another Successful Walking the Wire.

By Angie Toomsen

Iowa City - Riverside Theatre, Iowa City’s resident professional theatre company, has launched this year’s Walking the Wire: Monologues at Riverside. Walking the Wire has become an audience favorite in Riverside’s season, as evidenced by the full house on opening night this past Friday.

To those unfamiliar with Walking the Wire, Riverside Theatre puts out a call for ten-minute monologues around a central theme. This year’s theme is “OMG.” Yes, that OMG. The acronym that has earned a place in the “parlance of our times” through its popularity with tweens, texters and Tweeters.

But, lest you assume Walking the Wire is piece-upon-piece of neo-Valleygirl-isms and the truncated dispositions of text-heads, fear not. In actuality, Walking the Wire is about the “Oh My God” moment. That moment—often accompanied by an inhalation of recognition—that inspires any number of emotions and states-of-being, including but not limited to: thrill, anticipation, alarm, wonderment, disconcert, sadness, contrition, prayer, and so on.

From pleading to God over a pregnancy stick to early sexual experiences dashed to budding love, this year’s theme inspired very personal, moving and often hilarious interpretations of the now culturally-ingrained turn-of-phrase.

WTW’s two opening pieces take the “my God” at face value and include The Almighty as a remembered subject of note and silent monologue partner. Devoid of politicking or confrontation, the pieces bring human and experiential perspectives to divisive topics.

In “A Damn Damp Novena,” by Ron Clark, Carrie Houchins-Witt is a soldier mom engaged in a pleasant, albeit one-sided conversation-turned-negotiation with God about her triplet daughters. Of chief concern is her lesbian daughter, who wants to have her child baptized in the church. Houchins-Witt is a warm and confident opener, kicking off the night. The fullness of familial detail in “Novena’s” storytelling is, not surprisingly, reminiscent of Clark’s piece in the 2010 Walking the Wire, “Uncle Leo’s Revenge.” As a side note, Clark’s piece last year also included triplets. Do I sense an ongoing motif? Or a coming anthology?

“The God of ‘Animal Planet,’” by Amanda Petefish Schrag, finds actress Jessica Wilson recalling moments of prayer that have taken place in the bathroom. Praying not to be pregnant, praying to get pregnant, then praying to stay pregnant. Schrag’s piece starts somewhat lighter, arriving at a dark and satisfying surprise conclusion. Wilson’s energy is intimate and honest.

Several pieces touch on “OMG” moments when romantic love is nascent and surprising. Brandon Bruce has a likeable ease as a Philadelphia cabbie recounting the night he won his wife’s heart with a little parking lot chivalry in Seth Bauer’s “Not a Bad Time of It.” Bruce’s authentic warmth as a performer extends to “(That) Guy Meets (That) Girl,” by Laura Nessler, about an endearing, fumbling encounter with a girl who wants to ask him out.

Gwendolyn Rice’s “I Hear Everything” is about a man with hyperacusis, an affliction of extra sensitive hearing. Gifted storyteller, Mike Moran, is a man who hears everything, and, as a consequence, can’t really hear a thing. Moran invites the audience to the refreshing silence of the library archives where he works, and imparts a tender and unexpected encounter with a hushed woman who utters words with great difficulty. This piece is one of the most touching of the evening and I heard a few people around me whisper “wow” and “that was nice” in the closing blackout.

Several of the monologues dealt with early sexual encounters and/or sexual identities crushed by judgment in a time when they aren’t even fully formed. A tragic infringement indeed, though Walking the Wire’s three representative pieces are primarily comedies.

In “The Six Million Dollar Man Monologue” by Joe Jennison, also performed by Moran, a man packing to move encounters a doll he idolized, and an early encounter that shaped his sexual identity. Jennison’s coming-of-age comedy seems as though it could be an excerpt from a longer, one man show even though it stands on its own. I credit this impression in equal parts to writing detail and to Moran’s expansiveness and inclusion of the audience in his performance. Moran embraced the idea that monologues can be dialogues, with live sentient beings who really do want to exchange energy and be acknowledged. Jennison’s piece easily lends itself to such interaction.

A similar scenario materializes in “I’m Barbara Eden” by Michael Whistler. The piece finds Chris Okishi joyously imparting the story of his little boy self and his best friend, carefree, only to have his early expression of self squashed by a disapproving adult. Okishi, who also appears—with dialect—in Richard Ballon’s “How We Began,” is like watching a smile take the stage. He clearly loves to perform and his energy is welcoming and infectious.

Though more subdued and distressed in her first act piece, Jessica Wilson does a 180-degree turn for “Banana Split, by Ellen Grafton. Taking the audience on a very visceral encounter of freshman back seat teenage lust—stifled by a flashback to a very odd exercise in a sex education course—Wilson is fun and the story her character recalls is cringe-worthy.

Another comic highlight that doesn’t fit into any of the categories above but is, nonetheless, rife with “OMG” moments, is Janet Schlapkohl’s “Childbirth Methods,” a hilarious trip through the evolution of childbirth over several decades. Riverside’s artistic director, Jody Hovland, plays a maternity nurse who maintains a healthy skepticism as she watches methods of giving birth change through the years. Fads, shifting roles, contradictions and absurdities abound. Schlapkohl’s piece has the most cohesive writing and concise progression of story in the evening. This piece also seemed the most rehearsed and “in the bones” of the perfomer, as Hovland navigated its turns and surprises with skilled comic timing.

As a “bonus” and fitting finale, Walking the Wire audiences are treated to a side-splitting preview of Megan Gogerty’s one-woman show, Megan Gogerty Wants You to Know, opening September 2011 at Riverside. To those unfamiliar with her work, Gogerty’s comedic writing is brilliant and her energy on stage is larger than life. And she is an explosion of hilarity. She is a seasoned one-woman-show-girl who, in Walking the Wire, recounts a trip shuttling her baby to NYC on a plane.

Thinking on her piece days later, I recalled the imagery her story created in my mind—the planes, the disapproving faces of passengers, the tiny bathroom where she struggled to change a diaper. That’s when I know a monologist is really good—when the character’s memories become my memory of the piece, not the actor or actress performer. (Though her shiny red shoes were to die for. I’ll remember those for a while.)

Walking the Wire is directed by Ron Clark, Riverside’s resident artist and production manager. The evening flew by, aided by effectively-timed lighting shifts within and between monologues, designed by Drew Bielinski. The sound and transition music, designed by Sarah Smith, also helped the evening maintain meaningful momentum.

This year’s writers hail from Iowa, Philadelphia, Chicago, Maryville, MO, Amherst, MA, and Madison, WI.

Walking the Wire runs March 11-13 on Thursday, Friday, and Saturday at 7:30 p.m. and Sunday at 2 p.m. For more information go to www.riversidetheatre.org.

Sweeney Todd is Amazing

by Andrew Juhl

Cedar Rapids - There’s an incredibly obvious way to endorse Theatre Cedar Rapids’ staging of Sweeny Todd. And I’ll get to it. Later. For right now, I’ll just say this: You had better not miss this production without a darn good reason.

First, the boilerplate description: Stephen Sondheim’s daring musical, Sweeney Todd, is the tale of a skillful barber, wrongfully imprisoned by the malicious Judge Turpin due to the judge’s envy of the barber’s beautiful wife. Escaped and looking to recapture his former love, Sweeney Todd returns to London after fifteen years, only to discover that his former life is all-but-gone, save for the sad remnants of a cloistered daughter, his old razors, and a failing pie shop, owned by indefatigable Mrs. Lovett, which still stands below the skeletal remains of his once great barbershop.

Simply put, I was amazed by TCR’s production at several points in the evening. This is not a show most community theatres could pull off, let alone pull off this well. I daresay few like-sized professional theatres in this country would have done this fine of a job. Every detail, from the costuming to the makeup to the stage to the dispensary of Todd’s victims was a cut above. (Rimshot.)

This is one of those reviews that could go on for a while, but I will do my best to be efficiently effusive.

My first praise goes to actors, and the first of that goes to the Ensemble, who was seemingly always everywhere, yet somehow never in the way. To be that supportive of the main cast while never upstaging them is a honorable accomplishment. Young Lincoln Ginsberg (‘Tobias’) performs amazingly for an actor of so few years, ringing a realistic depth and believability in a character that—in lesser productions—could have been an annoying thorn in the audience’s paw. Special notice goes to Michael Cervantes (‘Judge Turpin’), who does a purely wonderful rendition of “Johanna,” an extremely important (and difficult) exposition song. Daniel Kelchen, playing the titular Sweeney Todd, deftly maneuvers between scenes calling for booming rage, thoughtful consternation, and abject hopelessness. (Booming rage was my favorite; when Sweeney is angry about something, the audience damned-well knows it.)

As good as Kelchen is, however, TCR newcomer Piper Pack-Smith (Mrs. Lovett) steals the show with her remorseless buoyancy and pinpoint comic timing. There are precious few moments for levity in Sweeney Todd, and all of them are appreciated; thankfully, Pack-Smith and Kelchen make the most of these opportunities, helping turn what could have been a merely good night at the theatre into a great one.

Into the bargain of great acting and singing, shout-outs go to lighting designer Derek Easton, who nailed the mood of the every scene without fault, and also the multiple sound designers, whose additions to the night cannot be understated. (Sidenote: whoever decided to add an echo effect to the word ‘grave’ in ‘Epiphany,’ bravo.) There were some noticeable sound issues and drowned-out lyrics during the opening night’s performances, but I have faith that those balancing issues will be corrected by the second weekend’s shows. Additionally, TCR needs to be commended for their incredible set design (designer: Bret Gothe). Possessed as I am with the ability to describe it, I choose not to; do yourself the favor of seeing it in person. No, I don’t care if that’s a cop-out. Do it. Because I said so, that’s why. And finish your vegetables.

I would be remiss without also mentioning the wonderful musical accompaniment of music director Janelle Lauer’s small, curiously strong orchestra. Combined with Leslie Charipar’s skillful overall direction, the music of Sweeney Todd helps coalesce the many pieces of this complex and intricate showcase into a night of pure musical theatre that really comes alive.

Okay. I’ve now held it back as long as I could. Attend the tale of Sweeney Todd.

(Photos by Alisabeth Photography.)

Will Power deadline extended

Iowa City - The Willpower Poetry and Sonnet Contest submission deadline has been extended to April 1. Original article here.

The Nerd is Hilarous

by Matthew Falduto

Iowa City - I had no plan to see ICCT's production of The Nerd this weekend. Another reviewer was scheduled to check it out. But as sometimes happens, sickness struck and with twenty minutes until curtain I jumped in my truck and raced over slick roads to the other side of town. I made it with minutes to spare. As the first strains of Why Do Fools Fall in Love? began to play, providing a hint to the true motivation behind everything that would soon unfold, I studied the elaborate set. Michal Blake's set is masterful. It may be one of the finest sets I've seen at a community theatre production in the Iowa City area. The wonderful lattice windows offer a view of the outside and the clever use of depth provides the feeling that this house truly sits high up on a hill, which is crucial to later events in the play. As I absorbed all of this, I realized the song was still playing and there was nothing was happening on stage. It's a lovely song, but we got the point after the first verse. I wanted the action to start.

The story revolves around architect Willum Cuthbert (Brad Quinn) whose life was saved many years before by Rick Steadman (Eddie Skaggs). However, Willum and Rick never actually met as Willum was unconscious during the rescue. Willum feels obligated to Rick for saving his life. When Rick shows up out of the blue, Willum does everything he can to accommodate him despite the fact that his annoying nerd-like personality is soon aggravating Willum's friend, Axel (Kenneth Van Egdon), and love interest, Tansy (Elizabeth Breed), not to mention threatening Willum's most recent job.

The title character of The Nerd is played to annoying perfection by Eddie Skaggs. From voice to mannerisms, Skaggs creates the most frustratingly obtuse character I have ever seen on stage. Quinn does a fine job in a somewhat thankless role as Willum. This is the sort of play where the secondary characters are given the truly fun stuff to do and the funniest lines. Nevertheless, Quinn does a good job of showing Willum's descent into frustration culminating in his cathartic blow up at Rick. Also notable was Joseph Verry as Thor Waldgrave, the young son of Willum's boss, Warnock (Stephen Polchert). Most of what Verry was asked to do was react to the craziness around him by screaming and running from one to room to another. He performed all of that admirably, but even more impressive was his covering for a technical sound glitch. Verry deserves kudos for handling the unexpected so well.

One word of warning - there is smoking at one point onstage and I suppose it's because I am so unused to smelling smoke anywhere indoors these days (do theaters have some sort of special exception to the law?), but I found that very off putting. I would have appreciated a warning sign in the lobby. And the amount of humor that came from this moment really didn't justify smelling smoke for a while afterward.

The only other criticism I have is the uneven pacing in Act One. At times, the pacing was too quick and we missed several of Axel's clever quips. But at other times, the pacing dragged and we were really hoping things would get moving. Fortunately, the second act pacing was right on the mark and the biggest laughs were definitely reserved for the second half of the play.

Van Egdon is an expert at coaxing the most wit out of every humorous line. Breed completely committed to the craziness with a courage that was wonderful to behold, particularly to this reviewer who remembers her portrayal of the Goblin King in The Hobbit in middle school. Robyn McCright, who played Clelia Waldgrave, wife of Warnock, stole the show in the moments she was allowed to shine. The hilarious effect breaking plates had on her made all of us in the audience think a la When Harry Met Sally, "I'll break what she's breaking." Polchert also handled his role as the straight man for much of the humor very well.

ICCT's production of The Nerd is definitely a fun evening, filled with laughs and frivolity. I encourage you to check it out. Three performances remaining: March 11, 12 and 13.

Original works showcased at City Circle

Coralville - It’s so exciting to live in an area rife with the opportunity to see live theatre written by local playwrights, a chance you’ll have one weekend only at City Circle Acting Company of Coralville’s presentation of the New Play Festival Five at the Iowa Children’s Museum.

The show’s first play is its lightest, if not its strongest; The Comfort of Cole Haans by Henry Meyerson is one of the few plays that doesn’t deal with death or its aftermath. We meet Joe and Karen as they are running late for dinner at his parents. He is nervous about letting the old folks down. Actor Rick Adams shows his unease with twitching legs and hyperactive pacing. Susan Jacobs begins the piece a bit shrill as she looks for her lost shoe, which she cannot leave the house until she finds. We’re made to feel the tension between these two as the show begins, which settles into a more comfortable level when the mystery of the lost shoe is revealed to surprising results which serve to bond the two together. While fun in the moment, the play was a bit of frippery that didn’t seem to say anything new.

Kit Gerken and Theresa Meeks-Mosley expertly inhabit the world-weariness of long suffered nurses in the second play, Extra Patient in Room 203 by Tom Deiker. They both look and sound like naturals in their dark blue scrubs as they discuss the mysterious patient who has appeared in Room 203. Meeks-Mosley’s younger nurse is a patient, kind soul who plays nicely off Kit Gerken’s older, more acerbic nurse. Their repartee is authentic and the audience is made to feel that they are amongst nurses who truly care about their charges. The play hints at the supernatural, and the care that is required for souls even after they have passed on. I enjoyed watching these two and though I sometimes resent a dangling mystery, I don’t believe this is a mystery that it is possible to solve.

Family Portrait by Greg Machlin is another play that deals with the effects of loss, this time on a family. We begin with the fairly gimmicky concept of having a family do a “family portrait” videotape on the same date each year, and we watch as the family grows older and deals with unexpected death, divorce, and moving on after periods of grief. Each actor — Jeff Emrich and Jackie Allen as the parents, Madeline Quint, Jake Russell, and Shelby Zulkin as the children — evolves from a member of a happy family and through the stages of grief and recovery, with bumps along the way. The show is harrowing but ends on an upbeat note. Though the play was short I felt I knew each of these characters, and I was able to feel their pain through the actors’ keen portrayals.

Old Summer Love by Stanley Toledo is a nice little play which shows that love and connection is something not only for the young and hip, but also for the old and hippie. Kit Gerken and Scott Strode, are a couple who drifted apart when he went to ‘Nam. The two seem naturally at ease with one another and it’s a pleasure to watch them reconnect after the loss of their partners. This play is a bit of a light sherbet to cleanse the palate from the sadness that permeates its predecessor, Family Portrait.

Shanghai Knives by Marek Muller is perhaps the weakest of the plays, although to be fair during the preview performance one actor was out sick and was replaced by another actor who held a script and only mimicked the swordplay to come. The play seemed like a nice idea, but was somewhat poorly executed. It involved silverware, embodied by humans, on a quest to save the Lady Spoon. The play seemed to exist so that there could be swordfighting, rather than the swordfighting being there to advance the plot, which was paced too slowly for my taste. But, still. Swords. They can be pretty cool.

The evening ends with A Simple Request by Brian Tanner, in which we see play #1’s frantic husband, Rick Adams, become a control freak boss (named in the program as “Richard W. Adams.”) He shows his range by reigning in his hyperactive energies to a more controlled rage. Josh Beadle, Adams’ opposite in demeanor, approaches the office with an unusual request that throws Adams off his game. This is a fun play with a unique concept and an excellent way to cap the evening. It’s nice to imagine what the characters will be doing after the snippet of their lives which we see in this play ends.

The play festival runs this weekend only, so don’t miss your chance to see these original works right here in Coralville. At $10/ticket, it's a steal!

This Ain’t your Grandma’s Bingo

Iowa City - Working Group Theatre presents the second installment of Bingo Bedlam – a show that combines the best of Improv Comedy with Bingo. On Sunday March 6, at 7:30 pm at Riverside Theatre (213 N. Gilbert St, next to the Bluebird Diner). Tickets are only $5. Beer and wine are available for purchase with proper ID.

Every ball that drops triggers a random scene that the improvisers must create on the spot while the audience members compete for prizes. Part of a new monthly series by Working Group Theatre, this month’s show features Luke Schares, Colin Delaney, John Kaufmann, Brynn Hambly and Martin Andrews. “It really is bedlam. Every number triggers a new combination of games and scenes. So we might be singing one minute and doing some Kabuki dance the next,” says Bingo Bedlam founder, John Kaufmann.

Bingo Bedlam brings together the hilarity of improv comedy with the level of audience involvement usually found only in sports. Kaufmann, originally a game developer for Cranium Games, says, "It's frenetic on stage and off. We're jumping around, sweating, sometimes even singing with each ball that drops, and the tension keeps growing until somebody in the audience yells 'BINGO!’”.

Working Group Theatre is an award-winning theatre company formed by MFA graduates of the University of Iowa. They are currently the Company in Residence at Iowa City's Riverside Theatre. For more information about this show and others by Working Group Theatre, go to www.workinggrouptheatre.org.

Violently Comic Sweeney Todd Opens Friday

Cedar Rapids – Theatre Cedar Rapids has a long history of producing good-natured and family-friendly musicals, including December’s White Christmas.

Sweeney Todd is not one of them.

“It’s not that there’s anything like nudity or bad words,” says director Leslie Charipar. “But the subject matter is very adult, and it’s scary. Kids will have nightmares about Daniel Kelchen.”

Kelchen is the actor playing the murderous title role in Sweeney Todd, a musical that’s earned fame (and a cult following) thanks to its bloody reputation, multiple productions on Broadway, the fame of its composer Stephen Sondheim, and more recently, the Tim Burton movie starring Johnny Depp. It’s even become a pop-culture staple, getting performed as a rather shocking grade-school pageant in the Ben Affleck movie Jersey Girl.

Not sure what Sweeney Todd is about? The show lets you know from the very first lyric:

“Attend the tale of Sweeney Todd
His skin was pale, his eye was odd
He shaved the faces of gentlemen
Who never thereafter were heard of again
He trod a path that few have trod
Did Sweeney Todd
The Demon Barber of Fleet Street.”

There’s more to the story than that, of course. There’s suspense. Revenge. Romance. Beautiful music and some wickedly-funny wordplay.

But everyone remembers the blood.

“Last season we had some great exciting titles like The Producers and RENT, and I think that’s what Sweeney Todd does for this season,” Charipar says. “It’s one of those big, recognizable, holy-cow-how-are-they-going-to-do-that kinds of titles. We’ve never done it before, so it seemed like a fun challenge.”

Here’s the story in a nutshell: At the start of the show, Sweeney (played by Daniel Kelchen) has just returned to 19th century London ,15 years after being sent to prison by a corrupt judge (Michael Cervantes) who’d had eyes for Sweeney’s wife Lucy. To get rid of him, the Judge had Sweeney — who worked as a barber — framed on a trumped-up charge.

Sweeney learns from Mrs. Lovett (Piper Pack-Smith) that once he was removed, the Judge went after Lucy, who was driven to poison herself as a result. Sweeney’s daughter Johanna was then adopted by the Judge. Enraged, Sweeney vows revenge, with a simple plan: He will re-establish his barbershop under a different name, lure the Judge and his ally The Beadle (Nick Williams) as customers, and kill them.

Sweeney’s plan almost works, until it’s accidentally foiled by the arrival of Anthony (Aaron Brewer), who has fallen in love with the now-adult Johanna (Elizabeth Simon). Sweeney is so furious that he extends his thirst for vengeance to all of London, vowing to kill indiscriminately until he finally has his revenge.

Of course, that’s when Mrs. Lovett (who knows Sweeney’s plan, and who has a shortage of meat for the pies in her bakery) suggests a rather resourceful use for the bodies that are starting to pile up ...

And it gets demented from there.

Charipar stresses one key thing about Sweeney: Yes, it’s dark and scary, but it’s also funny. Very, very funny.

“The character of Mrs. Lovett is hilarious,” she says. “There’s songs like ‘A Little Priest’ and ‘God That’s Good.’ Pirelli, one of Sweeney’s rival barbers, is a hoot.

“I think that the absolute failure of this piece is if it takes itself too seriously,” she adds. “There are moments where Sweeney himself contributes to the comedy of the thing. There’s a tendency to play Sweeney on one angry note, but Daniel is mixing it up, finding places where he can be likeable and funny. Which I’m intrigued by, because it really screws you up when you start liking the guy who’s killing everybody.”

Those who have seen Sweeney before may notice some major changes between TCR’s interpretation and productions of the past.

“It’s kind of a deconstruction, from a design standpoint,” Charipar says. “Though the set pieces are big and neat, they’re simple. They continuously change in function throughout the show. I love that idea.

“We’ve sort of been playing with the idea of ‘vaudeville of the grotesque,’ Charipar added. “Footlights play into the design, and so does Victorian makeup ... We’re sort of distorting things. The show verges on melodrama anyway, so we wanted to make it feel almost otherworldly. It’ll still be gritty, but in a really odd sort of way.”

That element of simplicity and deconstruction also applied to the handling of the music. Music Director Janelle Lauer and Assistant Music Director Ben Schmidt have worked to pare down instruments wherever possible, so that the music would support the emotion of the story without overwhelming it.

“There’s always something a little creepy and more powerful about a single voice coming through,” Charipar says. “We wanted to pare this show down to its essence and highlight the story and the voices as a bare-bones rendering of the show.”

That said, Charipar says the “wow” factor is very much a part of this production of Sweeney Todd. As an example, she points to the collapsible barber’s chair that Sweeney uses to dispose of his victims. When Sweeney hits the switch, audiences will see the actors drop 20 feet.

“The chair will seem very dangerous to the audience, and I think that’s exciting,” Charipar says. “I am so thrilled to finally be bringing Sweeney Todd to the TCR stage. I really, really hope our audiences have as much fun at this show as we are.”

Sweeney Todd runs March 4-26, with shows at 7:30 p.m. Fridays and Saturdays as well as 7:30 p.m. on Thursday, March 17 and at 2:30 p.m. Sunday, March 13 and 20. The show is sponsored by RBC Wealth Management. For tickets, call (319) 366-8591, visit the box office at 102 Third St. SE or go online at www.theatrecr.org.

This show contains violence and mature subject matter. It is not recommended for children.

OMG! It's Walking the Wire this Weekend!

Iowa City - No matter what life holds there are always OMG! moments.

Romantic miscommunication. OMG! The pretty girl asking you out. OMG! Having intimate conversations with God. OMG! Child birth. OMG! Playing dress up. OMG! The Six Million Dollar Man. OMG!

Walking the Wire will bring to life a variety of OMG! moments during its annual festival of original work from playwrights across the country and right here in Iowa.

"Walking The Wire is a total blast. As a seasoned monologist who is also a people person, I always start my monologues half-expecting someone to join me onstage,” said local actor and playwright Megan Gogerty.

This show also features a preview of Gogerty’s new one-woman show, which will open the 2011-2012 season.

"Walking The Wire is a great way for me to test-drive material for my full-length monologue play, also conveniently premiering at Riverside,” Gogerty said. “If it goes well, then I guarantee there'll be more of the same when my show opens in September."

This year’s Walking the Wire is directed by co-founder, resident artist, and production manager Ron Clark. The show is sponsored by Toyota-Scion of Iowa City.

“This show is very exciting - it's like a circus train of stories that whiz by, each one carrying its own emotional wallop. The evening always flies by and has become a favorite with our audiences,” Clark said.

Riverside Theatre received monologues submissions from all over the country and across Iowa for the annual festival.

The eleven playwrights whose work will be presented are: Richard Ballon (Amherst, MA); P. Seth Bauer (Philadelphia, PA); Ron Clark (Iowa City); Megan Gogerty (Iowa City); Ellen Grafton (Chicago, IL); Joe Jennison (Mount Vernon); Laura Nessler (Chicago, IL); Amanda Petefish-Schrag (Maryville, MO); Gwendolyn Rice (Madison, WI); Janet Schlapkohl (Iowa City); and Michael Whistler (Philadelphia, PA).

Performers for the monologue festival are Brandon Bruce, Megan Gogerty, Carrie Houchins-Witt, Jody Hovland, Mike Moran, Chris Okiishi, and Jessica Wilson.

Walking the Wire runs March 4-13. Showtimes are Thursday, Friday, and Saturday at 7:30 p.m. and Sunday at 2 p.m.

Tickets are $26 for adults, $23 for 60 and over/30 and under, $12 for youth (18 and under). Tickets can be purchased online at www.riversidetheatre.org or by phone at (319) 338-7672. Riverside Theatre Box Office is located at 213 N. Gilbert St, Iowa City. Box office hours are: 12 - 4 p.m. Monday – Friday.

Starlighters II Presents The Last Five Years

Anamosa - Starlighters II Theatre will be performing Jason Robert Brown's The Last Five Years beginning Friday, March 4th.

The Last Five Years is a musical exploring the lives of Jamie and Cathy, who are chronologically separated throughout most the piece. Jamie begins to sing of the beginning of his marriage and career, while Cathy begins at the bitter end and moves backwards.

The Last Five Years will run March 4-6 and 11-13 at 7:30pm (2pm Sundays), at Starlighters II Theatre in Anamosa (136 East Main St). Tickets are $16 for adults, $15 for seniors and students. Tickets can be purchased by calling the box office at 319.462.4793 or online.

(Promo pic by Seth Waters.)

City Circle's New Play Festival Begins March 4th

Coralville - This Friday marks the beginning of City Circle's fifth New Play Festival.

The festival features six new works in a variety of styles. Festival coordinator Josh Beadle says, "I'm really excited to bring together such a broad spectrum of plays. From comedy to fantasy to family drama, we have it all for this show.  We've got a fantastic group of actors, also very diverse in every single way.  We've got members of every age and experience level."

Circle Circle's "New Play Festival 5" will be performed at the Iowa Children's Museum at Coral Ridge Mall, March 4-6 at 7pm (2pm on Sunday). Tickets are $10 and can be purchased from City Circle's website.

ICCT Embraces Inner Nerd this Weekend

Iowa City - Iowa City Community Theatre (ICCT) proudly presents Larry Shue’s comic play The Nerd. The show will run the weekends of March 4th-6th and 11th-13th at the Johnson County Fairgrounds. Friday and Saturday shows start at 7:30, and Sunday matinees are at 2:00.

Shue is perhaps best remembered for his play The Foreigner, which ICCT produced two seasons ago. Like The Foreigner, The Nerd is a character-centered story whose quirky inhabitants find their otherwise normal lives turned topsy-turvy. Comedy ensues when they scramble to try and put things back the way they were. “It’s like an episode of Seinfeld,” said actor Ken Van Egdon, who plays Axel in ICCT’s production and also starred in the Foreigner production in 2009.

When the stranger who saved his life in Vietnam shows up on Willum Cubbert’s doorstep, joy turns to mortification when the mysterious Rick Steadman turns out to have as much tact and social sense as a sawed-off shotgun. He is the proverbial and titular Nerd. Cubbert is willing to try anything to escape Steadman’s acquaintance with his social life intact, and very nearly does.

Director Rachel Brown is enjoying every minute of bringing this play to the stage. “I have a cast any director would kill for,” she said. “They work hard, they know their stuff, and above all they are hilarious. One night during rehearsal I was laughing so hard, I had tears running down my face and my cast actually stopped what they were doing and asked if I was okay.”

For ticket information, call (319) 330-0443.