A Christmas Carol opens Friday

Cedar Rapids - 'Tis the season to welcome back those favorite holiday shows we all know and love. Theatre Cedar Rapids will present A Christmas Carol beginning this weekend and running through December 17.

Charles Dickens’ famous tale of Ebenezer Scrooge’s transformation from embittered skinflint to generous benefactor has been dramatized by John Mortimer with typical flair and wit in this definitive adaptation, premiered by the Royal Shakespeare Company. Retaining Dickens’ own ironic point of view through the use of a Chorus, whose asides and observations enrich and propel the drama, Mortimer has created a panoramic view of Victorian London with all the much-loved characters – miserly Scrooge, the loving Cratchits, faithful nephew Fred – in place. Starring new and familiar adult faces to the TCR stage, this production also includes 22 adorable local youth actors. This is one holiday show for the entire family.

This show is directed by Leslie Charipar and stars Michael Dulaney as Scrooge. You can order tickets here or by calling 319-366-8591.

Raggedy Ann and Andy opens Saturday

Amana – Want a sweet treat this holiday season? Come and see The Old Creamery Theatre for Young Audiences production of Raggedy Ann and Andy’s Yuletide Adventure. Help Raggedy Ann & Andy outsmart the witch and have a wonderful holiday adventure in Grandma’s attic.

The show opens Saturday, Nov. 26 at 11 a.m. on The Old Creamery’s Main Stage.

Written by Gene Mackey and based on characters created by Johnny Gruelle,
the cast of Raggedy Ann & Andy’s Yuletide Adventure consists of Kamille Zbanek of Ely, John Hill of Rockford Il, Laura Ambrose of Minneapolis Minn., Jackie McCall of Marengo, Nicholas Hodge of South Amana and Steve Weiss of Central City.

Tickets are $8 per person. Show times are 11 a.m. on Saturday Nov. 26, Dec. 3, 10 and 17. Call the box office at 800-35-AMANA or visit the website at www.oldcreamery.com for more information or to purchase tickets. Group and student rates are available.

Don't Hug Me is an entertaining Christmas show

by Rachel Brown

Amana - November 18th seemed a bit early for me to entertain the idea of a Christmas show. Generally I am a “wait until after Thanksgiving to even think about Christmas music” sort of person, but Old Creamery's A Don't Hug me Christmas Carol was a fun and lighthearted introduction to the Christmas season.


A Don’t Hug Me Christmas Carol, begins Christmas eve in the bar owned by Clara and Gunner decked to the halls with Christmas decorations. It is a tacky, glittering, electrified and authentic scene. The Bunyan Bay bar's only patron, Kanute (Jeff Haffner) – dressed in what reminds me of Red Green's best elf suit – is helping himself to some beer and cheese ball. Clara (Marquetta Senters) is putting up Christmas decorations, much to the chagrin of Gunner (James Fleming) whose bumbling bah-humbugs are worsened only by running gags about his infertility.

Angry and off-put that his wife and Kanute keep singing along with the karaoke machine – songs that were written by him but stolen by his nemesis Sven Yorgenson – Gunner storms off, mounts his snowmobile and is off across the frozen lake. The next we see of him, Gunner is in a coma by a ill-placed ice hole and being plagued, Dicken's style, by ghosts of past, present, and future in the form of Yorgenson. He spends the rest of the play confronting his hardships and insecurities through a series of delightfully cheesy and sometimes off color holiday-themed tunes. Fleming makes the audience laugh as he grumbles through his shock watching Yorgensen paint a less-than-happy portrait of his life, and croons to women of Bunyan including Gunner’s wife, Clara - seducing her with his charm. Marquetta Senters reminds me fondly of family members of my own as she plays Clara with her mix spitfire and kindness. She is a nice balance to Fleming's character.

Jeff Haffner is a (Christmas) ham, and understandably so as he plays the laughable and not too bright Kanute, the Bunyan businessman who wants nothing more than to win back his once fiance Bernice (Amber Snyder). His jokes and singing are an enjoyable part of this show. He keeps the audience laughing as he bumbles after Bernice.

This show comes with a variety of music types – music provided by the 'voice-activated' Karaoke machine decorated with holiday flair at the center of the bar. Snyder excels, whether strutting her stuff in “I’d Rather be Naughty” or her strange but amusing Tiny Tim tap dance. Boettger also adds his own flair to the mix with the spirited Bunyan Beguine and his best “Voice of God.”

This cheesy – yet heart felt - Christmas Carol is high energy and high-jinx. If you are already familiar with the Bunyan Bay crew (or even if you aren't), I have no doubts you will enjoy this back-woods Christmas tale. The show runs through December 18th at Old Creamery's Main Stage. Tickets are $27 for adults and $17.50 for students and are available by calling 800-35amana or visiting www.oldcreamery.com

Enjoy the Magical Storytelling of Small Miracles

Iowa City - Get out of the cold and enjoy an evening of heart-warming holiday storytelling with Riverside Theatre’s production of Small Miracles, a moving, one-man show by Resident Artist and Production Manager Ron Clark, November 25-27.

“It’s a nice thing to do on a holiday weekend with family and friends,” Clark said.

Small Miracles takes the audience on a nostalgic, heartfelt journey as Clark shares his recollections of growing up in a small Iowa town where the mayor/street cleaner doubled as Santa, a courageous dog, a 10-cent silver bell that became a family heirloom, a terrifying audition for the fifth grade Christmas pageant, and his stint at a department store Santa.

“It’s about as sentimental as you can get,” Clark said.

Clark’s vivid storytelling will captivate you and bring to mind your own fond memories. This show is perfect for the whole family.

“The joy of performing this piece comes from the collective memory between me and the audience. As I look at the audience I see a connection not just between me and the audience, but in the joy of the recollections of holidays past,” Clark said. “In a perfect world I would have my own children and grandsons gathered around me for these stories.”

In addition to Small Miracles, Clark’s writing for the theatre includes the plays Kindred Hearts, Grocery Stories, and Coffee and Hope, as well as many monologues over the years for Walking the Wire, Riverside’s annual monologue festival.

Clark, a professional actor and director, founded Riverside Theatre in 1981 along with Jody Hovland and Bruce Wheaton. Clark graduated from the University of Iowa with a Masters of Fine Arts (MFA) in 1980. In addition to his work at Riverside, Clark is a Distinguished Artist-in-Residence at Cornell College.

Small Miracles features original composition by Dan Knight and lighting design by Zachary Begley and Rachel Dudley.

Tickets for Small Miracles, November 25-27, are $20 with discounts available for those over 60, those under 30, and youth. Tickets are available by phone at (319) 338-7672, online at www.riversidetheatre.org or in person at the Riverside Theatre Box Office, located at 213 N. Gilbert St., Iowa City, IA.

Check out The Snow Queen at Eulenspiegel

West Liberty - Eastern Iowa's own Puppet Theatre will present The Snow Queen Sunday and Monday. Eulenspiegel's adaptation of this beloved Hans Christian Andersen fairy tale uses delightfully crafted miniature Bohemian marionettes that interact on the pages of two extra-large pop-up storybooks.

The story follows Gerda as she travels to the ends of the earth to save her best friend, Kai, from the Snow Queen. Along her way she meets a host of eccentric characters from a naughty little robber girl to a magical flower lady to a talking crow. The cast also includes a flamboyant storyteller who relates to the audience as well as the puppets. A feast for the eyes and the heart!

Showtimes:
2 pm and 4 pm Sunday, October 20
10 am and 12:30 am Monday, October 21

All performances are at the Owl Glass Puppetry Center, 319 N. Calhoun Street in West Liberty. Tickets are $5.

(Photo by Lynne Jennings at Puppetfest Midwest.)

Energetic Frog and Toad Cast Delivers

by Andrew Juhl

Mount Vernon - A Year With Frog and Toad is a delightful family musical that can easily fall flat at the community theatre level. Not so much a linear story as a series of rolling set pieces, the musical requires a cast of energetic performers and a creative production staff. Thankfully, the Mount Vernon-Lisbon Community Theatre has both.

More than any other thing, what sells MVLCT’s production this show is the enthusiasm of its cast. You can tell they’re having a great time, and their enjoyment is infectious.

And though the dialogue, songs, and morals are designed for children to consume and understand, the show is no less enjoyable for adults. There exists enough clever wordplay and you’ll-get-it-when-you’re-older themes (not jokes, but themes) that the adults in the audience often end up laughing harder, louder, and longer than the children.

A true ensemble piece if ever there was such a thing, no one actor or actress deserves to be singled out above the rest. Each and every performer brought something unique and wonderful to the evening. From Randy Dotson’s terribly large performance as a “Large & Terrible Frog” to Mary Morgan-Blacharski’s unerringly upbeat “Mouse” to Braden Rood’s hilariously exuberant “Snail” to Traci Rezabek’s unexpectedly touching “Young Frog” to … well, pretty much everything Kim Benesh did. And, of course, there was Frog (Steve Rezabek) and Toad (Jay Gunn), who were fun and charming throughout.

Directors Laura Werkman and Damon Cole did a fabulous job bringing this warm, pleasant comedy about friendship and life to the stage. If you have children—and even if you don’t—seeing MVLCT’s production of A Year With Frog and Toad this weekend will not be a waste of your time or money. Two more performances remaining - tonight at 7:00 pm and tomorrow at 2:00 pm. For information, go here.

Working Group presents Was the Word at the Englert

Iowa City - Working Group Theatre presents a new Was the Word this Sunday November 20th from 7-8pm. The theme is FEAST ON THIS and the evening will benefit The Johnson County Local Food Alliance. Tickets are Pay What You Can at the door.

This show features stories, performances, and poems by:

--Janet Schlapkohl: Storyteller, Playwright, Iowan, Founder and Director of Combined Efforts Theater.

--Scott Koepke: Native Iowan, Grocery Manager at New Pioneer Food Co-op, Founder of Soilmates Garden Education Service for Children. He got rid of his television on June 12th, 2009 and finally started reading books again.

--Kurt Michael Friese: The top of the local food pyramid: Food writer and author extraordinaire, Chef and Owner (with his wife Kim) of Devotay, Editor and co-owner of Edible Iowa River Valley, and Founder and Leader of Slow Food Iowa.

--Kate Krohn: One of Working Group Theatre's Poets in Residence - she's promised to dig deep into the well of her New Orleans upbrining to serve us something with a KICK to it.

--Megan Gogerty: Playwright, Performer, always amazing - a Was the Word favorite.

--Their IYWP performer of the month.

and the music stylings of Mutiny in the Parlor

Old Creamery's Christmas show opens Nov 17

Amana – Oh for cryin’ in the Egg Nog! The folks from Bunyan Bay are back in an all-new holiday show. Christmas Eve takes a strange turn as Gunner falls through the ice on his Skidoo and is visited by the Ghosts of Christmas Past, Present and Future, in the form of folk singing legend Sven Yorgensen no less. Whether you are new to Bunyan Bay or you are visiting again, you’ll be laughing long after the fruitcake ferments.

A Don’t Hug Me Christmas Carol opens Thursday, November 17 on The Old Creamery’s Main Stage in Amana and runs through December 18.

The cast consists of James Fleming of New York; Amber Snyder of Memphis, Tenn.; Jeff Haffner of Cleveland, Ohio; D. Allan Boettger of Cedar Rapids and The Old Creamery’s Marquetta Senters of South Amana. Directed by Sean McCall, with musical direction by Tim Daugherty, A Don’t Hug Me Christmas Carol is rated Theatre PG-13. Books and lyrics are by Phil Olson with music by Paul Olson.

Tickets are $27 for adults and $17.50 for students. Show times are Wednesdays, Thursdays, Saturdays and Sundays at 3 p.m. and Fridays and Saturdays at 7:30 p.m. While walk-ins are always welcome if seats are available, reservations for this show are highly recommended. Call the box office at 800-35-AMANA or visit the website at www.oldcreamery.com for more information or to purchase tickets. Group and student rates are available.

National Live Theatre Live's The Kitchen Broadcast at the Englert

Iowa City - Once again, the Englert Theatre will present high definition re-broadcasts of performances from the National Theatre in London. Next up is The Kitchen, which will be broadcast on November 19 at 7 p.m.

1950s London. In the kitchen of an enormous West End restaurant, the orders are piling up: a post-war feast of soup, fish, cutlets, omelettes and fruit flans.

Thrown together by their work, chefs, waitresses and porters from across Europe – English, Irish, German, Jewish – argue and flirt as they race to keep up. Peter, a high-spirited young cook, seems to thrive on the pressure. In between preparing dishes, he manages to strike up an affair with married waitress Monique, the whole time dreaming of a better life. But in the all-consuming clamour of the kitchen, nothing is far from the brink of collapse.

Arnold Wesker’s extraordinary play premiered at the Royal Court in 1959 and has since been performed in over 30 countries. The Kitchen puts the workplace centre stage in a blackly funny and furious examination of life lived at breakneck speed, when work threatens to define who we are.

The Englert will close out the year with a broadcast of The Collaborators on December 17.

Check out MVLCT's Frog and Toad

Mount Vernon - Mount Vernon/Lisbon Community Theatre will present A Year with Frog and Toad on November 17 and 18 at 7 PM and November 19 at 2 PM in the auditorium of the First Street Building in Mount Vernon. The musical is based on the children's book series by Arnold Lobel, with music by Robert Reale and book and lyrics by Willie Reale.

Portraying the characters are Kim Benesh, Randy Dotson, Jay Gunn, Nanette Gunn, Mary Morgan-Blacharski and Braden Rood of Mount Vernon and Steve Rezabek and Traci Rezabek of Cedar Rapids. Laura Werkman of Mount Vernon is directing and Damon Cole of Cedar Rapids is music director. A preview of the show will be given for students at Lisbon and Mount Vernon elementary schools on November 16. Tickets are $12 for adults, $10 for senior and students ages 11-18, and $8 for students 10 and under. Call Braden Rood at 319-654-1016 for more information.

The Curious Savage Commits to the Craziness

by Elizabeth Breed

Iowa City - I am always excited to experience theatre that I’m unfamiliar with. I find that when I go to a play I’ve neither seen or read before that I am able to dive into my role as an audience member, making it much easier for me to become a part of the world of the play. I knew nothing of the plot of The Curious Savage much less the production history, but I knew that it was the second show of the “Here I Stand” season of Dreamwell Theatre. I had no preconceived notions or expectations and to be honest, I was completely clueless as to the fascinating night of theatre that was ahead of me.

The Curious Savage by John Patrick is the story of Ethel Savage, a wealthy, eccentric widow whose step-children have committed her to "The Cloisters," a home for those individuals who are, for lack of a better word, odd. Ethel has been sent to The Cloisters because of her views on what should be done with her family’s 50 million dollar estate and her desire to pursue a career on the stage, which her children decide is not keeping with the Savage family reputation. Little do they know, that Ethel has drained the family funds, put them into paper bonds, and has hidden them somewhere unknown to everyone but herself. Chaos ensues as Ethel’s children attempt to pry the bonds from her and she tries to come to terms with her commitment and the crazy cast of characters that are her co-inhabitants at The Cloisters.

The lights come up on the common room of The Cloisters, a mix of a game room, a library, a music room, and for one patient, an art studio. Technical director Rich Riggleman uses the small space to its best advantage, using the existing fireplace as a centerpiece for the scene. My only complaint about the stage comes from the actor in me. In many of the scenes, there are quite a few actors onstage, and I felt, even in the audience, a sense of claustrophobia, like there wasn’t quite enough playing space. That being said, director Gerry Roe does stage the action in such a way that the actors did a magnificent job with moving of the set pieces to fit their needs, and anticipating any difficult staging that may have had some obstacles in the way.

Linda Merritt, in her Dreamwell debut, portrays Ethel Savage with gusto and electricity that one would be hard-pressed to find even on a New York stage. From her first appearance with her blue hair, clutching an oversized teddy bear, Merritt commands the stage. Her performance seems entirely organic, which leaves the audience pondering where Ethel ends and Linda begins. Merritt conquers her role with raw fearlessness mixed with an innate lovableness that makes Ethel seem like she could be a member of anyone’s family.

Ethel’s three-stepchildren are eloquently played by John Crosheck, Traci Gardner, and Stephen Polchert. Crosheck’s Titus is calculating and brash, but he is very skilled at the simple nuances that this “bad guy” requires, whether it’s a booming outburst or a quiet threat aimed at his step-mother. Gardner’s icy Lily Belle is reminiscent of any modern day heiress who you love to hate, and her sophisticated yet manipulating charm makes an audience member feel as if they were watching the devil herself. In addition, Gardner’s dialogue with Merritt is acidic and very, very funny. Polchert’s bumbling and borderline innocent Samuel is the one character that makes this trio remotely empathetic. Polchert’s spot-on comedic timing with Samuel’s few lines is the mark of a seasoned professional.

Probably my favorite performance was brought to life by Elisabeth Ross, and it was obvious that the audience agreed with me. Ross’s portrayal of self-conscious Fairy Mae walked the fine line between outlandish and completely genuine. Fairy Mae seems blissfully ignorant of much of the world, and Ross’s choice to make the character seem childlike was very effective. However, she was able to engage a part of Fairy Mae that made it seem like she knew a big secret that the audience was not privy to. Knowing Elisabeth personally, I would say kudos to Roe for casting her in a role that seems to be tailor-made for her.

The rest of the patients of the cloisters are beautifully rounded out by Ben Singer as the calm Jeff , Monty as the playful Hannibal, Meg Dobbs as the almost completely silent artist Mrs. Paddy, and Theresa Meeks-Mosley as the tragically delusional Florence. Each actor is able to maintain their own unique performance while simultaneously adding dimension to the strong dynamic of the ensemble. Particularly apt is Singer’s portrayal of the young Jeff, a man who has come home from battle to find he has a “scar” on his face, and who has lost his passion for playing the piano. He finds himself in The Cloisters after returning home, and whose scar is in reality an emotional scar left after being the only survivor of his unit. Singer’s portrayal is simple yet evocative, a perfect fit.

Special consideration goes to Roxy Running and Mark Nidey, the nurse and doctor of The Cloisters, respectively. The two “sane” characters provide compassion and a sense of neutrality for the hijinks occurring around them. Running’s portrayal of Miss Willie was particularly capable as the understanding nurse who may have other reasons for staying at The Cloisters, and Nidey’s portrayal of the Dr. Emmett made him incredibly likable from the on-set. The audience could feel that the doctor was rooting for Ethel just as much as we were.

The most important message to take away from this show is that family doesn’t have to be the family you’re born with; it can also be the family you choose. Ethel discovers that the hurtful family she has been thrown into is perhaps not the family she is mean to endure. The Cloisters may be where her true family is, as seen by their unconditional love and acceptance of their new friend. That’s how this reviewer feels. That she was thrown into a crazy world without any expectations, and found that the heartwarming, and hilarious story was something she could relate to whole-heartedly. Bravo cast and crew of The Curious Savage, and bravo Dreamwell Theatre, on yet another beautiful piece of art!

Summerland is riveting and thought provoking

by Matthew Falduto

Cedar Rapids - Saturday afternoon I experienced two very good shows at the TCR Underground Festival. The first, The End of the Affair, was a simple and funny show about two co-workers who negotiate having an affair.

The play starts just as Hank (Chad Sundermeyer) rejects a kiss by Shelly (Emily Nelson). We learn quickly that both are married. The dialogue is witty and well delivered by both Nelson and Sundermeyer. The staging was well done by director Jay Burken. Though I was sitting in the main section, it seemed to me that the audience sitting on the sides were able to enter into the story as well.

The End of the Affair was like many of the shows I've seen at the festival. A decent show, well executed. However yesterday afternoon, I saw a show that went way beyond what one would expect from a new play by a playwright who hadn't written a play since he was in college fourteen years ago. Rob Merritt's The Summerland Project is a play that needs a bigger stage, one beyond the borders of Iowa.

Set in the future, The Summerland Project tells the story of Carter (Matthew James) and Amelia (Katy Slaven), two newlyweds
whose lives are changed forever when an aneurysm causes Amelia to suffer locked in syndrome, a condition in which a patient is aware and awake but cannot move or communicate due to complete paralysis. There is no hope for Amelia, and only anguish for Carter, who suffers a vigil at her bedside for two years. Enter Paul Wesley (Nathan Nelson), the president of a corporation whose science division has created a way to copy a person's brain and put it into a simulated body, which is so lifelike one cannot tell that it is synthetic just by sight. Carter is uncertain, but in desperation goes along with the plan.

What follows is a story that is fascinating, riveting and thought-provoking. Who are we? What makes us human? Our memories? Our emotions? Our bodies? Some combination of all three? The genius of Merritt's play is that he offers no definitive answers, allowing the audience to leave the theatre asking these questions.

Merritt's script is well executed by the cast. James turns in a particularly heart breaking performance. He moves from desperate to haunted to resolved, perfectly depicting the character's arc at every moment. Slaven is also excellent. She captures the android character wonderfully in the early scenes and gives an absolutely devastating performance when she pleads with Carter to believe in her love for him.

One of the scientists, Dr. Ellen Beckett (why does she get a last name, Rob, when poor Max is just Max?), is played by Joy Mincy Powell, a commanding presence on stage. Ellen is also dealing with her own demons, and Powell ably shows us that her pursuit of the perfect android is a way to wrestle with those demons.

Another secondary character was Adah (Clare Duffy), a reporter who moves the action forward and gives us the exposition we need to know. Duffy, a local radio personality, does a fine job in this role. Philip Schramp portrays Senator Williams, a character I expected to despise, as he initially comes across as a right wing religious nut. However, Schramp does such an excellent job of selling his point of view that I found myself understanding, if not agreeing with, his perspective.

A play with this sort of gravitas needs humor as well, and the character of Max
(Isaac Helgens), the other scientist, brings it. Helgens knows how to deliver a witty line. However, Merritt doesn't allow the character to become a punchline. Instead, he allows Max's depth to show through at the end of play, extending the questions the audience is wrestling with. Helgens handles this more serious scene well.

A day later, I am still considering the questions Summerland raises. What choice would I have made if I were in Carter's place? Should we be allowed to cheat death? Are the memories what makes us who we are? This play sticks with you. It was a powerful show, well executed by talented actors. Let's hope Merritt can find another venue for this play so more people have a chance to experience it.

Finally, I have to say congratulations to Theatre Cedar Rapids for a successful new play festival. I was never disappointed and enjoyed every show on some level. I sincerely hope this is an annual event for many years to come.

Touching and witty plays end TCR Underground Festival

by Matthew Falduto

Cedar Rapids - The TCR Underground Festival comes to a close today with the full length Escape from the Underground by Erica Jo Hoye and 10 minute Symmetry by Mike Wilhelm. Both are strong shows and an excellent way to end this festival.

Symmetry is simple and wonderfully affecting. Wilhelm's script chronicles the relationship of a mother (Donna Heyvaert) and son (Christopher Cole), from pregnancy to the mother's death. The staging couldn't be more simple. Mother and son sit on chairs on opposite sides of the stage. What follows are many short scenes that take us through the lives of these two characters. There are no plot surprises, but commitment to character carries us through this touching story.

Heyvaert is wonderful as the mother, who has a tradition that she shares with her son of wishing on a penny every year. This clever device takes us from the 50s to modern day. Heyvaert clearly shows us every facet of being a parent - fear, pride, frustration and above all, the love that permeates every moment. Cole easily navigates all ages of the son, from baby to toddler to teen. As the adult son, he takes us into the helplessness of a child who witnesses his parent regress into a child-like state. It is a moving performance.

TCR, this show deserves a revival on Mother's Day. Bring it back for a one day only event. It's sweet and simple and true. I was not the only one wiping a tear away at the end.

The second show of the evening, Escape from the Underworld, was full of twists and turns, creating an engaging story filled with clever wit. Jocelyn (Bailey Steinke) died in a drunk driving related car wreck at age 17 and was sent to the Underworld where she meets Persephone (Ottavia De Luca), who rules there with her never seen husband Hades. (Apparently, there is no
Heaven and Hell - Greek mythology turns out to be the truth.) Seven or so years later, Jocelyn's sister Abby (April Kamp-Whittake) dies and arrives in the Underworld. Jocelyn is not thrilled to see her as her sister has married the boy she loved. What follows is a complicated story regarding the rules of the Underworld and how one may escape.

The actors are all excellent, particularly De Luca as the majestic Persephone and Steinke as the perpetual teenager Jocelyn. De Luca strides across the stage, every movement evoking a queen. Her voice transforms from charming to commanding in an instant. Steinke presents a teenage smirk and attitude consistently and in this she is assisted by a clever script filled with witty barbs, which she delivers like swift arrows from the bow of Apollo.

If there is any criticism to be leveled at this show, it's perhaps that the story is a little too complicated, filled with underdeveloped motivations by the principal characters. Lee (Alex Williams), for instance, is a dead teenager from the 70s who has been waiting for Jocelyn's sister to arrive so he can set the plot in motion. His reason for doing this is clear, until it isn't when there's a suggestion of a second reason that is never developed and almost feels a little tacked on to add a little romance to a script that doesn't need it. One is also not quite sure why Persephone is so against the escape or whether or not Abby wants to help with the escape or not. Some clarity behind character motivation would make this a stronger script.

Still, I strongly recommend you check out both of these shows today, if you happen to read this before 2:30 pm when the curtain will rise. Check back later for a review of the final two plays of the TCR Underground Festival - The Summerland Project and The End of an Affair.

A Southern Exposure is a witty, serious show

by Meghan D'Souza

Amana - Remember The Golden Girls? Blanche's southern accent, the ladies bonding around the kitchen table, explosive fights and great shows of affection. Iowa Theatre Artists' production of A Southern Exposure reminded me of my favorite parts of The Golden Girls, only more somber. It is a serious play with witty lines in the right places. Three elderly sisters face the difficulties of aging together while one in particular, Hattie (Cherryl Moon Thomason), focuses most of her energy on her 24-year-old granddaughter Callie Belle (Kimberly Braun). She raised her since she was a toddler and the two have a strong bond that the actresses convey believably right from the beginning. Even their arguments expose an element of underlying love and they behave with similar mannerisms, they way close relatives tend to do.

These actresses along with Meg Merkens and Marty Norton as Hattie's sisters made this an all-star cast. Merkens is able to mold herself into any role, from Cher to this small-town Kentucky-raised elderly lady. This was my first time witnessing Norton's talent and I'm glad I had the honor. Her character, Mattie, is struggling with the beginnings of dementia and Norton's soft voice and innocent face provided a heart-wrenching performance while providing laughs in an appropriate manner, as well. As a woman in my 20s, I found Braun's character incredibly relatable, as she makes decisions against her grandmother's judgment.

Director Michael Petkewec made great decisions which really bring the audience into the play, regarding the set, blocking and lighting. As soon as the audience looked at the set, if they did not have any background on the play, it was obvious that it took place in an older woman's home. The kitchen took up a bulk of the set, with a real refrigerator that was filled with items. Running beside the fridge was a mustard-colored counter with a sink, coffee maker with liquid in it, decorate tins and towels and a cookie jar. The columns arrange to give an idea of walls were painted a mustard color and lined with floral wallpaper. That, combined with the furniture simply felt like many grandmother's homes that I've visited. On a platform to the right of the stage was Hattie's bedroom, again decorated the way you'd expect a simple older lady's room to be decorated, with a quilt on the bed, mismatched pillows, and wooden furniture. Set inconspicuously in black above the kitchen was a small room of a New York City apartment. This was cleverly used and unnoticed when the rest of the set was in use.

The lighting was used to either to highlight characters separately when they were intended to be in different cities, highlight one room so the audience focused on the current setting, or was dimmed to enhance the doleful mood. The costumes were wisely used and changed often to give the audience a sense of passing time. Also exhibiting a sense of a change of seasons, the set changed only slightly, with decorations hung during character interactions.

Because the set and lighting worked so well, it invited the audience into the story, allowing us to become emotionally involved with the characters. Watching Hattie and Callie Belle made me miss my mother who only lives an hour away. Their strong relationship echoes our own. Watching Mattie made my heart ache for my grandmother, who exhibits the same problems that Norton so perfectly displayed.

Go to the play with someone you love, be prepared to laugh, but bring tissues. Everyone around me was crying at some point in the play, but left with warm thoughts about family and unconditional love.

The laughs continue at TCR's Underground Festival

by Matthew Falduto

Cedar Rapids - I am definitely enjoying the TCR Underground Festival. Last week, I experienced two really funny plays and last night was no different. The laughs came quickly in the first show of the night, Nirvana, written by Lin Kemp. Playing an innocent simply called The Man, Al Willett offers an earnest performance, which is the only way to play a character who views the world through binoculars and acts silly. Janet Haar, who played his wife and was also extremely funny in last week's Truth or Consequences, matched Willett's earnest performance, showing a fine chemistry.

The show is satirical look at our government and the lengths to which it is beholden to Big Money/Big Lobbying/Big Religion (played by Duane Larson who throws plenty of money around, but never quite got it as far the third row where I was sitting) and Big Oil/Big Pharma (played by Larry Hansen of the enviable handlebar mustache). When The Man discovers that the president is being kept alive by these special interests, he is visited by Emissary (played by Brian Smith, who was clearly enjoying every evil moment of the character). As a way to keep The Man quiet, Emissary offers him the position of president. Can The Man say no? Probably not as Emissary tells us he has a PhD in tempting and a Master's in goading.

There's lot of potential in this show (for example casting The Public as an annoying child [nicely played by Max Locher] certainly sticks it to us), but I think it ends too soon. I would have liked to see more of how the special interests affected our government. There's plenty of humor there as well. The fate of The Man is effective as a final message on what's happening with our government, but I would encourage Kemp to expand the interaction between the special interests and The Man before the inevitable ending.

I am well acquainted with the second play of the evening, Broken Branches. Playwright Brian Tanner is also a member of the Black Doggers, and I had the privilege of offering feedback as Tanner was working on the show.

The show tackles a couple of different issues. The main story follows the desire of recently fired and lonely Ben (K Michael Moore) to find a real relationship. This is moved forward by his well meaning dingbat of a friend Fred (Bryant Duffy) who signs him up for a whole host of internet dating sites. However, Ben's information is also sent to non-dating sites as well, including a genealogy site where he is found by Alice (Kimberly Meyer), who believes he is her long lost cousin. Ben accepts Alice's friend request on Facebook thinking she's into him. The secondary story is all about the attempts by Ben and Fred's roommate Quentin (played with a delightfully manic energy by Brandon Dean) to change history using the time machine he has created. Of course, neither Ben nor Fred believe Quentin has created a time machine, particularly since he uses such household items as a lighter, toilet paper, and VHS tapes for his wacky experiments. One doesn't often see time travel tackled on stage, and Tanner delivers a clever and intriguing script on the subject.

Both of these story lines provide for a lot of great humor. One would not expect a riff on Fred Savage as a genocidal lunatic would be funny. But it is. Oh, it is. And the Nazi humor is both gutsy and funny. Probably the best scene in the entire piece are the two simultaneous instant message conversations Ben juggles. One is with Alice and the other is with Alice's cousin, Cassie (played with sass by Ashley Keenan). Excellent direction by Zhen Rammelsburg and execution by K Michael Moore make it clear where each IM is going. Plus, Moore's interpretation of the lines in this scene is particularly good as he gives us a very clear picture of the well meaning, sweet everyman that is the character of Ben. It is the one time in the play when the static staging really works well.

This leads me to my one major criticism of all four shows I've seen at the festival so far - the staging. The Grandon Studio is both a rewarding and challenging space for directors as the audience is situated on three sides of the stage. As you may know, this is called a thrust stage and has been used for literally thousands of years. It's rewarding because it allows for a wonderfully intimate theatre experience. However, I believe every other theatre in our area has a proscenium stage, with the audience situated directly in front of the stage, not on the sides. (Correct me in the comments if you think of one that's not proscenium...) Even the Iowa City Community Theatre has now reverted back to the proscenium set up. So we're not used to seeing a thrust stage performance, and perhaps our local directors are not used to creating a show in one.

For the two shows last week, I was seated in the main section and while I suspected those in the side sections were not seeing nearly the same show I was, I could not be sure. After sitting on one of the side sections for last night's show, I am certain I did not get as complete an experience as those in the main section. With the audience on three sides, there are going to be times when actors block one another from one section of the audience or another. This can be worked around by moving actors more frequently, creating a more dynamic performance as well as allowing all sides to view scenes. To that end, a spare stage with few set pieces is essential, particularly if the stage is small, as is the case with Grandon. This allows for movement and ensures that set pieces do not block the audience. Finally placement of the actors in key scenes is crucial. If we cannot see the actor who is speaking, at least give us the reactions of another actor whenever possible so we can feel the impact of the speech.

With Nirvana, director Justin Braden did a good job of moving the actors about the stage and allowing us to see reactions of the non-speaking actors. Keeping the set simple helped as well. Still, there were many times when a simple shift of position by an actor on stage would have opened him or her up to more of the audience.

For Broken Branches, much of the staging was more problematic. Too many large set pieces limited movement by the actors, leading to a very static staging. This resulted in those on the sides missing some of the action. One crucial scene was played entirely at a table stage right - those of us on the stage left side could not see either actor's facial reactions.

The next Grandon Studio show is Gross Indecency: The Three Trials of Oscar Wilde in February. This is a show with a large cast and potentially static staging (it takes place in a courtroom). It will be interesting to see how director Jason Alberty tackles that show in this space. And word on the street is there will be Oscar Wilde action figures available for purchase. So yeah, don't miss that one.

But of course, you don't have to wait til February to see another show in the Grandon Studio. While Broken Branches and Nirvana have now ended, the festival continues tonight, Saturday and Sunday with new shows. I strongly encourage you to check it out. I will be there on Saturday to experience four shows in eight hours and I just can't wait!

Family Friendly Event at the Englert November 13th

Iowa City - The Englert Theatre is excited to present a family friendly concert with Arthur Lee Land on Sunday, November 13 at 4pm.

Treat the family to a kid friendly show benefiting the Englert Theatre! Arthur Lee Land is a dynamic performer, whose obsession with cutting-edge technology and years of one-man shows have allowed him to perfect The Art of Live-Looping. Arthur is a global expert in this 21st-century live performance art-form, dropping jaws across the country. Watch as he lays down the beat, layers on strings, and sings complex, grooving harmonies all by himself. Kids and their adults will be equally amazed.

This Intimate show will take place with both Arthur and attendees on the stage, with seating on the floor. Dancing and movement is encouraged, and bring a picnic blanket if you like!

This event is a fundraiser for the Englert Theatre and will include a raffle for items from area businesses including gift certificates from Kidsworks, Revival, The Iowa Children’s Museum and a grand prize from West Music.

Ticket Information:
$8 General Admission
$5 Youth (17 & Under)

Packages:
$20 Family Pack (2 Adults & up to 3 Youth)
$10 Parent Pack (1 Adult & 1 Youth)
Packages are available at the Box Office or calling 319-688-2653.

Best Christmas Pageant Ever this weekend only

Iowa City - The Young Footliters opens up the holiday season with a production of The Best Christmas Pageant Ever, based on the book by Barbara Robinson. The show runs at the Iowa City Community Theatre, located at the Johnson County Fairgrounds, Friday and Saturday, November 11 and 12 at 7:00 pm and Sunday, November 13 at 2:00 pm.

Grace Bradley is called in to direct the community church's production of the Christmas play. Unfortunately, this is the year the Herdman children-the dirtiest, most feared neighborhood kids-decide to bully themselves into the lead roles. Of course, the town believes the play is hopelessly lost, but this is Christmas Eve and miracles do happen. Kids find meaning in the Bible's tale and the Herdmans certainly bring a fresh take on the age-old story. When the curtain finally goes up, a miracle begins and it all turns into...The Best Christmas Pageant Ever.

If you've never seen this classic story, you should definitely bring the whole family for a reminder of the true meaning of the holidays! Tickets available at the door.

ITAC offers Iowa premiere of A Southern Exposure

Amana - The Iowa Theatre Artists Company (ITAC) will present A Southern Exposure by Kelley Kingston-Strayer, from November 11 through November 27 on the ITAC stage in Amana. This heartwarming script will feature two actresses from the Cedar Rapids area, Cherryl Moon Thomason (Cedar Rapids) and Marty Norton (Robins), as well as ITAC’s co-founder Meg Merckens (South Amana) and also a member of the ITAC Internship program, Kimberly Braun (Mankato, Minnesota). The show is directed by Michael Petkewec (Iowa City).

A Southern Exposure is the story of Hattie and the granddaughter she helped raise, Callie Belle. When Callie Belle announces that she is moving to New York with a man whom Hattie has never met, she sets the household into an uproar, for not only does she have her grandmother’s reaction to contend with but also Hattie’s two quirky but lovable sisters, Ida Mae and Mattie. Winner of The Barter Theatre’s “Appalachian Festival of Plays and Playwrights,” A Southern Exposure makes its Iowa premiere in Amana. Artistic Director and actor in the show, Merckens states, “I hope that area theatre-goers will take a moment to enjoy this little gem of a show that pays tribute to the ups and downs of this somewhat unusual but delightfully recognizable family.”

Michael Petkewec, the director, says, “What I enjoy most about the play is its exploration of truly loving, family relationships. Add to that the southern charm and you have a play that will make you laugh and cry. Stories containing generation gaps are not new, but A Southern Exposure handles this issue in a heart-touching and masterful way. The play is truly a celebration of women and the strengths of their relationships.”

Performance times in Amana for A Southern Exposure are: Fridays at 1:30 pm and 7:30 pm, Saturdays at 7:30 pm and Sundays at 1:30 pm. The show opens on Friday, November 11 and runs through Sunday, November 27 (there is no matinee performance on Friday, November 25, due to the Thanksgiving holiday).

Reservations are strongly encouraged. For more information and reservations, call: 319-622-3222, email: itac@southslope.net or visit their website.

Curious Savage opens Friday

Iowa City — Dreamwell Theatre's second show in their "Here I Stand" season is John Patrick's The Curious Savage, which opens Friday, November 11.

The Curious Savage is about a recently widowed woman, Ethel Savage, whose step children don’t want her to use her inheritance for good works, so they commit her to an institution. Ethel becomes close to the unique individuals in the institution, who might just be more sane than her own step children. The Curious Savage, which Dreamwell has updated to current times, is a comedy with a lovely message about the human spirit and choosing one’s identity. It is directed by Iowa City theatre veteran Gerry Roe.

Dreamwell founder Matthew Falduto says, "Curious Savage resonates today just as strongly as it did when it was first produced. We all know that person who is a little odd, a little eccentric and despite the pressures to conform, stands up and says "This is who I am. Accept me." And we love them for it."

The theme "Here I Stand" is taken from the quote "Here I stand, I can do no other." by Martin Luther. Each of the season’s offerings features characters who choose to be who they are, despite the consequences. This season Dreamwell celebrate the strength of character we can all achieve.

The show runs November 11, 12, 18, 19 at 7:30 p.m. at the Unitarian Universalist Society, 10 S. Gilbert St. Iowa City. $13 general admission, $10 senior/student. There will be a discount for veterans on Nov. 11 and 12. Call 319-541-0140 or go here for reservations.

Cast:
Fairy Mae – Elisabeth Ross
Jeff – Ben Singer
Hannibal – Monty
Mrs. Paddy – Meg Dobbs
Florence – Theresa Meeks-Mosley
Miss Willie – Roxy Running
Dr. Emmett – Mark Nidey
Lily Belle – Traci Gardner
Titus – John Crosheck
Samuel – Steve Polchert
Ethel – Linda Merritt

Mark Hunter has died

Iowa City - A valued member of the Corridor theatre community, Mark Hunter, passed away yesterday at his home in Iowa City.


Readers of this blog perhaps know Mark best from his work as a longtime artistic associate at Riverside Theatre in Iowa City, where his directing credits included How I Learned to Drive, Accidental Death of an Anarchist, Wit, Proof, and The Goat. For the Riverside Theatre Shakespeare Festival, he has directed productions of Twelfth Night, As You Like It, Romeo and Juliet, Macbeth, and The Imaginary Invalid.

Mark was a theatre professor at Cornell College in Mount Vernon since 2002. He earned a doctoral degree in theatre history and criticism from the University of Texas at Austin. He received an M.F.A. in directing from the University of Iowa, and also holds a law degree from Syracuse University. Before undertaking his Ph.D., he taught as an adjunct professor at both the University of Iowa and at Cornell College. At Cornell, he directed Betty's Summer Vacation, Polaroid Stories, Noises Off, Trust, Book of Days, Big Love, Prosperity, and Marat/Sade.

A director with over 70 professional productions to his credit, he was also the founder and for nine years the artistic director of Playmakers Theatre in Tampa, Florida. His stage adaptation of Lee Smith's award-winning novel Fair and Tender Ladies (re-titled Ivy Rowe on stage) received an Off Broadway production and was presented at the Edinburgh Festival Fringe. He also directed the New York premiere of Keith Huff's A Greater Good.

Remembrances for Mark are being posted here.

Telling Iowa City opens Nov 8

Telling: Iowa City is a play taken directly from the stories of Iowa City veterans, and performed by the veterans themselves. It is an opportunity for Iowa City veterans and their families to tell their stories to their community about their experiences in the military. Hosted by the University of Iowa Veterans Association, The Telling Project and Working Group Theatre will work with the Iowa City veteran community to create and stage this unique performance.

The Telling Project was Founded in Eugene, Oregon by Jonathan Wei, The Telling Project has been produced in Eugene and Portland, OR, Sacramento, CA, Starkville, MS, Washington, DC, Seattle, WA and Baltimore, MD. The Telling Project has been featured on NPR, The Oregonian, Defense News Online, in the Iowa Review and on MTV. Working Group's writers and directors will collaborate with The Telling Project for the first Midwestern production of the play.

Telling: Iowa City is made up of an amazing company of actor-vets. All branches of the military are represented in our troupe. The veterans’ service to our country spans over half a century, from the streets of Baghdad to the jungles of Indochina. To meet the actors, go here.

The show will have two runs. The first is November 8-10 at 7:30 pm in Theatre B at the University of Iowa Theatre Building. Tickets are free. To reserve, email info@workinggrouptheatre.org. The show will also be presented at Riverside Theatre December 2-4 at 7:30 pm. Tickets are $12-$15. To Reserve, call 319-338-7672.

Writers Skirmish Deadline Extended

Iowa City - Dreamwell Theatre has decided to extend this "Writers Skirmish" playwriting competition deadline to December 15. Interested playwrights who email their play to joust@dreamwell.com have a chance to win $100.

This contest is for Iowa playwrights. Unlike last year’s "Writers Joust," which called for full length shows, this time Dreamwell is looking for one act plays. Shows should be connected to our season, "Here I Stand," a program of plays about taking a stand for one’s identity, despite the consequences.

Last year’s "Writers Joust" winning play, Tom Deiker’s Innocence, was produced to much acclaim.

Winner receives a $100 cash prize and a full production of his or her play July 13 – 21, 2012. Runners up will also receive full productions of their plays at that time.

Rules/Guidelines

-Writers must currently live in Iowa or have a strong connection to the state.

-Keep the set and production value simple.

-Play run times should be a minimum of 30 minutes and maximum of 60 minutes.

-Play cannot have been performed (except for readings) or published.

-Manuscripts should be 12 font, double spaced, 1 inch margins.

-Include a cover sheet with: Name, email, phone, title of play, brief statement of how your play fits the season theme, and a character breakdown.

-Do not include your name on the script itself – only on the cover sheet. They judge scripts anonymously.

-Email submissions to joust@dreamwell.com or mail to Dreamwell Theatre, Writers Skirmish, PO Box 2903, Iowa City IA 52244.

-Mailed manuscripts will not be returned and must be postmarked December 15 if you're going that route.

Please direct all questions to joust@dreamwell.com.

Lots of laughs in the inaugural night of TCR Underground

by Matthew Falduto

Cedar Rapids - I am huge fan of the idea of theatres producing local work. There are so many great playwrights in our area. So I am always thrilled when I hear that City Circle is going to do their original works festival or Dreamwell is awarding $100 to the winner of their Writers Joust or Riverside is producing Walking the Wire. Or heck, everything that SPT does.

For the past five years, I've been a part of the Black Doggers, a Corridor playwrighting group that meets every two weeks to discuss their work. Being a part of that group and critiquing and discussing new work with fellow playwrights is one of the most enjoyable theatre experiences I've had in recent years. So I approached my task of reviewing the TCR Underground plays as a Dogger might, examining the plays themselves, perhaps even more so than the acting and directing and the design elements. That's not say I'm not going to critique those elements as well, but in my mind, I am going to be sitting in one of my fellow Doggers' living room, can of Pepsi in hand, listening to the words of the play and ready to give some constructive criticism.

Theatre Cedar Rapids solicited scripts for their Underground festival without any restrictions. Full length, one act, ten minutes, it was all good. And that's what they got. Opening last night were Truth Or Consequences by Ryan Rausch and The Ethical Dilemma of a Sandwich Down The Pants by Kelly Shriver Kolln.

Ten minute play Sandwich precedes the full length Truth or Consequences, and is a lot of fun to watch. The story is pretty simple: a man tries to steal a sandwich by stuffing it down his pants but is caught by the clerk who retrieves the sandwich and puts it back, to the disgust of the rest of the customers in the store. There are lots of humorous moments in the play, and the actors kept the action moving with hilarious silent reactions, especially Jacob Coover and K Michael Moore. Particularly funny were the series of moments when the Lottery Ticket Buyer (Larry Hansen) would spend time scratching off his tickets, while the other customers impatiently waited to check out. Just when we think it's over and he's moving, we hear the scritch, scritch, scritch as he's working his way toward a possible win. I enjoyed the breaking of the fourth wall by a number of characters, in particular Alex Williams and Justin Mangrich as the two students. Both have such an energy on stage, and I can't really explain the utter delight I felt when Mangrich squeaked his marker while writing on a post it note. It was just really funny and honestly I don't know why.

I also have to give kudos to TCR for entrusting the ten minute Sandwich play to 13 year old director Emmy Palmersheim. You might remember her from her excellent performance in Eurydice. It's clear she knows a thing or two about directing as well, as the actors moved quickly and smartly through this piece. Providing a platform for the next generation of theatre artists is important; good job, TCR.

The second play of the evening is set in Truth or Consequences, New Mexico, the town that changed its name to the popular radio show in the 1950s in order to get the show to broadcast from their town, which did once a year for 50 years. The title also refers to the fact that nearly every character in the play has a secret or three. However, in this case, telling the truth leads to consequences.

The show is ostensibly about Charlotte (Darcy Delong) who is bringing her future husband Alex (K Michael Moore) home for dinner with her dysfunctional extended family. Charlotte fits right in with this family as she has lied to Chris about her previous three (or is it four?) marriages. Charlotte's parents, JoAnn and Steve (Mary Crandall and Ashley Wagel), are part of this family dinner, bickering non-stop. Her aunt and uncle, Maggie (Lisa Streif) and Jerry (Keith Kenel), are also present. Jerry continually drinks in order to deal with the crazy family dynamics. Maggie is a stereotypical homophobic Christian Fundamentalist. She's also popping pills constantly. Charlotte's other aunt is Lily (Laurie Thomas), who is clearly not in tune with reality, wearing outrageous clothes and adopting a faux Southern accent. But with a family like this, how can anyone blame her?

Charlotte's grandmother, Rose (Janet Haar), may be the most normal of the bunch, but you get the idea that when she was younger she was most likely as crazy as everyone else in the family. Perhaps that's the point of the play - with age comes wisdom? The final two characters are David (Bryant Duffy), Maggie's gay closeted son, and his boyfriend, Chris (Richard Adams). These two characters are the most sympathetic ones in the entire play. One wonders if the playwright was trying to make a point about homosexual relationships vs. heterosexual relationships. But if so, it got lost among the many different storylines.

The best aspect of this piece is the amount of humor crammed into it. There are funny moments constantly eliciting guffaws from an appreciative audience. However, the humor is often of the shock variety, as in "Did that person just say that?!" We laugh, but we're a little uncomfortable, too. Some of the running gags were really funny, such as the family's belief that Alex is Mexican. Moore smoothly transitioned from confusion to amusement to outrage as the evening progressed, each reaction funnier than the previous. Haar had some of the best lines and she delivered them with gusto. Everyone had at least one or two humorous moments and all were up to the task.

If I were sitting in a Doggers' living room, I'd follow up these positives with some constructive criticism. If this were just a straight up comedy, it could have been an extremely successful show. Play it all for laughs and maybe we wouldn't feel dissatisfied at the end. But there are heavy issues moving through this play that we're supposed to take seriously. And that's where the play is less successful.

Truth is, I am not sure what the play is about and who we're supposed to be rooting for. The most likeable characters, David and Chris, are reactive and consequently don't seem like main characters, never making decisions that lead to any change of their characters. If David chose to out himself, that would be an interesting character moment, but instead we get him being outed by his cousin in a fit of rage, and what's more surprising and disappointing, we never see the consequences for Charlotte of this terrible betrayal. Charlotte appears to be the main character in the beginning of the play, but she's so unlikable with her lies and again, things just happen to her, and we never see her make any decisions or experience any growth of character. We understand completely when Alex leaves her and we wish the storm hadn't prevented him from leaving earlier. (Side note: the storm that forces everyone to stay in the house longer than they would have normally is a bit of a cliché.)

The two sisters, Maggie and JoAnn are constantly cruel to each other, making both of them extremely unlikable characters. And when we hear the family secret from their childhood that explains some of the reasons behind this, it's just left there as an explanation without any sort of follow up. By that point, we just don't care enough about these characters. When Steve stands up to JoAnn and actually does something to deal with the dysfunction in the play, we're thrilled, but we're wondering why didn't see more of Steve prior to this moment? And then we get one more secret from JoAnn that just seems tacked on and unnecessary. She was unlikable enough - what was the point of that?

I think the basic problem with the script is that it tries to do too much. Focus on Steve's actions to get out of the dysfunctional family. Or focus on the contrast between the healthy relationship of David and Chris and the dysfunctional relationships of everyone else. Or really deal with the repercussions of Charlotte's lies. There's so much happening in this play that everything gets the short shrift. This is Ryan Rausch's first attempt at writing a play, and with that in mind, it's actually quite a good effort. Interesting characters, very funny... it just needs more focus. Hopefully, he will continue writing.

I encourage you to check out these two plays, which are running again tonight. Sandwich is delightful and Truth or Consequences is full of laughs. On Saturday, there's a full docket of staged readings and then two more plays on Sunday. Go here for more information about the festival.

Old Creamery brings Pinocchio to CCPA

Coralville - The Old Creamery Theatre is coming to Coralville... for one show at least. Join The Old Creamery Theatre for Young Audiences for the retelling of the classic story of the puppet who wants to be a real boy, but his lies and his nose keep getting in the way. Pinocchio will be performed at the Coralville Center for the Performing Arts, on Saturday Nov. 5 at 10 a.m.

This beloved Italian story will be brought to life through the classic theatrical tradition of “Commedia dell’Arte.” Using sound effects, masks and lots of humor, the characters in this play will be truly unforgettable.

The cast of Pinocchio consists of John Hill of Rockford, Illinois; Andrew Bosworth of Holly Springs, North Carolina; Laura Ambrose of Minneapolis, Minnesota.; Nicholas Hodge of South Amana; and Kamille Zbanek of Ely. Directed by Sean McCall of Marengo, Pinocchio was adapted from Carlo Collodi ’s classic Italian tale by Johnny Simons.

Tickets for Pinocchio are $10 per person. Reservations are highly recommended. For tickets call the Coralville Center for the Performing Arts at (319) 248- 9370 or reserve online at www.coralvillearts.org

TCR Launches New Play Festival

Cedar Rapids – As a playwright in Iowa, it’s hard to get a play produced. Theatre Cedar Rapids is looking to make it a little easier.

Beginning this week, TCR will kick off the TCR Underground New Play Festival, performing Nov. 3-13 in TCR’s new Grandon Studio. The two-week festival will showcase 11 original shows, all by Iowa playwrights. The plays range in length from 10 minutes to full-length productions, as well as a full day of staged readings.

“I’m really excited about it,” said TCR Artistic Director Leslie Charipar of Cedar Rapids. “I love the idea that there are playwrights right here in the area or with connections to the area, that could be the next big thing in playwriting, and TCR would have been one of the first to give their script a chance. I’m also excited about giving local playwrights an opportunity to workshop their scripts and see them on their feet and spoken by actors. It’s hard to get a script from on paper to on its feet.”

The 11 scripts chosen for the Festival were narrowed down from more than 30 submissions. There was also a large turnout of actors at auditions, with more than 50 performers vying for a chance to be involved. Those two factors showed that the demand for a New Play Festival is high indeed, Charipar said.

“I had no idea there were so many playwrights in this area, and I was encouraged to know that,” she said. “And it excites me to know that there are actors in the area who are adventurous enough to want to be a part of a new script. It’s a different experience to work on a script that’s original because as an actor, you're part of the actual shaping and developing of that script.”

Shows to be featured in the Festival include a comedy based on the Greek myth of the Underworld; political satire; a romantic comedy that explores the laws of time and space; a play exploring the ethics of prolonging life artificially; and even a comedy about what happens when a thief shoves a sandwich down his pants.

“I think audiences should walk in expecting anything,” Charipar says. “Some of the material is dark, some of it is light, some is dense and requires some work on the part of the audience, some is easy and can wash right over you.

“Attending a Festival like this is really more about being a part of the process,” Charipar added. “Writing a play is really, really hard, and I think the fun of something like this is supporting someone who had the courage to give their scripts over to a group of strangers – and then getting to see that script being born.”

The Festival opens with The Ethical Dilemma of a Sandwich Down The Pants and Truth Or Consequences at 7:30 p.m. Thursday and Friday, November 3 and 4. Saturday, November 5 features a full day of staged readings, including These Days, Failing Evolution and The Almighty Dollar.

The one-act plays Nirvana and Broken Branches will be performed back-to-back on both Sunday, November 6 and Thursday, November 10. The End of the Affair will be performed alongside the full-length play The Summerland Project November 11 and 12. The Festival then concludes with Symmetry and the full-length Escape From The Underworld November 12 and 13.

For tickets, schedules and cast lists, visit TCR's website. Tickets are $15 and $12.50 ($10 for students) and are available at the box office, by calling (319) 366-8591 or by purchasing online. Be aware that seating is limited, and that advance tickets are strongly encouraged.


Shows in the Festival include:

The Almighty Dollar by David Patterson (full-length staged reading)

A dark comedy about the crash of the American dollar. Two roommates decide to become opportunists during the crisis and learn much about themselves and the American way of life.

Failing Evolution by Sarah M. Jarmon (full-length staged reading)

Rich, pretty Fiona is a little afraid of Shaun, the hard-edged teenager she was hired to tutor. But the girls soon find they have more in common than they could have imagined. And Shaun needs help with a lot more than her homework.

These Days by Erica Jo Hoye (full-length staged reading)

Kelly is the student and Nathan is the professor. These Days looks at how that difference in power and age can affect a relationship and those in and around it.

The Ethical Dilemma of a Sandwich Down the Pants by Kelly Shriver Kolln (10 minute play)

At a convenience store, an exhausted Teaching Assistant witnesses a man attempting to steal a sandwich by hiding it in his shorts. The cashier recovers it, then throws it back into the cooler. An ethical dilemma ensues.

Symetry by Mike Wilhelm (10-minute play)

In seventeen short scenes, a mother’s role evolves from caretaker, to independent adult, to helplessness, to death. This mirrors her son’s evolution from unborn, to helplessness, to independent adult, to caretaker.

Broken Branches by Brian Tanner (one-act play)

A romantic comedy – with a splash of science fiction – that explores a larger question. Are we free to make the choices that we make, or are other forces pulling the strings?

The End of the Affair by James Grob (one-act play)

Shelly believes that Hank wants to have an affair with her. When the two co-workers find themselves alone on a business trip, a spirited discussion about forbidden inter-office romance follows.

Nirvana by Lin Kemp (one-act play)

In a deceitful move to quiet a man who’s uncovered their secrets, the government offers him the Presidency itself – but is told that he must first pass “The Test.” Can he pass? And what will happen if he does?

Escape from the Underworld by Erica Jo Hoye (full-length play)

Jocelyn came to the Underworld eight years ago and hasn’t had it too bad – until her annoying younger sister arrives, a hippie befriends her, and she’s in trouble with the rulers of the Underworld.

The Summerland Project by Rob Merritt (full-length play)

Desperate to save his dying wife, Carter Summerland signs her over to a revolutionary procedure that replaces her entire body. But is the result really his wife? Or is she something else entirely?

Truth or Consequences by Ryan Rausch (full-length play)

On the eve of Charlotte’s marriage to her fourth husband, a storm confines this unconventional family for the night. The secrets exposed will force this New Mexican clan to question their morals, beliefs, and allegiances to each other.

Walking the Wire selections announced

Iowa City - Riverside Theatre announced the playwright selections for Walking the Wire, their annual evening of original monologues centered around a specific theme. Walking the Wire: This Will Never Work will be performed at Riverside Theatre March 2-11, 2012.

“Double Barrel” – Brent Boyd, North Hollywood, CA

“Bert, One Year Later” – Dave Carley, Toronto, Ontario

“Third” – Ron Clark, Iowa City, IA

“Nicole” – Mark Harvey Levine, Pasadena, CA

“The Cowboy” – Deborah Magid, Cleveland Heights, OH

“Shakytown” – Gordon Mennenga, Iowa City, IA

“In Hank’s Brain” – Mike Moran, Mt. Vernon, IA

“Lost in the Flood” – Amanda Petefish-Schrag, Maryville, MO

“Toots” – Gwendolyn Rice, Madison, WI

“A Pigeon in a Dress” – Janet Schlapkohl, Iowa City, IA

“Mia” – Jen Silverman, Astoria, NY

“Inner Child” – Amy White, Mt. Vernon, IA