by Rachel Brown
Iowa City - On a cold, rainy April evening I was grateful to be ushered into such the warm and inviting environment that is Riverside Theatre. I'm a bit ashamed to say that in the nearly 4 years I've been in Iowa City, this is the first time I have had the opportunity to attend a show at Riverside. Not for lack of wanting, mind you. It just always happened that I was either involved in another show or I heard about things too late. Attending the first weekend of Working Group Theatre's Under Construction was a great introduction to the well known and well attended Riverside Theatre.
This first weekend of Under Construction was a showcase of four local individuals each with a different style and a unique story to tell. It was mixture of serious reflection and comedy punctuated by intervals of old-timey folk music provided by the evening's house band, Mutiny in the Parlor. It was much like how I imagine a '50s beatnik coffee house, minus the berets and cigarette smoke.
Approximately 30 seats were set up cabaret style on a section of the Riverside Theatre stage. I'll be honest when I say I had no idea what to expect. This was certainly not a traditional show. I love these types of happenings, though, with the excitement of experiencing something new and unfamiliar.
Each presenter' own style was unique and entertaining.
John Kaufman was the first of four performers to take the stage. He did something I have never seen a performer do before and that was ask the audience to turn their cellphones on. In an age of technology it was fun to see a performer not only embrace and understand the umbilical tie we have to our mobile devices but incorporate it into a section his performance piece. Bravely posting his own cellphone number on the wall he asked audience members to forward him the most recent text they had received. He then incorporated them into an improved song. Kaufman showcased his storytelling ability with a short monologue about the first time he visited a bathhouse in Osaka, Japan with his brother and the terror (and humor) of scrotal discomfort.
After a short break and another song from the house band, Jennifer Fawcett began her series of stories about growing up in Canada, summers riding her bike thought the back roads and her trip to Tanzania working with a small group of theatre artists teaching Tanzanian children by putting together a play in 2 weeks. Her expression and emotion drew me instantly into her memory and I found myself lost in the visions of a dirt country road or a vast green paradise. It was nice to take this little mental vacation into her world.
Idris Goodwin's rhythm and flow of hip-hop poetry was breath-taking. Each line and syllable moved forward in in a way that makes me jealous of his verbal grace. The series of five short poems he presented were influenced by his work with a group of students in Albuquerque, New Mexico. He spoke of students, a tenacious preteen and a 17 year old with a distaste for the pressure she felt from the sky. He mused about his family's question “Are there any black people in New Mexico?” (to which the answer is, yes, but not many,) and painted a verbal portrait of a hip-hop city. It was musical verse and heart wrenching lines delivered with a style that made me want to dance.
Lastly Martin Andrews took the stage and with again a different style began to weave the tale of his confrontation with the idea of becoming a father. He worried out loud about what kind of father he would become and whether he would follow in the footsteps of the men in his past. This humorous and enchantingly emotional piece was felt soul-deep. The feelings of worry, confusion, angst and pure undiluted joy were painted in his words and actions. It was a truly exquisite piece to end the evening.
While these performances had just a short two day run last weekend, Working Group Theatre will continue its presentation of Under Construction tonight through Sunday at Riverside Theatre with two nationally recognized performers: Leslie Ishii (Desperate Housewives and Lost) and Sean Christopher Lewis. Information about these performers and Working Group Theatre can be found online at www.workinggrouptheatre.org.
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Friday, April 29, 2011
Tuesday, April 26, 2011
ITAC Presents Sister Robert Anne's Cabaret Class
Amana - Iowa Theatre Artist's Company's fourth season begins this weekend with Sister 
Robert Anne's Cabaret Class. The one-woman show is one of the many Nunsense musical comedies by Dan Goggin.
Molly Hammer plays the role of Sister Robert Anne, who teaches the audience how to put on their own cabaret show, which results in lots of laughs and plenty of audience participation. Meg Merckens directs, with musical direction by Ian Zahren.
Sister Robert Anne's Cabaret Class runs April 29th to May 22nd, 1:30pm and 7:30pm on Fridays, 7:30pm on Saturdays, and 1:30pm on Sundays. Tickets are $20 ($10 for students) and can be purchased by calling 319.622.3222. Information on season tickets and other ITAC shows can be found here.
Robert Anne's Cabaret Class. The one-woman show is one of the many Nunsense musical comedies by Dan Goggin.Molly Hammer plays the role of Sister Robert Anne, who teaches the audience how to put on their own cabaret show, which results in lots of laughs and plenty of audience participation. Meg Merckens directs, with musical direction by Ian Zahren.
Sister Robert Anne's Cabaret Class runs April 29th to May 22nd, 1:30pm and 7:30pm on Fridays, 7:30pm on Saturdays, and 1:30pm on Sundays. Tickets are $20 ($10 for students) and can be purchased by calling 319.622.3222. Information on season tickets and other ITAC shows can be found here.
Drowsy Chaperone opens this weekend
Iowa City - We asked Jen Gerbyshak, Publicity Writer for ICCT, to tell us about their next production, The Drowsy Chaperone by Bob Martin and Don McKellar. If the show is half as entertaining as Jen's description, we're in for a real treat. Take it away, Jen...
“The Drowsy Chaperone? I’ve never heard of that—what’s it about?”
Without fail, every time I’ve mentioned my upcoming play to one of my coworkers, church family, or fellow volunteers, that’s the response I’ve gotten. They know me—know I’m an entertaining sort of person—so they ask it with some interest, trusting that I’m going to invite them to an evening of true entertainment. But the first response is always, “I’ve never heard of it.” So I’ve come up with the perfect reply:
The Drowsy Chaperone is the funniest show you’ve never heard of.
And that is a pure fact. First produced in Toronto in 1998, this show was carefully constructed by writers Bob Martin and Don McKellar to keep the audience laughing as hard as possible for as long as possible without actually passing out from asphyxiation. It runs only about an hour and fifteen minutes, but in that time, there are more quips, sight-gags, satirical jibes, puns and parody than you can shake a shtick at.
The performance begins with a man making dinner. We never do find out what his name is; his official designation in the script is Man in Chair. He wanders about the set, his apartment, and finally settles down in a seat in the audience and delivers the first line that will set the tone for the entire show: “I hate theater.”
Man in Chair is increasingly and delectably neurotic throughout the show as he ushers the audience through a recording of his favorite musical, The Drowsy Chaperone, which is a spoof of all the Broadway classics. Like bonus commentary on a DVD, Man in Chair gives us insider information on the ‘actors’, ‘production’ and ‘plot’ (and I do use the term loosely) of The Drowsy Chaperone, and as he does so, the action comes to life right there in his living room.
Everything you could hope for from a parody of Broadway’s Golden Age is there: highly unlikely romance, random song-and-dance numbers, mile-wide plot holes, straw-man antagonists, sweeping stereotypes, and impossibly convenient resolutions. But there’s more. Subtitled ‘a musical-within-a-play’, Drowsy is actually a parody-within-a-satire, with layers of comedy so brilliantly written that you’ll want to come back, and bring a friend.
But for all its wry, self-deprecating humor, this show is really about love. Not the fairy-tale, flash-in-the-pan passion of story and song, but the love of old companions who have seen us through our bluest moments. It’s picking up The Hobbit on a cold winter’s night. It’s putting on that Beatles CD for the five thousandth time because you had a fight with your boyfriend. A pure, simple affection which never disappoints because its object remains—or has always been—in your imagination.
Drowsy’s young cast does not disappoint, either. Far from being intimidated by the technical challenges that the production poses, they execute their demanding roles with the kind of verve that legendary farce is made of. They play off each other like a game of racquetball, they dance with gusto, and they have pipes. The sheer sound the ensemble creates during some of the full-chorus numbers is nothing short of jaw-dropping. And they need every ounce of energy to execute the blocking and choreography put together by director Ben Bentler and choreographer Jill Beardsley, the pair who engineered ICCT’s astonishing production of Wonderful Town last spring. Bentler and Beardsley are masters of spectacle, and the zaniness of The Drowsy Chaperone is a perfect vehicle for their combined artistic vision.
And an infinitely entertaining evening out. Man in Chair sums it up best this way: “Musicals are supposed to be fun, and that’s what this show is: fun.” Don’t miss out on it!
The show runs April 29th-May 1st and May 6th-8th. Friday and Saturday night performances will start at 7:30, Sunday matinees at 2:00. For tickets, visit West Music in Coralville or the Robert A. Lee Recreation Center in downtown Iowa City, or purchase your tickets online.
“The Drowsy Chaperone? I’ve never heard of that—what’s it about?”
Without fail, every time I’ve mentioned my upcoming play to one of my coworkers, church family, or fellow volunteers, that’s the response I’ve gotten. They know me—know I’m an entertaining sort of person—so they ask it with some interest, trusting that I’m going to invite them to an evening of true entertainment. But the first response is always, “I’ve never heard of it.” So I’ve come up with the perfect reply:
The Drowsy Chaperone is the funniest show you’ve never heard of.
And that is a pure fact. First produced in Toronto in 1998, this show was carefully constructed by writers Bob Martin and Don McKellar to keep the audience laughing as hard as possible for as long as possible without actually passing out from asphyxiation. It runs only about an hour and fifteen minutes, but in that time, there are more quips, sight-gags, satirical jibes, puns and parody than you can shake a shtick at.
The performance begins with a man making dinner. We never do find out what his name is; his official designation in the script is Man in Chair. He wanders about the set, his apartment, and finally settles down in a seat in the audience and delivers the first line that will set the tone for the entire show: “I hate theater.”
Man in Chair is increasingly and delectably neurotic throughout the show as he ushers the audience through a recording of his favorite musical, The Drowsy Chaperone, which is a spoof of all the Broadway classics. Like bonus commentary on a DVD, Man in Chair gives us insider information on the ‘actors’, ‘production’ and ‘plot’ (and I do use the term loosely) of The Drowsy Chaperone, and as he does so, the action comes to life right there in his living room.
Everything you could hope for from a parody of Broadway’s Golden Age is there: highly unlikely romance, random song-and-dance numbers, mile-wide plot holes, straw-man antagonists, sweeping stereotypes, and impossibly convenient resolutions. But there’s more. Subtitled ‘a musical-within-a-play’, Drowsy is actually a parody-within-a-satire, with layers of comedy so brilliantly written that you’ll want to come back, and bring a friend.
But for all its wry, self-deprecating humor, this show is really about love. Not the fairy-tale, flash-in-the-pan passion of story and song, but the love of old companions who have seen us through our bluest moments. It’s picking up The Hobbit on a cold winter’s night. It’s putting on that Beatles CD for the five thousandth time because you had a fight with your boyfriend. A pure, simple affection which never disappoints because its object remains—or has always been—in your imagination.
Drowsy’s young cast does not disappoint, either. Far from being intimidated by the technical challenges that the production poses, they execute their demanding roles with the kind of verve that legendary farce is made of. They play off each other like a game of racquetball, they dance with gusto, and they have pipes. The sheer sound the ensemble creates during some of the full-chorus numbers is nothing short of jaw-dropping. And they need every ounce of energy to execute the blocking and choreography put together by director Ben Bentler and choreographer Jill Beardsley, the pair who engineered ICCT’s astonishing production of Wonderful Town last spring. Bentler and Beardsley are masters of spectacle, and the zaniness of The Drowsy Chaperone is a perfect vehicle for their combined artistic vision.
And an infinitely entertaining evening out. Man in Chair sums it up best this way: “Musicals are supposed to be fun, and that’s what this show is: fun.” Don’t miss out on it!
The show runs April 29th-May 1st and May 6th-8th. Friday and Saturday night performances will start at 7:30, Sunday matinees at 2:00. For tickets, visit West Music in Coralville or the Robert A. Lee Recreation Center in downtown Iowa City, or purchase your tickets online.
Charlotte's Web runs for two more weeks
Amana – Come watch as Charlotte spins her magic web and cast a heartwarming spell over Fern, Wilbur and all the animals in Zuckerman’s barn during The Old Creamery Theatre for Young Audiences production of 
Charlotte’s Web.
A true favorite for so many, Charlotte’s Web by E.B. White was dramatized for the stage by Joseph Robinette. The show runs through May 7.
Charlotte’s Web is directed by Sean McCall of Marengo. The cast consists of Laura Ambrose of Coon Rapids, Minn.; T.J. Besler of Manchester; Nicholas Hodge of South Amana; Jackie McCall of Marengo; Amber Snyder of Memphis, Tenn.; Ian Zahren of South Amana; and Kamille Zbanek of Ely, IA.
McCall said bringing a favorite story to life on stage is always a thrill. “ The popularity of Charlotte’s Web plus the professional experience of the cast makes for a show not to be missed,” he said. “Plus, we’re teaching the next generation that the theatre is a wonderful place.”
Tickets are $8 per person for reserved seating. Reservations for this show are highly recommended as tickets are going fast. Call the box office at 800-35-AMANA or visit the website at www.oldcreamery.com for information or to purchase your tickets.
Charlotte’s Web.A true favorite for so many, Charlotte’s Web by E.B. White was dramatized for the stage by Joseph Robinette. The show runs through May 7.
Charlotte’s Web is directed by Sean McCall of Marengo. The cast consists of Laura Ambrose of Coon Rapids, Minn.; T.J. Besler of Manchester; Nicholas Hodge of South Amana; Jackie McCall of Marengo; Amber Snyder of Memphis, Tenn.; Ian Zahren of South Amana; and Kamille Zbanek of Ely, IA.
McCall said bringing a favorite story to life on stage is always a thrill. “ The popularity of Charlotte’s Web plus the professional experience of the cast makes for a show not to be missed,” he said. “Plus, we’re teaching the next generation that the theatre is a wonderful place.”
Tickets are $8 per person for reserved seating. Reservations for this show are highly recommended as tickets are going fast. Call the box office at 800-35-AMANA or visit the website at www.oldcreamery.com for information or to purchase your tickets.
Dixie Swim Club Opens April 28
Amana - This week The Old Creamery will open 
its production of Dixie Swim Club by Jessie Jones, Nicholas Hope and Jamie Wooten. It chronicles the lives of five southern belles whose friendships begins on a college swim team and span their entire lives.
Every August, these five women meet and talk about men, children, careers, and friendship. The Old Creamery describes it as "Golden Girls meets Steel Magnolias." Directed by Sean McCall, the production features Krista Neumann, Gwendolyn Schwinke, Kristy Hartsgrove, Marquetta Senters and Licia Watson.
Dixie Swim Club runs April 28 - May 29th, 7:30pm on Friday and Saturday, 3pm on weekdays and Sundays. Tickets are $27 and can be purchased at 319.622.6194 or through Old Creamery's website.
its production of Dixie Swim Club by Jessie Jones, Nicholas Hope and Jamie Wooten. It chronicles the lives of five southern belles whose friendships begins on a college swim team and span their entire lives.Every August, these five women meet and talk about men, children, careers, and friendship. The Old Creamery describes it as "Golden Girls meets Steel Magnolias." Directed by Sean McCall, the production features Krista Neumann, Gwendolyn Schwinke, Kristy Hartsgrove, Marquetta Senters and Licia Watson.
Dixie Swim Club runs April 28 - May 29th, 7:30pm on Friday and Saturday, 3pm on weekdays and Sundays. Tickets are $27 and can be purchased at 319.622.6194 or through Old Creamery's website.
Tuesday, April 12, 2011
Working Group's Make it Better and Solo Festival Coming Soon
Iowa City - Working Group Theatre has two events coming this month. First up is Make it Better, Iowa on April 17th at 4pm at Hotel Vetro. Admission is free.
Working Group Theatre, supported by the University of Iowa Center for Human Rights, Prairie Lights Bookstore, Iowa Pride Network, and Hotel Vetro, presents Make it Better, Iowa, an evening of storytelling, music, and theatre to raise awareness of the issues facing LGBT youth in Iowa and encourage others to play a role in creating a better Iowa for all citizens. The event is linked with the release of Dan Savage's book “It Gets Better” and Mr. Savage will appear via skype. This will be the culmination of a two-month project that included workshops for those teacher, advisors, and advocates who are working with Iowa's LGBT youth. For more information go here.
Their second event begins April 22 and continues the following weekend. The Under Construction Solo Festival will be presented April 22, 23, 28, 29 and 30 at 7:30 and May 1 at 2 pm at Riverside Theatre. Admission is $12 for students, and $15 for adults. Working Group Theatre will feature seven performers in its first ever solo-show festival. Each weekend will have different offerings.
The first weekend will feature Solo Shorts – five short pieces from a diverse group of performers.
* Idris Goodwin (award-winning performer, playwright, author of These are the Breaks)
* Austin Bunn (Pushcart Prize winning author, playwright)
* John Kaufmann (author/performer of Starball, Johnny Lingers),
* Martin Andrews (Actor: All My Sons, Mary's Wedding, Midsummer Nights Dream)
* Jennifer Fawcett (author/performer of Goat Show, playwright of Atlas of Mud).
The second week will feature two nationally-recognized performers.
* Sean Christopher Lewis (Smith Prize winner, author/performer of Killadelphia), will perform his new solo show Just Kids which describes how his work helping troubled kids at a Kansas school forced him to deal with his own past.
* The second performer, Leslie Ishii, might be familiar to an audience from her recurring role on Lost as Laura Change, or her work on numerous other TV shows. She is an accomplished stage actress who will premiere her one-person show I Have a Spine which describes her search into her own family history in the post-internment camps.
For more information, go here.
Working Group Theatre, supported by the University of Iowa Center for Human Rights, Prairie Lights Bookstore, Iowa Pride Network, and Hotel Vetro, presents Make it Better, Iowa, an evening of storytelling, music, and theatre to raise awareness of the issues facing LGBT youth in Iowa and encourage others to play a role in creating a better Iowa for all citizens. The event is linked with the release of Dan Savage's book “It Gets Better” and Mr. Savage will appear via skype. This will be the culmination of a two-month project that included workshops for those teacher, advisors, and advocates who are working with Iowa's LGBT youth. For more information go here.
Their second event begins April 22 and continues the following weekend. The Under Construction Solo Festival will be presented April 22, 23, 28, 29 and 30 at 7:30 and May 1 at 2 pm at Riverside Theatre. Admission is $12 for students, and $15 for adults. Working Group Theatre will feature seven performers in its first ever solo-show festival. Each weekend will have different offerings.
The first weekend will feature Solo Shorts – five short pieces from a diverse group of performers.
* Idris Goodwin (award-winning performer, playwright, author of These are the Breaks)
* Austin Bunn (Pushcart Prize winning author, playwright)
* John Kaufmann (author/performer of Starball, Johnny Lingers),
* Martin Andrews (Actor: All My Sons, Mary's Wedding, Midsummer Nights Dream)
* Jennifer Fawcett (author/performer of Goat Show, playwright of Atlas of Mud).
The second week will feature two nationally-recognized performers.
* Sean Christopher Lewis (Smith Prize winner, author/performer of Killadelphia), will perform his new solo show Just Kids which describes how his work helping troubled kids at a Kansas school forced him to deal with his own past.
* The second performer, Leslie Ishii, might be familiar to an audience from her recurring role on Lost as Laura Change, or her work on numerous other TV shows. She is an accomplished stage actress who will premiere her one-person show I Have a Spine which describes her search into her own family history in the post-internment camps.
For more information, go here.
Monday, April 11, 2011
Auditions for Kids and Canines for Shakespeare Festival
Iowa City - Riverside Theatre will hold auditions for both kids and canines on Saturday, April 16 at the Riverside Festival Stage in Lower City Park.
This year’s Shakespeare Festival acting company will include one child to play the role of Tommy Miller, 10-12 years old, in Ah, Wilderness! as well as a dog named Crab in The Two Gentlemen of Verona.
Canine candidates for the role of Crab the dog will be seen beginning at 11:30 a.m. Dogs must be mature, calm, easy to handle, and not agitated by large and enthusiastic audiences. The dog must be available for select rehearsals in June, plus all performances: June 17-19, 29-30, July 2, 5, 8, 10.
Auditions for the child’s role – both boys and girls will be considered – will begin at 1 p.m. Those auditioning should prepare a brief poem or prose piece that they will be asked to read in their best outside voice; they may also be asked to read from the script. Performance experience is preferred, but not required; a strong voice is essential. The child must be available for select rehearsals beginning in mid-May, plus all performances June 24-26, 28, July 1, 3, 6-7, 9.
To sign up for an audition call the Riverside Theatre Box Office at 319-338-7677. Those with questions about the auditions should contact Riverside Theatre Artistic Director Jody Hovland at 319-887-1360 or artistic@riversidetheatre.org.
This year’s Shakespeare Festival acting company will include one child to play the role of Tommy Miller, 10-12 years old, in Ah, Wilderness! as well as a dog named Crab in The Two Gentlemen of Verona.
Canine candidates for the role of Crab the dog will be seen beginning at 11:30 a.m. Dogs must be mature, calm, easy to handle, and not agitated by large and enthusiastic audiences. The dog must be available for select rehearsals in June, plus all performances: June 17-19, 29-30, July 2, 5, 8, 10.
Auditions for the child’s role – both boys and girls will be considered – will begin at 1 p.m. Those auditioning should prepare a brief poem or prose piece that they will be asked to read in their best outside voice; they may also be asked to read from the script. Performance experience is preferred, but not required; a strong voice is essential. The child must be available for select rehearsals beginning in mid-May, plus all performances June 24-26, 28, July 1, 3, 6-7, 9.
To sign up for an audition call the Riverside Theatre Box Office at 319-338-7677. Those with questions about the auditions should contact Riverside Theatre Artistic Director Jody Hovland at 319-887-1360 or artistic@riversidetheatre.org.
Auditions start tonight for West Side Story
Coralville - City Circle Acting Company will hold auditions for their summer youth musical West Side Story. Those who have completed grade 7 through graduating High School seniors are eligible to audition. Participants will be asked to sing a prepared song, perform a dance audition and participate in a reading from the script. The song may be from the show and an accompanist will be provided. They will be casting about 30-35 people.
Audition Dates:
April 11 at 7:00 pm
April 12 at 7:30 pm
Community of Christ
2121 South Ridge Drive, Coralville
Principal roles:
Maria.............soprano
Tony..........tenor
Riff............high baritone
Anita..........mezzo soprano
Bernardo.....high baritone
In addition to principal roles, there are several choice supporting roles.
The stage director is Michael Stokes. The musical director is Ed Kottick with a 28 piece orchestra. Dance numbers will be choreographed by Leslie Nolte.
Auditions will be held on April 11th at 7:00 pm, April 12 at 7:30 pm and call backs will be held on April 13th. Performances are June 17th, 18th, and 19th at the Englert Theatre.
West Side Story is the classic musical by Leonard Bernstein, Arthur Laurents and Stephen Sondheim based on Shakespeare's Romeo and Juliet. This is the fifth summer musical starring High School and Junior High School students produced by City Circle. For more information, go here.
Audition Dates:
April 11 at 7:00 pm
April 12 at 7:30 pm
Community of Christ
2121 South Ridge Drive, Coralville
Principal roles:
Maria.............soprano
Tony..........tenor
Riff............high baritone
Anita..........mezzo soprano
Bernardo.....high baritone
In addition to principal roles, there are several choice supporting roles.
The stage director is Michael Stokes. The musical director is Ed Kottick with a 28 piece orchestra. Dance numbers will be choreographed by Leslie Nolte.
Auditions will be held on April 11th at 7:00 pm, April 12 at 7:30 pm and call backs will be held on April 13th. Performances are June 17th, 18th, and 19th at the Englert Theatre.
West Side Story is the classic musical by Leonard Bernstein, Arthur Laurents and Stephen Sondheim based on Shakespeare's Romeo and Juliet. This is the fifth summer musical starring High School and Junior High School students produced by City Circle. For more information, go here.
Auditions for Man of la Mancha Coming Soon
Washington - Auditions for Washington Community Theater's next production, Man of la Mancha, will be held in Washington and Iowa City. The play was originally slated to be directed by Josh Sazon. However, due to circumstances beyond his control, Mr. Sazon has had to step down as director. Don Hughes will now be directing the show. The show runs June 23-26.
Audition Dates:
Washington:
Washington Community Center
Sunday, April 17 1:00 to 4:00 PM
Thursday, April 21 7:00 to 9:00 PM
Iowa City:
Robert A. Lee Rec Center
Meeting Room B
Tuesday, April 19 6:30 to 8:30 PM
Roles:
Don Quixote/Cervantes (Baritone)
-Plays both a vigorous nobleman-poet and an old and eccentric knight-errant.
Sancho/The Man Servant (Tenor, comic role)
-Don Quixote's lovable servant
Aldonza (legit soprano)
-rough-and-tumble bar wench who finds her inner-beauty
Antonia (Soprano)
-pretends to be concerned for her uncle
Innkeeper/Governor (Baritone)
Padre (Tenor)
Dr. Carrasco/The Duke (Baritone)
Housekeeper (Mezzo)
The Barber (Tenor)
Anselmo
Chorus
Plan to perform a prepared song (from the show or not), a pianist will be provided.
You may contact the director at dwhughes@iowatelecom.net if you have any questions.
Audition Dates:
Washington:
Washington Community Center
Sunday, April 17 1:00 to 4:00 PM
Thursday, April 21 7:00 to 9:00 PM
Iowa City:
Robert A. Lee Rec Center
Meeting Room B
Tuesday, April 19 6:30 to 8:30 PM
Roles:
Don Quixote/Cervantes (Baritone)
-Plays both a vigorous nobleman-poet and an old and eccentric knight-errant.
Sancho/The Man Servant (Tenor, comic role)
-Don Quixote's lovable servant
Aldonza (legit soprano)
-rough-and-tumble bar wench who finds her inner-beauty
Antonia (Soprano)
-pretends to be concerned for her uncle
Innkeeper/Governor (Baritone)
Padre (Tenor)
Dr. Carrasco/The Duke (Baritone)
Housekeeper (Mezzo)
The Barber (Tenor)
Anselmo
Chorus
Plan to perform a prepared song (from the show or not), a pianist will be provided.
You may contact the director at dwhughes@iowatelecom.net if you have any questions.
Present Laughter has Solid Laughs
by Andrew Juhl
Coralville - Noël Coward’s semi-autobiographical sub-farce Present Laughter is a tricky piece. One of the great things about all-out farces and jokey-joke comedies is that even novice casts can stage them and get an adequate number of laughs from the audience. Present Laughter requires a defter, more subtle delivery from all its players in order to achieve the same level of applause.
There were definitely some good performances on opening night, but unfortunately the show overall fell somewhat short of its potential.
The plot follows a few days in the life of the successful and self-obsessed light comedy actor Garry Essendine as he prepares to travel for a touring commitment in Africa. He finds himself dealing with women who want to seduce him, placating both his long-suffering secretary and his estranged wife, being stalked by a crazed young playwright, and working through his own obsession with oncoming middle age.
David Q. Combs, starring as “Garry Essendine” (a role written by Coward unabashedly for Coward), turns in the best-understood performance of the ensemble—which is to be expected, as he is the lone professional actor in the cast.
His competence in the role, however, does not make the character of Essendine any more likable. For that, the whole of the supporting cast would have needed to better understand and portray their character’s connections and pasts. Essendine is a narcissistic and self-righteous jackass, surrounded alternatingly by obnoxious sycophants, malcontented employees, and friends who can barely stand him—none of whom are any more likable than Essendine, to be frank. Cheating wives, lying ingénues, and deceitful young playwrights do not a caring audience member make without the actors giving those characters some dimension. If I don’t like or care about the characters, then it doesn’t matter how good the words on the page are; those witty retorts won’t elicit the reaction “good one!” so much as they’ll provoke the response “what a bunch of horrible asses.”
That’s not to say there’s nothing redeemable about the show. Beyond Combs, who delivers his character’s more powerful scenes with aplomb, there are other cast members who deserve special note. Adam Burton (“Roland Maule”) steals his scenes with bushy-tailed enthusiasm, and Doreen Loring (“Liz Essendine”) says her lines with a calm, steely detachment that sets her apart from everyone else on stage as someone not to be trifled with. I enjoyed Jessica Murillo’s (“Joanna Lyppiatt”) performance, without particularly enjoying anything she did or said. Paradoxical, I know. But go see it and you might agree with me.
Director Rachel Lindhart makes good use of the small stage in the Children’s Museum, and moves the character’s around constantly, keeping the action and the dialogue from getting sleepy. The set is also well-designed to make good use of such a small space, containing several entrances and exits without being cluttered. (Self-aware pretentious note to the prop masters, though: nobody who keeps their sherry and scotch in stoppered crystal at a bar station displays a bottle Johnny Walker Black Label alongside a bottle of Passport Scotch. That’s like hanging a Thomas Kinkade print right next to your authentic Edward Hopper.)
I can’t like every play I see, but I can find things I like about every play I see. There were more than a handful of solid laughs, as well as some truly good performances within the cast. This is the last show in City Circle’s current season, and will be their last show in the Children’s Museum space, so consider attending Present Laughter to help support City Circle as they move into their next season and their new home.
Coralville - Noël Coward’s semi-autobiographical sub-farce Present Laughter is a tricky piece. One of the great things about all-out farces and jokey-joke comedies is that even novice casts can stage them and get an adequate number of laughs from the audience. Present Laughter requires a defter, more subtle delivery from all its players in order to achieve the same level of applause.
There were definitely some good performances on opening night, but unfortunately the show overall fell somewhat short of its potential.
The plot follows a few days in the life of the successful and self-obsessed light comedy actor Garry Essendine as he prepares to travel for a touring commitment in Africa. He finds himself dealing with women who want to seduce him, placating both his long-suffering secretary and his estranged wife, being stalked by a crazed young playwright, and working through his own obsession with oncoming middle age.
David Q. Combs, starring as “Garry Essendine” (a role written by Coward unabashedly for Coward), turns in the best-understood performance of the ensemble—which is to be expected, as he is the lone professional actor in the cast.
His competence in the role, however, does not make the character of Essendine any more likable. For that, the whole of the supporting cast would have needed to better understand and portray their character’s connections and pasts. Essendine is a narcissistic and self-righteous jackass, surrounded alternatingly by obnoxious sycophants, malcontented employees, and friends who can barely stand him—none of whom are any more likable than Essendine, to be frank. Cheating wives, lying ingénues, and deceitful young playwrights do not a caring audience member make without the actors giving those characters some dimension. If I don’t like or care about the characters, then it doesn’t matter how good the words on the page are; those witty retorts won’t elicit the reaction “good one!” so much as they’ll provoke the response “what a bunch of horrible asses.”
That’s not to say there’s nothing redeemable about the show. Beyond Combs, who delivers his character’s more powerful scenes with aplomb, there are other cast members who deserve special note. Adam Burton (“Roland Maule”) steals his scenes with bushy-tailed enthusiasm, and Doreen Loring (“Liz Essendine”) says her lines with a calm, steely detachment that sets her apart from everyone else on stage as someone not to be trifled with. I enjoyed Jessica Murillo’s (“Joanna Lyppiatt”) performance, without particularly enjoying anything she did or said. Paradoxical, I know. But go see it and you might agree with me.
Director Rachel Lindhart makes good use of the small stage in the Children’s Museum, and moves the character’s around constantly, keeping the action and the dialogue from getting sleepy. The set is also well-designed to make good use of such a small space, containing several entrances and exits without being cluttered. (Self-aware pretentious note to the prop masters, though: nobody who keeps their sherry and scotch in stoppered crystal at a bar station displays a bottle Johnny Walker Black Label alongside a bottle of Passport Scotch. That’s like hanging a Thomas Kinkade print right next to your authentic Edward Hopper.)
I can’t like every play I see, but I can find things I like about every play I see. There were more than a handful of solid laughs, as well as some truly good performances within the cast. This is the last show in City Circle’s current season, and will be their last show in the Children’s Museum space, so consider attending Present Laughter to help support City Circle as they move into their next season and their new home.
Check out Eurydice: A Thought Provoking Re-imagining of a Classic Myth
by Matthew Falduto
Cedar Rapids - Sarah Ruhl is one of the most promising young playwrights working today; it is safe to assume we have not seen her best work yet. Theatre Cedar Rapids has chosen to present one of her better known
plays, Eurydice. The play tells the Greek myth of Orpheus from the point of view of Orpheus' love, Eurydice. On their wedding day, Eurydice dies. Orpheus, the finest musician in all the world, is so desperate to get her back, he travels to the Underworld, using his music to charm the Lord of the Underworld to allow him to take Eurydice back to life. There is a condition, of course. As Orpheus leads Eurydice back to the surface, he is commanded to not look back at her until their journey is complete. If he does, he will lose her forever. At the last moment, fearing he has been tricked, he turns and sees her, condemning her to the Underworld forever.
This play is a wonderful re-imagining of this classic story. Ruhl's Eurydice is a strong woman who makes decisions and does not allow her fate to be dictated by Orpheus. This allows for a thought-provoking climax, as Eurydice is the one who makes the decision of whether she will return to life or remain in the Underworld. One can just imagine Ms. Ruhl thinking to herself as she's typing away at her computer, "Why does her whole fate have to rely on Orpheus? Girl's got to take control."
And in truth, the most interesting relationship is not between Orpheus (Alex Williams) and Eurydice (Hannah Spina), but instead between Eurydice and her father (Scot Hughes). Father died before the play begins, but he has not given up on the chance of communicating with his beloved daughter. This goes counter to the way the Underworld is supposed to work. One is supposed to allow a dip in the River Styx to wash away all memories of one's life. But Father refuses for he misses his daughter terribly and cannot let her go. When she arrives, he helps her to remember her life and him.
Hughes is wonderful in the role of Father, handling the humorous moments well, but truly shining whenever the script calls for him to show love for his daughter. In a truly lovely moment in the script, he becomes a tree to shade Eurydice and provide a place for her to rest. At another point, her creates a home for her. Leslie Chariper's direction has him using simple string to create this home. As touching as the moment is, it's equally heartbreaking when he has to remove the home later in
the show. This is just one of many excellent choices by this talented director.
Alex Williams does a fine job capturing the whimsical joy of being young and in love as Orpheus. Scott Humeston relishes every interesting moment of the characters he plays. As "A Nasty Interesting Man," he exudes malevolence. As "Lord of the Underworld," he actually finds a lot of opportunity for comedy, which he also performs admirably.
Hannah Spina as Eurydice must be commended for a strong performance. She is joyful and fearful and strong. In love with Orpheus, she is determined to make sure he is paying attention to her, not just his music. She plays every moment, from giddy love to dawning realization of fate, perfectly. She embodies exactly what we want in our modern female hero.
The actors in the supporting roles are also good. The chorus of "Stones" fight
against Father and Eurydice's resistance to the "rules" of the Underworld, which boil down to forgetting one's life. Big Stone, Little Stone, and Loud Stone, played by Nick Walters, Emmy Palmersheim, and Mike Wilhelm respectively, provide much of the comedy of the show, though there is a wonderfully played sinister undertone to their actions. Particular kudos must go to Costume Designer Richie Akers for creating the most fascinating costumes for this chorus of the dead.
The set, designed by Bret Gothe, is simple and effective. A metal frame (reused from Sweeney Todd?) allows for a second level upstage. Utilizing the trap doors in the stage to excellent effect, Gothe offers us three pools of blue light which effectively communicate the otherworldliness of the Underworld. Boards placed over the pools give a sense of the final fateful journey back to the surface. Everything is simple allowing the audience to complete the world with its own creativity.
I strongly encourage you to check out Eurydice. It boasts strong performances, a story that tugs at your heart while making you laugh, and a creative design that allows for one's imagination to dance along with the performers. It runs through April 23. For tickets, go here.
Cedar Rapids - Sarah Ruhl is one of the most promising young playwrights working today; it is safe to assume we have not seen her best work yet. Theatre Cedar Rapids has chosen to present one of her better known
plays, Eurydice. The play tells the Greek myth of Orpheus from the point of view of Orpheus' love, Eurydice. On their wedding day, Eurydice dies. Orpheus, the finest musician in all the world, is so desperate to get her back, he travels to the Underworld, using his music to charm the Lord of the Underworld to allow him to take Eurydice back to life. There is a condition, of course. As Orpheus leads Eurydice back to the surface, he is commanded to not look back at her until their journey is complete. If he does, he will lose her forever. At the last moment, fearing he has been tricked, he turns and sees her, condemning her to the Underworld forever. This play is a wonderful re-imagining of this classic story. Ruhl's Eurydice is a strong woman who makes decisions and does not allow her fate to be dictated by Orpheus. This allows for a thought-provoking climax, as Eurydice is the one who makes the decision of whether she will return to life or remain in the Underworld. One can just imagine Ms. Ruhl thinking to herself as she's typing away at her computer, "Why does her whole fate have to rely on Orpheus? Girl's got to take control."
And in truth, the most interesting relationship is not between Orpheus (Alex Williams) and Eurydice (Hannah Spina), but instead between Eurydice and her father (Scot Hughes). Father died before the play begins, but he has not given up on the chance of communicating with his beloved daughter. This goes counter to the way the Underworld is supposed to work. One is supposed to allow a dip in the River Styx to wash away all memories of one's life. But Father refuses for he misses his daughter terribly and cannot let her go. When she arrives, he helps her to remember her life and him.
Hughes is wonderful in the role of Father, handling the humorous moments well, but truly shining whenever the script calls for him to show love for his daughter. In a truly lovely moment in the script, he becomes a tree to shade Eurydice and provide a place for her to rest. At another point, her creates a home for her. Leslie Chariper's direction has him using simple string to create this home. As touching as the moment is, it's equally heartbreaking when he has to remove the home later in
the show. This is just one of many excellent choices by this talented director.Alex Williams does a fine job capturing the whimsical joy of being young and in love as Orpheus. Scott Humeston relishes every interesting moment of the characters he plays. As "A Nasty Interesting Man," he exudes malevolence. As "Lord of the Underworld," he actually finds a lot of opportunity for comedy, which he also performs admirably.
Hannah Spina as Eurydice must be commended for a strong performance. She is joyful and fearful and strong. In love with Orpheus, she is determined to make sure he is paying attention to her, not just his music. She plays every moment, from giddy love to dawning realization of fate, perfectly. She embodies exactly what we want in our modern female hero.
The actors in the supporting roles are also good. The chorus of "Stones" fight
against Father and Eurydice's resistance to the "rules" of the Underworld, which boil down to forgetting one's life. Big Stone, Little Stone, and Loud Stone, played by Nick Walters, Emmy Palmersheim, and Mike Wilhelm respectively, provide much of the comedy of the show, though there is a wonderfully played sinister undertone to their actions. Particular kudos must go to Costume Designer Richie Akers for creating the most fascinating costumes for this chorus of the dead. The set, designed by Bret Gothe, is simple and effective. A metal frame (reused from Sweeney Todd?) allows for a second level upstage. Utilizing the trap doors in the stage to excellent effect, Gothe offers us three pools of blue light which effectively communicate the otherworldliness of the Underworld. Boards placed over the pools give a sense of the final fateful journey back to the surface. Everything is simple allowing the audience to complete the world with its own creativity.
I strongly encourage you to check out Eurydice. It boasts strong performances, a story that tugs at your heart while making you laugh, and a creative design that allows for one's imagination to dance along with the performers. It runs through April 23. For tickets, go here.
Saturday, April 9, 2011
Stuff Happens Is an Engaging Political Drama
by James E. Trainor III
Iowa City - As Marx once observed, "history repeats itself - the first time as history, the second time as farce." If the first Bush Administration's buildup to war in Iraq was our tragedy, David Hare's Stuff Happens
is definitely our farce. Hare has constructed a surreal, high-stakes drama out of these events, a modern history play in the scale of Shakespeare, with the tragic dignity of Miller and the gallows humor of Beckett.
Stuff Happens combines actual speeches from famous figures with second-hand reports and speculation, structured by actors who stand to the side and narrate the tale, giving context and commentary. It reads as if The Laramie Project was remixing our evening news.
On the one hand, this familiarity fuels the drama, giving it a sense of inevitability. We remember moments like Powell holding up a model vial of anthrax and the British headline "Forty-Five Minutes to War!" and we already have opinions about them, which makes the piece really engaging.
It gives the actors a lot to work against, however. These are familiar figures who were in our living rooms as recently as ten years ago - Dick Cheney, Donald Rumsfeld, Condoleezza Rice, Colin Powell, and Tony Blair, not to mention George W. Bush - all of these people have become characters in their own right; they've become larger than life. Director Ryan Foizey's approach is to "humanize these political figures," focusing more on the drama of the piece, which works well, but somehow the personalities seem a little sparse in parts.
Justin Braden is solid as Bush, and the relationships and objectives are clear, but he lacks some of the warmth and likability Bush was known for. Braden's Bush comes off as a little too formal, a little too composed.
On the other end, Brian Tanner's Cheney is perhaps a bit too likable. This is a man remembered for being crass and awkward; Tanner does an excellent job with Cheney's tirade against Powell at the end, but I felt a bit more work could have gone into characterization.
These are small aesthetic things, however, and for the most part the approach bodes well in the dramatic scenes. It's a very difficult line to walk when playing a real person from recent memory, especially if that real person is a bit of an oddball. You don't want to be too dry, but you don't want to push too far into the ludicrous. Scott K. Strode walks this line extremely well - he dances on it, in fact. He glides though Rumsfeld's sarcastic, puzzling, and often ridiculous speeches with grace and biting wit, yet still manages to keep the objective-play clear.
Nicole Reedy is subtle and subdued as Condoleezza Rice; she seems to be the power behind the throne, literally speaking for Bush in some of the earlier scenes. Her best work is in what she does not do; some of the most effective moments are in her silent glances with Cheney, Bush, Wolfowitz, and other members of the inner circle.
If these are our warmongers, our protagonists are an unlikely pair: Tony Blair and Colin Powell. Hare's Blair, as portrayed by Rob Merritt, is a high-minded but practical individual, one committed to the moral use of political power but well aware of how the game is played. There's a long scene at Camp David, where Blair attempts to convince Bush to wait, to do things the diplomatic way. This Blair is a lot more sympathetic than the real one - or maybe it's just Blair before his fall from grace. In a pivotal moment in the following scene, uncertain about what agreement he's really reached with Bush, Blair takes a gamble and decides to leak some intelligence - a move which ends up tarnishing his political career. Merritt plays the scene with careful gravitas; Blair is aware he has gone too far but he has passed the point of no return.
Of all these varied characters, K. Michael Moore's Powell steals the show. He's the counterpart to Blair, on the inside with Bush but not quite close enough. Throughout the play he advocates reason and caution; he speaks passionately but bluntly, working tirelessly to exhaust all the options before allowing Washington to unilaterally attack Baghdad. Moore's energy is inexhaustible, his commitment is consistent, and he brings a humanity and a morality to what really is a dark comedy. Though we know he's ultimately going to fail, it's a joy to watch this straight man talk back to a White House full of clowns.
The dramatic scenes in this production were quite well done, with great performances by a very talented cast. It really stumbled in the transitions, however. Stuff Happens isn't just a straightforward drama about the personalities involved in the war; it has a lot of other layers. This requires a lot of fast-paced montages of narration, sound bytes, off-handed comments, and crucial facts, all which need to go by without dropping the energy between scenes. The set, while good at setting a realistic environment, didn't really allow for this type of flow. The direction wasn't quite tight enough; the beginning and the end were very slow, and it seemed there were even a couple missed entrances. All in all a great cast, and some good direction with some very engaging moments, but the pacing did stutter quite a bit.
Stuff Happens will run one more weekend, April 15th and 16th, 7:30pm, at the Universalist Unitarian Society, 10 S. Gilbert St. Reservations can be made at www.dreamwell.com. $12 general, $10 seniors, $8 students.
Iowa City - As Marx once observed, "history repeats itself - the first time as history, the second time as farce." If the first Bush Administration's buildup to war in Iraq was our tragedy, David Hare's Stuff Happens
is definitely our farce. Hare has constructed a surreal, high-stakes drama out of these events, a modern history play in the scale of Shakespeare, with the tragic dignity of Miller and the gallows humor of Beckett.Stuff Happens combines actual speeches from famous figures with second-hand reports and speculation, structured by actors who stand to the side and narrate the tale, giving context and commentary. It reads as if The Laramie Project was remixing our evening news.
On the one hand, this familiarity fuels the drama, giving it a sense of inevitability. We remember moments like Powell holding up a model vial of anthrax and the British headline "Forty-Five Minutes to War!" and we already have opinions about them, which makes the piece really engaging.
It gives the actors a lot to work against, however. These are familiar figures who were in our living rooms as recently as ten years ago - Dick Cheney, Donald Rumsfeld, Condoleezza Rice, Colin Powell, and Tony Blair, not to mention George W. Bush - all of these people have become characters in their own right; they've become larger than life. Director Ryan Foizey's approach is to "humanize these political figures," focusing more on the drama of the piece, which works well, but somehow the personalities seem a little sparse in parts.
Justin Braden is solid as Bush, and the relationships and objectives are clear, but he lacks some of the warmth and likability Bush was known for. Braden's Bush comes off as a little too formal, a little too composed.
On the other end, Brian Tanner's Cheney is perhaps a bit too likable. This is a man remembered for being crass and awkward; Tanner does an excellent job with Cheney's tirade against Powell at the end, but I felt a bit more work could have gone into characterization.
These are small aesthetic things, however, and for the most part the approach bodes well in the dramatic scenes. It's a very difficult line to walk when playing a real person from recent memory, especially if that real person is a bit of an oddball. You don't want to be too dry, but you don't want to push too far into the ludicrous. Scott K. Strode walks this line extremely well - he dances on it, in fact. He glides though Rumsfeld's sarcastic, puzzling, and often ridiculous speeches with grace and biting wit, yet still manages to keep the objective-play clear.
Nicole Reedy is subtle and subdued as Condoleezza Rice; she seems to be the power behind the throne, literally speaking for Bush in some of the earlier scenes. Her best work is in what she does not do; some of the most effective moments are in her silent glances with Cheney, Bush, Wolfowitz, and other members of the inner circle.
If these are our warmongers, our protagonists are an unlikely pair: Tony Blair and Colin Powell. Hare's Blair, as portrayed by Rob Merritt, is a high-minded but practical individual, one committed to the moral use of political power but well aware of how the game is played. There's a long scene at Camp David, where Blair attempts to convince Bush to wait, to do things the diplomatic way. This Blair is a lot more sympathetic than the real one - or maybe it's just Blair before his fall from grace. In a pivotal moment in the following scene, uncertain about what agreement he's really reached with Bush, Blair takes a gamble and decides to leak some intelligence - a move which ends up tarnishing his political career. Merritt plays the scene with careful gravitas; Blair is aware he has gone too far but he has passed the point of no return.
Of all these varied characters, K. Michael Moore's Powell steals the show. He's the counterpart to Blair, on the inside with Bush but not quite close enough. Throughout the play he advocates reason and caution; he speaks passionately but bluntly, working tirelessly to exhaust all the options before allowing Washington to unilaterally attack Baghdad. Moore's energy is inexhaustible, his commitment is consistent, and he brings a humanity and a morality to what really is a dark comedy. Though we know he's ultimately going to fail, it's a joy to watch this straight man talk back to a White House full of clowns.
The dramatic scenes in this production were quite well done, with great performances by a very talented cast. It really stumbled in the transitions, however. Stuff Happens isn't just a straightforward drama about the personalities involved in the war; it has a lot of other layers. This requires a lot of fast-paced montages of narration, sound bytes, off-handed comments, and crucial facts, all which need to go by without dropping the energy between scenes. The set, while good at setting a realistic environment, didn't really allow for this type of flow. The direction wasn't quite tight enough; the beginning and the end were very slow, and it seemed there were even a couple missed entrances. All in all a great cast, and some good direction with some very engaging moments, but the pacing did stutter quite a bit.
Stuff Happens will run one more weekend, April 15th and 16th, 7:30pm, at the Universalist Unitarian Society, 10 S. Gilbert St. Reservations can be made at www.dreamwell.com. $12 general, $10 seniors, $8 students.
Wednesday, April 6, 2011
Stuff Happens opens Friday
Iowa City — Dreamwell Theatre continues its “Season of War and Consequences” with David Hare's controversial play, Stuff Happens, which chronicles the convoluted diplomatic strategies that preceded the war in Iraq. Stuff Happens plays at the Universalist Unitarian Society, 10 S. Gilbert St. at 7:30pm, April 8, 9, 15, and 16. Reservations can be made at www.dreamwell.com. $12 general, $10 seniors, $8 students.The title comes from a quote made by Secretary of Defense Donald Rumsfeld when asked about looting in Iraq following the fall of Baghdad. "Stuff happens and it's untidy, and freedom's untidy, and free people are free to make mistakes and commit crimes and do bad things," said Rumsfeld. The play draws from dozens of interviews with individuals involved in the events portrayed in the play. All the key players make appearances, including: George W. Bush, Colin Powell, Tony Blair, Condi Rice, Dick Cheney and Donald Rumsfeld.
With characters like Bush, Cheney and the like, it would be easy to approach the piece with a "Saturday Night Live-esque" sense of mockery. Director Ryan Foizey believes the play's power and its true satire comes in understanding and interpreting the true intentions of these characters, devoid of caricature.
"It would be so easy to make these characters monsters," says Foizey, "We've rehearsed to humanize these political figures, making them people instead of objects, to aid in a better understanding of the humanistic qualities motivating the war. I have listened, learned, left and still laughed at this show time and time again through the rehearsal process and discovering its truths. It brings light to controversial issue while keeping the integrity of a good and entertaining theatre piece."
The New York Times calls Stuff Happens "A collective work of imagination that attempts to grasp how and why an unnecessary and unwinnable war was allowed to happen."
Stuff Happens features Justin Braden, K. Michael Moore, Rob Merritt, Nicole Reedy, Brian Tanner, Scott Strode and additional ensemble members.
Present Laughter opens Friday
Coralville - City Circle Acting Company of Coralville will present Noel Coward’s comedy Present Laughter, April 8-17, 2011.
The wit and wordplay of Noel Coward will be on display in Present Laughter, the final production of City Circle’s current season. The action follows a few days in the life of a narcissistic actor and the women who love him. Director Rachael Lindhart says the wry comedy features "the kind of witty things you wish you would have said."
The cast features a combination of City Circle veterans and newcomers to our theater family:
Garry Essendine - David Q. Combs
Fred - Lewis Wasson
Miss Erikson - Janet Haar
Monica Reed - Annette Rohlk
Liz Essendine - Doreen Loring
Daphne Stillington - Becca Wright
Roland Maule - Adam Burton
Hugo Lyppiatt - Josh Sazon
Morris Dixon - Jeff Emrich
Joanna Lyppiatt - Jessica Murillo
Mrs. J. P. Saltburn - Kit Gerken
Performances of Present Laughter will be held at the Iowa Children’s Museum Theatre, Coral Ridge Mall, April 8, 9, 15 and 16 at 7:30pm and April 10 and 17 at 2pm. Tickets are $17 for adults and $14 for students/seniors. Tickets may be purchased at the door or online at www.citycircle.org.
The wit and wordplay of Noel Coward will be on display in Present Laughter, the final production of City Circle’s current season. The action follows a few days in the life of a narcissistic actor and the women who love him. Director Rachael Lindhart says the wry comedy features "the kind of witty things you wish you would have said."
The cast features a combination of City Circle veterans and newcomers to our theater family:
Garry Essendine - David Q. Combs
Fred - Lewis Wasson
Miss Erikson - Janet Haar
Monica Reed - Annette Rohlk
Liz Essendine - Doreen Loring
Daphne Stillington - Becca Wright
Roland Maule - Adam Burton
Hugo Lyppiatt - Josh Sazon
Morris Dixon - Jeff Emrich
Joanna Lyppiatt - Jessica Murillo
Mrs. J. P. Saltburn - Kit Gerken
Performances of Present Laughter will be held at the Iowa Children’s Museum Theatre, Coral Ridge Mall, April 8, 9, 15 and 16 at 7:30pm and April 10 and 17 at 2pm. Tickets are $17 for adults and $14 for students/seniors. Tickets may be purchased at the door or online at www.citycircle.org.
Check Out Ushers Ferry's Old Fashioned Melodrama
Cedar Rapids - Ushers Ferry Theatre Company again suggests you cheer the hero, boo the villain and root for the plucky young lass as they perform their annual melodrama. This year's melodrama was written by local playwright Kent Guthrie. The show runs April 8 and 9th at St. Wenceslaus Church, Glovik Parish Center. Or you can attend the Thursday, April 7 preview for half price. Tickets are $6 for adults and $3 for children. To reserve tickets, call Ambroz Recreation Center at 319-286-5731.
Eurydice opens Friday
Cedar Rapids - The first time Leslie Charipar saw a production of Eurydice, she was literally moved to tears.
She’s now hoping the show will move local audiences the same way, when Charipar’s production of Sarah Ruhl's play performs at Theatre Cedar Rapids April 8-23.
Eurydice retells the classic Greek myth of Orpheus — only it’s from the perspective of Eurydice, Orpheus’ wife. Eurydice dies shortly after the couple’s wedding and is sent to the Underworld, where she is reunited with her lost father. However, Orpheus yearns to bring her back from the dead, and goes on a mission to find her — a decision that forces Eurydice to choose between returning to the land of the living, or staying behind in the land of the dead.
Playwright Ruhl does more than just change the focus of the Orpheus story with Eurydice. She also makes heavy use of poetry and imagery in her adaptation.
“Sarah Ruhl’s use of language is so beautiful and fresh and unexpected,” says Charipar, the Artistic Director of Theatre Cedar Rapids. “It’s different from a typical translation. It feels more like a good piece of music than a novel.”
The cast of Eurydice is full of veteran TCR volunteers, including Hannah Spina (White Christmas) as Eurydice; Alex Williams (Crimes of the Heart) as Orpheus; Scot Hughes (It’s A Wonderful Life) as the Father; Scott Humeston (A Streetcar Named Desire) as the Nasty Interesting Man and the Lord of the Underworld; and a Chorus of Stones made up of Emmy Palmersheim (Gypsy), Nick Walters (Annie) and Mike Wilhelm (The Laramie Project).
The show also promises to be visually lush and imaginative, with set design by Bret Gothe and lighting by Derek Easton and costumes by Richie Akers.
“These people are totally capable of delivering Sarah Ruhl’s Eurydice, and I am really excited about our audiences being introduced to this playwright and this story through this production,” Charipar says. “It’s a lovely show.”
Eurydice performs April 8-23 at TCR as part of the Linge Series, sponsored by the Linge Foundation. Performances are at 7:30 p.m. Fridays and Saturdays, as well as a 2:30 p.m. performance Sunday, April 17. Tickets are $20 or $25, with $12 rush tickets available at the door. For tickets or more information, visit www.theatrecr.org, call (319) 366-8591 or visit the box office, 102 Third St. SE, from 11 a.m. to 5 p.m. Monday through Friday.
Here's a sneak peek video:
She’s now hoping the show will move local audiences the same way, when Charipar’s production of Sarah Ruhl's play performs at Theatre Cedar Rapids April 8-23.
Eurydice retells the classic Greek myth of Orpheus — only it’s from the perspective of Eurydice, Orpheus’ wife. Eurydice dies shortly after the couple’s wedding and is sent to the Underworld, where she is reunited with her lost father. However, Orpheus yearns to bring her back from the dead, and goes on a mission to find her — a decision that forces Eurydice to choose between returning to the land of the living, or staying behind in the land of the dead.
Playwright Ruhl does more than just change the focus of the Orpheus story with Eurydice. She also makes heavy use of poetry and imagery in her adaptation.
“Sarah Ruhl’s use of language is so beautiful and fresh and unexpected,” says Charipar, the Artistic Director of Theatre Cedar Rapids. “It’s different from a typical translation. It feels more like a good piece of music than a novel.”
The cast of Eurydice is full of veteran TCR volunteers, including Hannah Spina (White Christmas) as Eurydice; Alex Williams (Crimes of the Heart) as Orpheus; Scot Hughes (It’s A Wonderful Life) as the Father; Scott Humeston (A Streetcar Named Desire) as the Nasty Interesting Man and the Lord of the Underworld; and a Chorus of Stones made up of Emmy Palmersheim (Gypsy), Nick Walters (Annie) and Mike Wilhelm (The Laramie Project).
The show also promises to be visually lush and imaginative, with set design by Bret Gothe and lighting by Derek Easton and costumes by Richie Akers.
“These people are totally capable of delivering Sarah Ruhl’s Eurydice, and I am really excited about our audiences being introduced to this playwright and this story through this production,” Charipar says. “It’s a lovely show.”
Eurydice performs April 8-23 at TCR as part of the Linge Series, sponsored by the Linge Foundation. Performances are at 7:30 p.m. Fridays and Saturdays, as well as a 2:30 p.m. performance Sunday, April 17. Tickets are $20 or $25, with $12 rush tickets available at the door. For tickets or more information, visit www.theatrecr.org, call (319) 366-8591 or visit the box office, 102 Third St. SE, from 11 a.m. to 5 p.m. Monday through Friday.
Here's a sneak peek video:
Monday, April 4, 2011
Horatio's Purgatory Makes Regionals at ACTFest
Cedar Rapids - Horatio's Purgatory, Theatre Cedar Rapids' official entry at this weekend's Iowa ACTFest, was chosen to represent Iowa at the regional American Association of Community Theatre festival at the end of April. Horatio's Purgatory stars Kehry Anson Lane and Matthew James. Matthew James was also awarded for "Excellence in Acting" and Angie Toomsen was awarded for "Excellence in Directing." Nick Williams won for "Excellence in Lighting."
An original work written by Rachel Korach Howell, Horatio's Purgatory is a 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."
An original work written by Rachel Korach Howell, Horatio's Purgatory is a 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."
Sunday, April 3, 2011
Check Out Highly Recommended Art
by Matthew Falduto
Amana - Art isn't really about art. Art is merely a means to the end in Yazmina Reza's play (translated by Christopher Hampton) about three long time friends whose clashes over a painting threaten their friendship. Serge purchases a plain white painting with white lines and eagerly shows it to his friend, Marc. Marc
finds the painting ridiculous and is aghast at the amount of money Serge spent on the piece. Both Marc and Serge enlist the third member of the trio, Yvan, to his side, only to discover later that their peacemaker friend told each what he wanted to hear.
Each of the three performers is equal to the task at hand. Tim Budd plays Serge with a sly style that hints at the character's complete understanding of his two friends. One gets the sense that much of the action that happens is a bit of a familiar game to Serge as he enjoys needling Marc, played by Patrick Dulaney. Budd does needling well, but he also delivers when he has to verbally attack, using a vicious cadence and an unyielding posture.
Dulaney's bombastic and obnoxious portrayal of Marc makes him rather difficult to like early on. Only towards the end of the play when we realize Marc's annoying behavior hides a true vulnerability does the play truly come into focus. Dulaney does an excellent job portraying this contradictory character particularly using his face to take the language further. In fact, Dulaney's face is a canvas upon which he can create any expression, each more thought provoking or humorous than the last.
Yvan, the peacemaker character played by Old Creamery regular Sean McCall, maneuvers between these two larger than life personalities, trying to appease both of them. When they turn on him, Yvan completely breaks down. McCall expertly brings the character of Yvan into focus, wringing out all of the humor and all of the pathos that can be found. His ability to reinterpret again and again the word "Yes" in one scene is truly masterful.
Performed in Old Creamery's smaller studio space, Art's set is simple: three stools, seven empty picture frames of various sizes hanging on the back wall, a coffee table, a few small props. The lighting is effective, if a little dark during the monologues when the main action freezes and one of the character speaks directly to the audience.
Tom Milligan's direction is strong. Many times he cleverly uses the level of the actors, directing one to stand or crouch in contrast to another, to emphasize or de-emphasize a character or a particular action. His choice to hide the painting from the audience until the very end is a smart one, as well, adding tension to the play.
As the play moved toward its conclusion, I wondered how it could be resolved satisfactorily as these characters' friendship was spinning more and more out of control. I never imagined the final action, a clear moment of true friendship dramatized on stage that is both poignant and funny. This is a worthwhile show, created by talented professionals, and one I highly recommend.
Amana - Art isn't really about art. Art is merely a means to the end in Yazmina Reza's play (translated by Christopher Hampton) about three long time friends whose clashes over a painting threaten their friendship. Serge purchases a plain white painting with white lines and eagerly shows it to his friend, Marc. Marc
finds the painting ridiculous and is aghast at the amount of money Serge spent on the piece. Both Marc and Serge enlist the third member of the trio, Yvan, to his side, only to discover later that their peacemaker friend told each what he wanted to hear.Each of the three performers is equal to the task at hand. Tim Budd plays Serge with a sly style that hints at the character's complete understanding of his two friends. One gets the sense that much of the action that happens is a bit of a familiar game to Serge as he enjoys needling Marc, played by Patrick Dulaney. Budd does needling well, but he also delivers when he has to verbally attack, using a vicious cadence and an unyielding posture.
Dulaney's bombastic and obnoxious portrayal of Marc makes him rather difficult to like early on. Only towards the end of the play when we realize Marc's annoying behavior hides a true vulnerability does the play truly come into focus. Dulaney does an excellent job portraying this contradictory character particularly using his face to take the language further. In fact, Dulaney's face is a canvas upon which he can create any expression, each more thought provoking or humorous than the last.
Yvan, the peacemaker character played by Old Creamery regular Sean McCall, maneuvers between these two larger than life personalities, trying to appease both of them. When they turn on him, Yvan completely breaks down. McCall expertly brings the character of Yvan into focus, wringing out all of the humor and all of the pathos that can be found. His ability to reinterpret again and again the word "Yes" in one scene is truly masterful.
Performed in Old Creamery's smaller studio space, Art's set is simple: three stools, seven empty picture frames of various sizes hanging on the back wall, a coffee table, a few small props. The lighting is effective, if a little dark during the monologues when the main action freezes and one of the character speaks directly to the audience.
Tom Milligan's direction is strong. Many times he cleverly uses the level of the actors, directing one to stand or crouch in contrast to another, to emphasize or de-emphasize a character or a particular action. His choice to hide the painting from the audience until the very end is a smart one, as well, adding tension to the play.
As the play moved toward its conclusion, I wondered how it could be resolved satisfactorily as these characters' friendship was spinning more and more out of control. I never imagined the final action, a clear moment of true friendship dramatized on stage that is both poignant and funny. This is a worthwhile show, created by talented professionals, and one I highly recommend.
Saturday, April 2, 2011
Don't Miss The Syringa Tree
By James E. Trainor III
Iowa City - For much of its history, South Africa has struggled with extreme racial tension, including a notorious period from 1948 to 1993 known as apartheid. In 1948, the new government passed legislation to split the population into different racial groups, each with different rights and lands. Life under apartheid, for many, was either a terrified submission or a long, dangerous struggle for freedom.
This period is the subject matter of Pamela Gien's highly emotional one-woman play The Syringa Tree. Riverside's production of The Syringa Tree, starring Saffron Henke and directed by Sean Christopher Lewis, opened last night.
We are introduced to South Africa in 1963, through the eyes of a six-year old girl, Elizabeth Grace. Lizzie is beginning to understand the rules of her world but not the reasons or implications. She tells us how her family's servant, Salamina, gave birth. They had to hide and protect the child, Moliseng: "If you don't have special papers, they'll come and take you away."
Lizzie is very earnest and curious, eager to invite us into her world. For all the tragedy and pain we know is coming, there's a lot of hope and humor in this play. Lizzie grows up, loving her life, her family, her servants, and even her neighbors, who are petty and racist.
All these characters are played by Saffron Henke, a veteran performer who brings all her experience to bear in this very challenging piece. She does an intense amount of physical work to create distinct characters, keeping careful track of their position on the stage and making fully-blocked scenes. She plays a child very convincingly, with jerky, restless movements and unreserved displays of emotion from glee to terror, all in a cheerful, charming cadence. She plays Salamina, the old black servant with equal skill, stooping from years of hard labor, but with a warm, patient and joyful demeanor. Lizzie's parents, Isaac and Eugenie, are warm and kind but stiff, aware of the madness they live in, not without a sense of humor but always on the lookout for danger. Henke performs all these varied characters, many with different ethnic accents to boot, with specificity and expert timing. With the help of Lewis's direction, Henke creates an incredibly rich, nuanced world. Lewis and Henke are both seasoned storytellers, and The Syringa Tree is truly a tour de force.
Henke embodies all the people of this world in a simple, unassuming brown smock. The set is spacious and free; it consists of a painted road, a hanging swing, and a latticework of wood separating the main playing area from the back drop. This approach is quite effective and very versatile. Under the lights it can be a hospital or a backyard; we can pray for rain or weep for loss, go to Africa, America, or anywhere in between. The sound creates a frightening environment of sirens and shouts when need be, or underscores a compelling monologue from a particular viewpoint. The scenic design is by Shawn Johnson, the costume design by Emily White, and the sound design by Sean Christopher Lewis.
This production is an excellent realization of a very moving script. The Syringa Tree serves as an example of how easily society can turn against itself, and a very cogent reminder, as battles for freedom rage today in Libya and elsewhere, of how there are those who have died for the most basic of rights.
It also shows us how the human spirit survives such turmoil. Gien constantly reminds us that we are all connected. She does this through her characters' simple love and respect for one another, through their continued hope and faith throughout periods of separation. She does this through the simple device of having one woman play all the characters; this whole world comes out of one woman on stage, just as we all come from, and will ultimately go back to, the earth. She does this through the metaphor of the syringa tree, where Lizzie tells of the spirits of our ancestors live.
At one point, after South Africa has thrown off the shackles of apartheid, Lizzie wonders if Moliseng is in the tree. Moliseng, a teenager by the time of the Soweto uprising, marches up to the edge of the stage (and therefore the police line) and demands to be heard. It is an extremely gripping, intensely emotional scene. What ultimately overcomes the rage at the brutality of her murder is the admiration of the girl's courageous spirit. Between Moliseng's fiery passion, Isaac's detached but compassionate liberalism, and Lizzie's grounded love for humankind, The Syringa Tree leaves us with two important gifts: the hope that one day ignorance and oppression will disappear, and the courage to fight it while it remains.
The Syringa Tree runs from April 1st to April 17th at Riverside Theatre, 213 N Gilbert St, at 7:30pm (2pm on Sundays). There will be a talkback after the April 3rd performance. Tickets are $12-$26 and can be purchased at 319.338.7672 or through Riverside's website.
Iowa City - For much of its history, South Africa has struggled with extreme racial tension, including a notorious period from 1948 to 1993 known as apartheid. In 1948, the new government passed legislation to split the population into different racial groups, each with different rights and lands. Life under apartheid, for many, was either a terrified submission or a long, dangerous struggle for freedom.
This period is the subject matter of Pamela Gien's highly emotional one-woman play The Syringa Tree. Riverside's production of The Syringa Tree, starring Saffron Henke and directed by Sean Christopher Lewis, opened last night.
We are introduced to South Africa in 1963, through the eyes of a six-year old girl, Elizabeth Grace. Lizzie is beginning to understand the rules of her world but not the reasons or implications. She tells us how her family's servant, Salamina, gave birth. They had to hide and protect the child, Moliseng: "If you don't have special papers, they'll come and take you away."
Lizzie is very earnest and curious, eager to invite us into her world. For all the tragedy and pain we know is coming, there's a lot of hope and humor in this play. Lizzie grows up, loving her life, her family, her servants, and even her neighbors, who are petty and racist.
All these characters are played by Saffron Henke, a veteran performer who brings all her experience to bear in this very challenging piece. She does an intense amount of physical work to create distinct characters, keeping careful track of their position on the stage and making fully-blocked scenes. She plays a child very convincingly, with jerky, restless movements and unreserved displays of emotion from glee to terror, all in a cheerful, charming cadence. She plays Salamina, the old black servant with equal skill, stooping from years of hard labor, but with a warm, patient and joyful demeanor. Lizzie's parents, Isaac and Eugenie, are warm and kind but stiff, aware of the madness they live in, not without a sense of humor but always on the lookout for danger. Henke performs all these varied characters, many with different ethnic accents to boot, with specificity and expert timing. With the help of Lewis's direction, Henke creates an incredibly rich, nuanced world. Lewis and Henke are both seasoned storytellers, and The Syringa Tree is truly a tour de force.
Henke embodies all the people of this world in a simple, unassuming brown smock. The set is spacious and free; it consists of a painted road, a hanging swing, and a latticework of wood separating the main playing area from the back drop. This approach is quite effective and very versatile. Under the lights it can be a hospital or a backyard; we can pray for rain or weep for loss, go to Africa, America, or anywhere in between. The sound creates a frightening environment of sirens and shouts when need be, or underscores a compelling monologue from a particular viewpoint. The scenic design is by Shawn Johnson, the costume design by Emily White, and the sound design by Sean Christopher Lewis.
This production is an excellent realization of a very moving script. The Syringa Tree serves as an example of how easily society can turn against itself, and a very cogent reminder, as battles for freedom rage today in Libya and elsewhere, of how there are those who have died for the most basic of rights.
It also shows us how the human spirit survives such turmoil. Gien constantly reminds us that we are all connected. She does this through her characters' simple love and respect for one another, through their continued hope and faith throughout periods of separation. She does this through the simple device of having one woman play all the characters; this whole world comes out of one woman on stage, just as we all come from, and will ultimately go back to, the earth. She does this through the metaphor of the syringa tree, where Lizzie tells of the spirits of our ancestors live.
At one point, after South Africa has thrown off the shackles of apartheid, Lizzie wonders if Moliseng is in the tree. Moliseng, a teenager by the time of the Soweto uprising, marches up to the edge of the stage (and therefore the police line) and demands to be heard. It is an extremely gripping, intensely emotional scene. What ultimately overcomes the rage at the brutality of her murder is the admiration of the girl's courageous spirit. Between Moliseng's fiery passion, Isaac's detached but compassionate liberalism, and Lizzie's grounded love for humankind, The Syringa Tree leaves us with two important gifts: the hope that one day ignorance and oppression will disappear, and the courage to fight it while it remains.
The Syringa Tree runs from April 1st to April 17th at Riverside Theatre, 213 N Gilbert St, at 7:30pm (2pm on Sundays). There will be a talkback after the April 3rd performance. Tickets are $12-$26 and can be purchased at 319.338.7672 or through Riverside's website.
Friday, April 1, 2011
Cast announced for Henry V
Iowa City - Dreamwell Theatre has announced its cast for their June production of Shakespeare's Henry V. This is the first time the 14 year old company will venture into the realm of Shakespeare. Angie Toomsen directs the show which opens June 3 at the Unitarian Universalist space.
Cast:
Kevin Moore – Henry V
Rip Russell – Fluellen
Ottavia DeLuca – Katharine, Le Fer, Canterbury
Mark McCusker – Pistol
James Trainor – Dauphin, Scroop
Dennis Lambing – Duke of Exeter
Jen Gerbyshak – Alice, Ely
Steve Polchert – Nym, Bates, Burgundy
Ben Singer – Constable of France, Jamy, Bedford
Jake Kostiv – Williams, Rambures, Gloucester
K. Lindsay Eaves – Gower, Grey
Madeline Quint – French Ambassador/Messenger, Harfleur
Logan Navtvig – Boy
Scott Strode – King of France, Erpingham
Meg Dobbs – Isabel, Westmoreland
Robyn McCright – Hostess, Court
Nika Tipsword – Montjoy, Macmorris, Cambridge
Brian Tanner – Bardolph, Orleans
Cast:
Kevin Moore – Henry V
Rip Russell – Fluellen
Ottavia DeLuca – Katharine, Le Fer, Canterbury
Mark McCusker – Pistol
James Trainor – Dauphin, Scroop
Dennis Lambing – Duke of Exeter
Jen Gerbyshak – Alice, Ely
Steve Polchert – Nym, Bates, Burgundy
Ben Singer – Constable of France, Jamy, Bedford
Jake Kostiv – Williams, Rambures, Gloucester
K. Lindsay Eaves – Gower, Grey
Madeline Quint – French Ambassador/Messenger, Harfleur
Logan Navtvig – Boy
Scott Strode – King of France, Erpingham
Meg Dobbs – Isabel, Westmoreland
Robyn McCright – Hostess, Court
Nika Tipsword – Montjoy, Macmorris, Cambridge
Brian Tanner – Bardolph, Orleans
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