Cedar Rapids - Everything from classic humor to mystery will be staged by the Coe College Department of Theatre Arts during the upcoming 2011-2012 season. The offerings range from a modern play focusing on relationships and memory, to one of Shakespeare’s most humorous works revolving around love, to a musical whodunit based on the last novel of Charles Dickens. Directed by Coe faculty members, the three main stage productions feature students in the casts.
Playgoers can also enjoy dinner at Clark Alumni House prior to select performances, complete with a pre-performance talk given by the directors. An early bird discount will be given to those who book theatre and/or dinner-theatre tickets during July and August.
Coe theatre patrons can purchase individual play tickets now for $8, $6 for seniors and students. After Sept. 1, tickets will be $10 for adults and $8 for students and seniors.
The dinner-theatre option will be offered on Oct. 1 (Old Times), Nov. 18 (Twelfth Night), and March 23 (Drood). Dinner prices are $15 if booked now, and $20 if booked after Sept. 1. For ticket information, call 399-8600, Monday – Friday, between 8 a.m. and 3 p.m. (summer hours).
All productions are being presented in the Dows Theatre on the Coe campus. Performances begin at 7:30 p.m., except for Sunday performances, which start at 2:30 p.m. This year’s productions include:
Old Times - Sept. 30, Oct. 1, 2, 6, 7 and 8, written by Harold Pinter, directed by Coe Associate Professor of Theatre Arts Steven Marc Weiss.
Nobel Laureate Harold Pinter’s darkly humorous, poetically haunting play floats adrift in a sea of mystery as a woman’s husband and best friend engage one another in a fever-pitched competition to “possess” her soul. A meditation on the impossibility of ever fully knowing the object of one’s desire, this deliciously witty piece plumbs psychological depths, where memory is as slippery and unreliable as present reality.
Twelfth Night or What You Will – Nov. 18, 19, 20 and December 1, 2, 3, written by William Shakespeare, directed by Coe Associate Professor of Theatre Arts Dennis Barnett.
One of Shakespeare’s most popular comedies, Twelfth Night celebrates the entanglements of romantic love at their most extreme. Ostensibly taking place during the twelve days of Christmas, the spirit of misrule toils beneath of surface of this jocular masterpiece, the plot of which centers (as do many of Shakespeare’s comic plays) on the unfulfilled desires that develop due to mistaken identities.
Drood – March 23, 24, 25, 29, 30 and 31, written by Rupert Holmes, staged by Coe Associate Professor of Theatre Arts Dennis Barnett, musical direction by Coe Professor of Music William Carson, choreography by Carol Maxwell-Rezabek.
Based on The Mystery of Edward Drood, the last literary work by Charles Dickens, Drood is a musical whodunit. Because Dickens died before finishing his novel, the identity of which character he actually intended to have “dunnit” remains to this day a tangled web of mystery. The action takes place in a Victorian music hall, where a troupe of actors from that era try to work it all out, with a little bit of assistance from their audience.
For more information, call 399-8600 or visit theatre.coe.edu.
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Saturday, July 30, 2011
Friday, July 29, 2011
Sound of Music Cast Announced
Iowa City - ICCT has announced the cast for The Sound of Music: Concert Version, which will run August 12 and 13 at the Englert Theatre.
Cast:
Maria - Megan Keiser
Captain von Trapp - David Medin
Mother Abbess - Katherine Eberle
Max Detweiler - John Muriello
Frau Schneider - Traci Gardner
Liesl - Katelyn Swearingen
Rolf - Eoghan Hartley
with Brandon Burkhardt, Alison de Vore, Claire Green, Katey Halverson, Emily Hill, J.D. McLure
and Tara Acton, Riley Brannian, Rochelle Brannian, Rachel Brown, Chelsea Cashman, Wendy Danger, Katie Syswerda Eaton, Emma Kaboli, Valerie Keffala, June Kungu, Susan Manuel, Nicole McDonough, Cathy Meserole, Christine Pernetti, Melissa Raap, Elisabeth Ross, Jackie Ross, Linda Rowland, Roxy Running, Jill Van Dorpe
and Stephen Polchert as Herr Zeller
Cast:
Maria - Megan Keiser
Captain von Trapp - David Medin
Mother Abbess - Katherine Eberle
Max Detweiler - John Muriello
Frau Schneider - Traci Gardner
Liesl - Katelyn Swearingen
Rolf - Eoghan Hartley
with Brandon Burkhardt, Alison de Vore, Claire Green, Katey Halverson, Emily Hill, J.D. McLure
and Tara Acton, Riley Brannian, Rochelle Brannian, Rachel Brown, Chelsea Cashman, Wendy Danger, Katie Syswerda Eaton, Emma Kaboli, Valerie Keffala, June Kungu, Susan Manuel, Nicole McDonough, Cathy Meserole, Christine Pernetti, Melissa Raap, Elisabeth Ross, Jackie Ross, Linda Rowland, Roxy Running, Jill Van Dorpe
and Stephen Polchert as Herr Zeller
Riverside Accepting Walking the Wire Submissions
Iowa City - Riverside Theatre invites playwrights to submit monologues for performance in Walking the Wire. This annual celebration of original work features monologues of ten minutes or less by both established and up-and-coming playwrights. The focus for this season’s monologues is: This Will Never Work. Submissions must be emailed as a Word document and dated by midnight CST September 15, 2011; final selections will be announced on Riverside Theatre’s website (www.riversidetheatre.org) on November 1, 2011. The monologues will be performed March 2-11, 2012 at Riverside Theatre.
Submission Guidelines
1) Riverside Theatre is seeking original monologues with the theme of This Will Never Work (tales of round pegs in square holes. . .hare-brained schemes. . .and skeptics proved wrong). Up to two submissions per author of original, unpublished and unproduced monologues less than ten minutes length (please read it aloud and include the approximate performance time on the first page of your submission; all lengths of up to ten minutes will be considered, with the objective of choosing monologues of varying lengths). Selection considerations: Intentionally paired monologues that present two voices or points of view on the same moment will be considered. Monologues should have strong forward action and a clear dramatic event or moment. Copy requirements: double spaced in a minimum 12 pt. font, and including the playwright's name, mailing address, email address, and phone number.
2) Simple is best. Since Walking the Wire typically includes 10-12 monologues, it is important that each one require as little production as possible; set-pieces, props, or effects needing set-up, strike, or special technical support may disqualify an otherwise excellent submission.
3) Email submissions (Word document attachment) must be dated by midnight CST September 15, 2011. Final selections will announced on Riverside Theatre’s website, www.riversidetheatre.org on November 1, 2011.
4) Writers will be credited in all marketing and playbill materials; no royalties will be paid. Walking the Wire will be produced March 2-11, 2012. Playwrights are entitled to two complimentary tickets to any single performance; tickets are not transferable.
5) Submissions should be emailed to: artistic@riversidetheatre.org
Submission Guidelines
1) Riverside Theatre is seeking original monologues with the theme of This Will Never Work (tales of round pegs in square holes. . .hare-brained schemes. . .and skeptics proved wrong). Up to two submissions per author of original, unpublished and unproduced monologues less than ten minutes length (please read it aloud and include the approximate performance time on the first page of your submission; all lengths of up to ten minutes will be considered, with the objective of choosing monologues of varying lengths). Selection considerations: Intentionally paired monologues that present two voices or points of view on the same moment will be considered. Monologues should have strong forward action and a clear dramatic event or moment. Copy requirements: double spaced in a minimum 12 pt. font, and including the playwright's name, mailing address, email address, and phone number.
2) Simple is best. Since Walking the Wire typically includes 10-12 monologues, it is important that each one require as little production as possible; set-pieces, props, or effects needing set-up, strike, or special technical support may disqualify an otherwise excellent submission.
3) Email submissions (Word document attachment) must be dated by midnight CST September 15, 2011. Final selections will announced on Riverside Theatre’s website, www.riversidetheatre.org on November 1, 2011.
4) Writers will be credited in all marketing and playbill materials; no royalties will be paid. Walking the Wire will be produced March 2-11, 2012. Playwrights are entitled to two complimentary tickets to any single performance; tickets are not transferable.
5) Submissions should be emailed to: artistic@riversidetheatre.org
Thursday, July 28, 2011
13 Opens August 4
Cedar Rapids - TCR's next musical production begins on August 4th.
It's called 13, and it's a musical about been a teen with book & lyrics by Jason Robert Brown (who won the Tony for Best Score for Parade in 1999).
13 centers around Evan Goldman, who moves from New York City to suburban Indiana on the eve of his Bar Mitzvah. Needless to say, he's having some trouble fitting in.
13 stars Bentlee Birchansky as Evan. It is directed by Casey Prince with musical direction by Ryan Deignan. Tickets are $10-$15. Show dates are August 4 - August 7; show times are 7:30. More information here.
Suds Opens August 4
Amana - Old Creamery's headed to the laundromat, and you're all invited!
Suds is a 60's "Soap Opera" by Melinda Gilb, Steve Gunderson and Bryan Scott with musical and vocal arrangements by Steve Gunderson. It's set in a laundromat and features a selection of classic pop rock.
“The music in this show has such wide ranging appeal that all ages know it and can enjoy it," says director Sean McCall. The show will be performed by Molly Hammer, Deborah Kennedy, T.J. Besler and Jessica Bradish.
Suds opens August 4th on the Old Creamery Main Stage, and runs through September 11. Tickets are $27 for adults and $17.50 for students. Show times are Wednesday, Thursdays and Sundays at 3 p.m. and Fridays and Saturdays at 7:30 p.m. Call the box office at 800-35-AMANA or visit the website for more information or to purchase tickets. Group and student rates are available.
Wednesday, July 27, 2011
Auditions for Leaving Iowa Aug 7, 9 and 10
Washington - Auditions for the Washington Community Theater Production of Leaving Iowa will take place on August 7, 9, and 10, starting at 7:00 PM at the Washington Community Theatre. Performances are scheduled for October 14, 15 and 16.
Leaving Iowa is the story of Don Browning, a middle-aged writer, who returns home and decides to finally take his father’s ashes to his childhood home, as requested. But when Don discovers Grandma’s house is now a grocery store, he begins traveling across Iowa searching for a proper resting place. This road trip shifts smoothly from the present to Don’s memories of the annual, torturous vacations of his childhood. Leaving Iowa is a postcard to anyone who has ever found himself or herself driving alone on a road, revisiting fond memories of youth.
The cast consists of four main characters; Don, Sis, Mom and Dad in both the past and present day portrayed by the same actors. Additional cast members can number as few as 2 and as many as 22. Aspiring as well as experienced actors are encouraged and welcome to attend auditions. Scripts are available for check out at the Washington Library. Please contact directors, Doug and Beth McBride at 653-2433 with any questions.
Leaving Iowa is the story of Don Browning, a middle-aged writer, who returns home and decides to finally take his father’s ashes to his childhood home, as requested. But when Don discovers Grandma’s house is now a grocery store, he begins traveling across Iowa searching for a proper resting place. This road trip shifts smoothly from the present to Don’s memories of the annual, torturous vacations of his childhood. Leaving Iowa is a postcard to anyone who has ever found himself or herself driving alone on a road, revisiting fond memories of youth.
The cast consists of four main characters; Don, Sis, Mom and Dad in both the past and present day portrayed by the same actors. Additional cast members can number as few as 2 and as many as 22. Aspiring as well as experienced actors are encouraged and welcome to attend auditions. Scripts are available for check out at the Washington Library. Please contact directors, Doug and Beth McBride at 653-2433 with any questions.
Footliters presents two shows this weekend
Iowa City - Young Footliters in Grades K-6 will be performing Poultry In Motion followed by Wooing Wed Widinghood this weekend.
Both plays will be held at the Robert A. Lee Community Recreation Center on July 29, 30, and 31st. On Friday, July 29th and Saturday, July 30th the plays will begin at 7:30 PM. On Sunday, July 31st, the plays will begin at 2:00 PM.
Tickets are $7 for adults and $5 for Youth up to 12th Grade and Seniors (65+).
Both plays will be held at the Robert A. Lee Community Recreation Center on July 29, 30, and 31st. On Friday, July 29th and Saturday, July 30th the plays will begin at 7:30 PM. On Sunday, July 31st, the plays will begin at 2:00 PM.
Tickets are $7 for adults and $5 for Youth up to 12th Grade and Seniors (65+).
Saturday, July 23, 2011
Check out a comedy that warms your heart
by Meghan D'Souza
Lisbon - The Mount Vernon Lisbon Community Theatre invited audience members to join them in the elaborately decorated 1930s Brooklyn home of Martin Vanderhof for a lesson about what is really important in life, shown to us in a most zany way. Their production of You Can't Take It With You provides an enjoyable evening.
This group of actors was able to take "zany" and not go too far with it. Each character had his and her own quirks, and everyone in the play embraced them without turning the performance into a corny show. For instance, grown and married daughter Essie, played by Tawnua Tenley, is certain she is destined to be a ballet dancer. Because of this, she is constantly dancing and spinning around the house. The closest she gets to a walk is a dancer-like glide across the stage. She can even be found practicing on the furniture. As an actress, Tenley does a fabulous job taking on this role and maintaining it throughout the play.
As the other daughter, Alice, who fits more in society's norms, Andrea Hallier found the fine line between showing great love for her family while also wishing they were less odd without ever seeming resentful about their behaviors, except when the play called for such behavior. The message of love and acceptance overriding materials and denial came across very well, in part due to Hallier's fine performance.
Along with truly becoming their characters, the actors did a fantastic job of exuding their familial relationship. I would venture to guess they grew close in the creation of the play, because watching them on stage truly seemed like watching a family who simply understands and loves each other in spite of, or perhaps because of their quirks.
This play was refreshing with the route the director Grant Freeman chose to take. The audience is treated to a performance by actors who truly become their characters. Had the wrong turns been taken, this could easily have become slapstick with overacting performers. It is a comedy with a heartwarming lesson. This group carried it out beautifully.
There is one more performance this evening at 7:30 at Lisbon Community School. Tickets available at Shepley Pharmacy, Lisbon Library, or at the door.
Lisbon - The Mount Vernon Lisbon Community Theatre invited audience members to join them in the elaborately decorated 1930s Brooklyn home of Martin Vanderhof for a lesson about what is really important in life, shown to us in a most zany way. Their production of You Can't Take It With You provides an enjoyable evening.
This group of actors was able to take "zany" and not go too far with it. Each character had his and her own quirks, and everyone in the play embraced them without turning the performance into a corny show. For instance, grown and married daughter Essie, played by Tawnua Tenley, is certain she is destined to be a ballet dancer. Because of this, she is constantly dancing and spinning around the house. The closest she gets to a walk is a dancer-like glide across the stage. She can even be found practicing on the furniture. As an actress, Tenley does a fabulous job taking on this role and maintaining it throughout the play.
As the other daughter, Alice, who fits more in society's norms, Andrea Hallier found the fine line between showing great love for her family while also wishing they were less odd without ever seeming resentful about their behaviors, except when the play called for such behavior. The message of love and acceptance overriding materials and denial came across very well, in part due to Hallier's fine performance.
Along with truly becoming their characters, the actors did a fantastic job of exuding their familial relationship. I would venture to guess they grew close in the creation of the play, because watching them on stage truly seemed like watching a family who simply understands and loves each other in spite of, or perhaps because of their quirks.
This play was refreshing with the route the director Grant Freeman chose to take. The audience is treated to a performance by actors who truly become their characters. Had the wrong turns been taken, this could easily have become slapstick with overacting performers. It is a comedy with a heartwarming lesson. This group carried it out beautifully.
There is one more performance this evening at 7:30 at Lisbon Community School. Tickets available at Shepley Pharmacy, Lisbon Library, or at the door.
Friday, July 22, 2011
The Tempest is a perfect for outdoor theatre
by Andrew Juhl
Cedar Rapids - My culturally ignorant self was not aware of Brucemore. I had no idea there was a well-designed outdoor stage in Cedar Rapids that put on Shakespeare and other classics every summer, shows to which you can bring your camp chairs, blankets, and favorite bottle(s) of wine to. I’ve been in the area for over 10 years, and now I feel cheated that this is the first I’m hearing of it.
Because it’s an amazing experience.
Artistic Director Leslie Charipar’s staging of Shakespeare’s The Tempest was a purely delightful outdoor theatre experience. The all-around wonderful cast exhibited an obvious dedication to—and enjoyment of—the material, and they were engaging throughout the evening. It is always wonderful to see Shakespeare put on by performers who are there purely because they want to be, who have memorized the lines out of the desire to understand, who simply wish to share these plays with the world. Of special note are: Scott Humeston, who turns in a wonderfully competent understanding of Prospero; Matthew James and Bryant Duffy, who in tandem bring dozens of laugh out loud moments to the evening as fops Adrian and Francisco; Jim Kropa, who portrays perhaps the best Caliban I’ve ever seen in person; and Alex Williams, as a wonderfully drunky-drunk Trinculo.
I was also sincerely impressed with the sound and lighting quality of this environment, neither of which are terribly easy things to pull-off in outdoor theatre. So, too, was I pleased with the incredibly simple yet effective stage dressing: simple candle lights in glass orbs hung downstage. During the final scenes of the evening, these lights serve to highlight Prospero’s magical abilities, as well as usher the play (and its characters) into the twilight. But perhaps more impressive is the way the selection of this play, in particular, fits so well with its outdoor staging. Last night’s performances were joined by a chorus of croaking frogs, battalions of chirping crickets, and fireflies galore. These, along with the winds and mounting storm clouds added significantly to The Tempest’s magical, nature setting.
If this staging of The Tempest is any indication of the regular fare to be expected at Brucemore, I will surely be going there much more often than never in the future.
The Tempest finishes its run tonight and Saturday. Advance tickets are $18 for adults and $15 for Brucemore members and students. All tickets at the gate are $20. Tickets may be purchased at the Brucemore Store or by calling (319) 362-7375. Audiences for The Classics at Brucemore are encouraged to bring lawn chairs, blankets, picnics, and beverages for pre-show revelry. Parking is available on the grounds.
Cedar Rapids - My culturally ignorant self was not aware of Brucemore. I had no idea there was a well-designed outdoor stage in Cedar Rapids that put on Shakespeare and other classics every summer, shows to which you can bring your camp chairs, blankets, and favorite bottle(s) of wine to. I’ve been in the area for over 10 years, and now I feel cheated that this is the first I’m hearing of it.
Because it’s an amazing experience.
Artistic Director Leslie Charipar’s staging of Shakespeare’s The Tempest was a purely delightful outdoor theatre experience. The all-around wonderful cast exhibited an obvious dedication to—and enjoyment of—the material, and they were engaging throughout the evening. It is always wonderful to see Shakespeare put on by performers who are there purely because they want to be, who have memorized the lines out of the desire to understand, who simply wish to share these plays with the world. Of special note are: Scott Humeston, who turns in a wonderfully competent understanding of Prospero; Matthew James and Bryant Duffy, who in tandem bring dozens of laugh out loud moments to the evening as fops Adrian and Francisco; Jim Kropa, who portrays perhaps the best Caliban I’ve ever seen in person; and Alex Williams, as a wonderfully drunky-drunk Trinculo.
I was also sincerely impressed with the sound and lighting quality of this environment, neither of which are terribly easy things to pull-off in outdoor theatre. So, too, was I pleased with the incredibly simple yet effective stage dressing: simple candle lights in glass orbs hung downstage. During the final scenes of the evening, these lights serve to highlight Prospero’s magical abilities, as well as usher the play (and its characters) into the twilight. But perhaps more impressive is the way the selection of this play, in particular, fits so well with its outdoor staging. Last night’s performances were joined by a chorus of croaking frogs, battalions of chirping crickets, and fireflies galore. These, along with the winds and mounting storm clouds added significantly to The Tempest’s magical, nature setting.
If this staging of The Tempest is any indication of the regular fare to be expected at Brucemore, I will surely be going there much more often than never in the future.
The Tempest finishes its run tonight and Saturday. Advance tickets are $18 for adults and $15 for Brucemore members and students. All tickets at the gate are $20. Tickets may be purchased at the Brucemore Store or by calling (319) 362-7375. Audiences for The Classics at Brucemore are encouraged to bring lawn chairs, blankets, picnics, and beverages for pre-show revelry. Parking is available on the grounds.
Tuesday, July 19, 2011
You Can't Take It With You Opens Thursday
Lisbon - The Mt Vernon Lisbon Community Theatre presents "You Can't Take It With You" at Lisbon Community School July 21, 22, and 23 at 7:30pm. Tickets are $12 adults, $10 seniors, $8 children 10 and under. Tickets available at Shepley Pharmacy, Lisbon Library, or at the door.
Taken directly from the Dramatists website:
"At first the Sycamores seem mad, but it is not long before we realize that if they are mad, the rest of the world is madder. In contrast to these delightful people are the unhappy Kirbys. The plot shows how Tony, attractive young son of the Kirbys, falls in love with Alice Sycamore and brings his parents to dine at the Sycamore home on the wrong evening. The shock sustained by the Kirbys, who are invited to eat cheap food, shows Alice that marriage with Tony is out of the question. The Sycamores, however, though sympathetic to Alice, find it hard to realize her point of view. Meantime, Tony, who knows the Sycamores are right and his own people wrong, will not give her up!"
For more information, contact MVLCT at mvlcommunitytheatre@gmail.com or 319-895-8476.
Taken directly from the Dramatists website:
"At first the Sycamores seem mad, but it is not long before we realize that if they are mad, the rest of the world is madder. In contrast to these delightful people are the unhappy Kirbys. The plot shows how Tony, attractive young son of the Kirbys, falls in love with Alice Sycamore and brings his parents to dine at the Sycamore home on the wrong evening. The shock sustained by the Kirbys, who are invited to eat cheap food, shows Alice that marriage with Tony is out of the question. The Sycamores, however, though sympathetic to Alice, find it hard to realize her point of view. Meantime, Tony, who knows the Sycamores are right and his own people wrong, will not give her up!"
For more information, contact MVLCT at mvlcommunitytheatre@gmail.com or 319-895-8476.
One More Weekend for The Tempest
Cedar Rapids - Bring your lawn chairs and picnic baskets for a magical evening of The Classics at Brucemore: The Tempest. 
Performances are 21 – 23 at 8:00 p.m. in the natural amphitheatre near the pond on the Brucemore estate. The gates open at 7:00 p.m.
Prospero, a sorcerer and the rightful Duke of Milan, dwells on an enchanted isle with his daughter, Miranda. Twelve years earlier, the duke's brother, Antonio, and the King of Naples, Alonso, conspired to usurp his throne by exiling Prospero and Miranda to the island. When magic reveals a ship bearing his old enemies is sailing nearby, Prospero summons a storm to wreck their ship and seek revenge using magic and illusion. Included with the survivors who make it to shore is Ferdinand, the son of Alonso. Ferdinand meets Miranda and the two become enthralled with one another.
“I just hope that in some way, big or small, you’re affected by the magic,” said Director Leslie Charipar, “whether it’s the magic that Prospero wields, the magic of the island creatures, the magic of true love or family bonds, or even the magic of the singing cicadas on the beautiful grounds of Brucemore.”
Sponsored by Rockwell Collins and the Corridor Business Journal, The Tempest features a cast of the area’s finest actors. Sixteen return to the Classics stage, including Jason Alberty, Richie Akers, Jackson Bartelme, Tina Conroy, Bryant Duffy, Steve Ginsberg, Lincoln Ginsberg, Larry Hansen, Scott Humeston, Matthew James, Jim Kropa, Rob Merritt, David Morton, Hannah Spina, Len Struttmann, and Alex Williams. Making their Classics debut are Justin Braden, Kevin Burford, Emma Conroy, Lucy Conroy, Royce Hufford, Katy Slaven, Laura Tatar, and Mike Wilhelm.
The Classics at Brucemore began as collaboration between Torchlight Theatrics and Brucemore in 1996, thus launching outdoor theatre in Eastern Iowa. The Classics celebrates a rich history of quality live theatre, from Greek tragedy to Shakespearean comedy and 20th century American drama. Much more than a play performed outdoors, The Classics fully utilizes the site as the natural amphitheatre provides a lush backdrop and the outdoor environment is incorporated into the action — actors emerge from the woods, get dunked in the pond, and help themselves to the audience’s picnics.
Advance tickets are $18 for adults and $15 for Brucemore members and students. All tickets at the gate are $20. Tickets may be purchased at the Brucemore Store or by calling (319) 362-7375. Audiences for The Classics at Brucemore are encouraged to bring lawn chairs, blankets, picnics, and beverages for pre-show revelry. Parking is available on the grounds. For additional information, please visit the Brucemore website, www.brucemore.org.
Brucemore is Iowa’s only National Trust Historic Site and is located at 2160 Linden Drive SE, Cedar Rapids, Iowa.
(Photo by Greg Billman.)
Performances are 21 – 23 at 8:00 p.m. in the natural amphitheatre near the pond on the Brucemore estate. The gates open at 7:00 p.m. Prospero, a sorcerer and the rightful Duke of Milan, dwells on an enchanted isle with his daughter, Miranda. Twelve years earlier, the duke's brother, Antonio, and the King of Naples, Alonso, conspired to usurp his throne by exiling Prospero and Miranda to the island. When magic reveals a ship bearing his old enemies is sailing nearby, Prospero summons a storm to wreck their ship and seek revenge using magic and illusion. Included with the survivors who make it to shore is Ferdinand, the son of Alonso. Ferdinand meets Miranda and the two become enthralled with one another.
“I just hope that in some way, big or small, you’re affected by the magic,” said Director Leslie Charipar, “whether it’s the magic that Prospero wields, the magic of the island creatures, the magic of true love or family bonds, or even the magic of the singing cicadas on the beautiful grounds of Brucemore.”
Sponsored by Rockwell Collins and the Corridor Business Journal, The Tempest features a cast of the area’s finest actors. Sixteen return to the Classics stage, including Jason Alberty, Richie Akers, Jackson Bartelme, Tina Conroy, Bryant Duffy, Steve Ginsberg, Lincoln Ginsberg, Larry Hansen, Scott Humeston, Matthew James, Jim Kropa, Rob Merritt, David Morton, Hannah Spina, Len Struttmann, and Alex Williams. Making their Classics debut are Justin Braden, Kevin Burford, Emma Conroy, Lucy Conroy, Royce Hufford, Katy Slaven, Laura Tatar, and Mike Wilhelm.
The Classics at Brucemore began as collaboration between Torchlight Theatrics and Brucemore in 1996, thus launching outdoor theatre in Eastern Iowa. The Classics celebrates a rich history of quality live theatre, from Greek tragedy to Shakespearean comedy and 20th century American drama. Much more than a play performed outdoors, The Classics fully utilizes the site as the natural amphitheatre provides a lush backdrop and the outdoor environment is incorporated into the action — actors emerge from the woods, get dunked in the pond, and help themselves to the audience’s picnics.
Advance tickets are $18 for adults and $15 for Brucemore members and students. All tickets at the gate are $20. Tickets may be purchased at the Brucemore Store or by calling (319) 362-7375. Audiences for The Classics at Brucemore are encouraged to bring lawn chairs, blankets, picnics, and beverages for pre-show revelry. Parking is available on the grounds. For additional information, please visit the Brucemore website, www.brucemore.org.
Brucemore is Iowa’s only National Trust Historic Site and is located at 2160 Linden Drive SE, Cedar Rapids, Iowa.
(Photo by Greg Billman.)
Actors Sign Up for All in a Day Fest August 7
Coralville — Dreamwell Theatre and City Circle Acting Company of Coralville will host the 4th Annual All in a Day Play 
Festival this August 27th and 28th at the brand new Coralville Center for the Performing Arts. The two theatre companies will once again join forces for this award-winning event to create seven ten minute plays in just 24 hours.
On the night of Saturday, August 27, seven writers, seven directors and 35 actors come together to create seven original plays. Writers randomly choose a location, genre and one other possible dramatic detail they are charged to include in their scripts. Writers, actors and directors brainstorm ideas, then writers create a ten minute play by 8:00 a.m. Sunday morning, when the actors and directors take over.
Twenty four hours from the start of the festival - after a whirlwind of creative mayhem - theatre lovers are treated to a variety of unique shows at the Coralville Center for the Performing Arts as part the venue's opening weekend. Plays and performances are adjudicated and awards will be presented for performances, plays and directors.
If you are interested in acting in this event, sign up through the Dreamwell website: www.dreamwell.com. Sign up will open at 5:00 p.m., August 7, 2011. The first 35 actors who sign up will be in the show. Slots filled very quickly last year so sign up early! If actors sign up after the slots are filled, they will be placed on a waiting list.
The time commitment for actors is roughly one hour, Saturday evening, August 27, and the entire day and evening of Sunday, August 28.
“We frequently hear from actors that this is one of the most thrilling and fun theatrical events of the year,” said Matt Falduto, Dreamwell Theatre founder. "The event keeps getting bigger and better and, this year since we'll be in the beautiful new Coralville Center for the Performing Arts, we get to bring the excitement to a brand new stage."
Festival this August 27th and 28th at the brand new Coralville Center for the Performing Arts. The two theatre companies will once again join forces for this award-winning event to create seven ten minute plays in just 24 hours.On the night of Saturday, August 27, seven writers, seven directors and 35 actors come together to create seven original plays. Writers randomly choose a location, genre and one other possible dramatic detail they are charged to include in their scripts. Writers, actors and directors brainstorm ideas, then writers create a ten minute play by 8:00 a.m. Sunday morning, when the actors and directors take over.
Twenty four hours from the start of the festival - after a whirlwind of creative mayhem - theatre lovers are treated to a variety of unique shows at the Coralville Center for the Performing Arts as part the venue's opening weekend. Plays and performances are adjudicated and awards will be presented for performances, plays and directors.
If you are interested in acting in this event, sign up through the Dreamwell website: www.dreamwell.com. Sign up will open at 5:00 p.m., August 7, 2011. The first 35 actors who sign up will be in the show. Slots filled very quickly last year so sign up early! If actors sign up after the slots are filled, they will be placed on a waiting list.
The time commitment for actors is roughly one hour, Saturday evening, August 27, and the entire day and evening of Sunday, August 28.
“We frequently hear from actors that this is one of the most thrilling and fun theatrical events of the year,” said Matt Falduto, Dreamwell Theatre founder. "The event keeps getting bigger and better and, this year since we'll be in the beautiful new Coralville Center for the Performing Arts, we get to bring the excitement to a brand new stage."
Monday, July 18, 2011
Storyteller Presents Summer Concert
Cedar Rapids - Cedar Rapids storyteller Darrin Crow will present Stories for a Summer Sunset: Tales for Very Warm Weather on Thursday August 4th at 7:00pm in the auditorium at Cedar Valley Bible Church, 3636 Cottage Grove Avenue SE. Donations will be accepted for admission. The concert will cap off a busy summer of telling stories at Eastern Iowa libraries, day camps, senior living centers and other venues. Stories for the first half of the evening will be drawn from sources around the world including Ireland, China, India, Bohemia, and the southern United States. The second half of the evening will feature the Iowa history story, City of Refuge: From Holland to Home. The story traces the journey of the settlers of Pella, Iowa, from Holland across the ocean and the prairies to Pella, their “City of Refuge.” The story was created for this spring’s Heartland Storytelling Festival at the Homestead National Monument in Beatrice, Nebraska, where Crow was a featured storyteller.
Soldier's Daughter shows Dreamwell's pluck
by Andrew Juhl
Iowa City - I have been sitting here, staring at a blank screen for over 30 minutes. I keep writing and deleting the same sentence: “Dreamwell’s Soldier’s Daughter is an interesting show.” I keep writing the sentence because Dreamwell’s Soldier’s Daughter IS an interesting show. I keep erasing the sentence because it feels like damnation by faint praise. “Interesting,” however, is precisely what this show is.
Soldier’s Daughter is an original tale about a soldier's emotional connection with his 13-year-old daughter, Tigerlily. It opens with Tigerlily waiting for her father to return from his latest deployment in Afghanistan, hoping desperately that this homecoming will be for good. Asleep on the porch of her farmhouse, she wakes to find her father standing before her, ready to take her on a “story walk” around their farm, a tradition the two of them have shared ever since Tigerlily was very young. The overarching narrative progresses and unfolds via the stories Tigerlily hears, and sees, during their walk.
What makes this production so special is that the audience actually walks around the farm with Tigerlily, watching these stories and experiencing the overarching narrative develop against the backdrop of the bucolic midsummer Iowa landscape. Additionally, each “story” in the play was written by a different author, all members of a local playwriting group, the Black Doggers. The concept of a multi-authored piece of “promenade theatre” is both inherently intriguing and not without a conspicuous modicum of potential. I am pleased to report that Dreamwell makes respectable strides toward maximizing that potential in ways throughout the evening.
This was helped in no small part by some good casting for Tigerlily; young actress Makayla Phillips does a fine job of inhabiting the titular role. Although she is distinctly more believable in some scenes than others, this appeared to be more a consequence of the fractured writing style used to create the overall narrative than anything attributable to Ms. Phillips’ abilities. Specifically, Tigerlily is a page out-of-real-life as a popularity-obsessed tween in The Gypsy Story, fully realized and identifiable to anyone who either knows or has been an 8th grade girl. On the flipside, her dialogue seemed forcibly maudlin and redundant—though competently acted—in The Hope/Sarah Story, a scene about an imprisoned fairy and her captors.
Brian Tanner, as the Soldier, guided his daughter between and within scenes with workmanlike aplomb, though the character feels undeniably secondary to the journey, and—as such—both less important and less interesting than might have been intended. This could be a consequence/weakness of the framing story (Tigerlily and Soldier), which seemed to both lack focus and contain needless repetition as well as excessive platitudes. The characters of Tigerlily and Solider could have benefited greatly from a bit more bulk at the beginning and/or finale, whereas currently these two moments—especially the final scene of the evening—feel tossed-off in favor of “Yay, let’s get to the stories!” and “Hooray, we’re done with the stories!”
As far as the stories along the story walk go, an obvious stand-out is author Amy White’s Moose Story. The two moose in this story, actors Mark Nidey and James Anderson, have a wonderful chemistry and laugh-out-loud comic timing, but also the ability to effectively deliver the sobering denouement of the scene. Also very enjoyable were the aforementioned Hope/Sarah Story and the seafaring Tiger/Boy Story—though the latter suffered, in my opinion, from an underwhelming amount of pirates. But, hey, I’m a man who really likes his pirates.
The first two stories of the evening, however, were not-at-all as enthralling or interesting to me as the last four (and specifically the powerful ending trilogy of Moose, Hope/Sarah, and Tiger/Boy). To the point, I wasn’t entirely sure why these initial two stories were even in the play. The first story of the evening is The Aria/Coral Story about two magical sprites. I enjoyed actress K. Lindsay Eaves’ portrayal of ‘Aria’ a great deal; it was a one-note performance, but it was the exact right note, and it allowed Avonique Tipsword (‘Coral’) to play off of Aria very easily. The story is metaphor heavy—a conceit applicable to play in toto—but, more than that, the scene just didn’t seem to matter to Tigerlily’s overall journey. The Aria/Coral Story is immediately followed by perhaps the evening’s shortest scene, the Eros/Psyche Story, which seemed charily out-of-pace with the rest of the show and even contained a couple somewhat jarring anachronisms—though I would be remiss if I didn’t mention that both actors’ performances (Brad Quinn’s ‘Eros’ and Elizabeth Breed’s ‘Psyche’) were pitch-perfect and enjoyable.
Still, neither scene seemed like a story that a father would be telling his daughter, especially if that father was having trouble coming to grips with how his daughter was maturing. Specifically, I would have expected Tigerlily to exhibit more of a “Daaaaa-ad! Ewww!” kind of reaction to Eros/Psyche. (Upon later reflection, it occurred to me that the idea behind these two segments might have been that Tigerlily’s father first told a story that was too young for her, then one that was too old—but if that was the point, it shouldn't have taken me until two hours after the show to realize it.)
There are also three young actresses playing birds throughout the evening, portraying extensions of Tigerlily's emotions. This generally worked for me, but the idea could have used a little more explanation/exposition within the show. I almost wanted the birds to be onstage whenever Tigerlily was, but I can understand how that would be difficult with a trio of such young actors. Perhaps if each one had represented a more specific aspect of Tigerlily’s personality, this storytelling contrivance could have worked better; even as-was, however, these three young actresses brought a smile to my face whenever they came back into the story.
Summarily, Matt Falduto’s overall direction of the evening was apt, the costuming was never outlandish or distracting, and the promenades were never poorly spaced, nor did they seem inappropriately long distances to travel. The show ended as the last bits of sun were quickly fleeing the evening into night, and with 7+ stories performed, one would be hard-pressed to argue they didn’t get their money’s worth from the price of their ticket.
Contrary to my normal track, I tried NOT to read too much about this show beforehand, as I wanted to be as surprised as possible by the evening. Only after the show was over did I go back and peruse the newspaper articles my friends sent me, as well as some of the posts on this very blog. This may be a play that's best enjoyed when one has a sense of how much effort, collaboration, and passion were required for its genesis, and it simply may not be as gratifying or make as much sense to an audience without that additional knowledge. Regardless of that assessment, I would encourage anyone with a sincere interest in theatre to come see this production. Dreamwell has a reputation for producing exhilarating shows that merit observation based solely on the company’s dedication and pluck, and Soldier’s Daughter falls well in-line with that tradition.
Iowa City - I have been sitting here, staring at a blank screen for over 30 minutes. I keep writing and deleting the same sentence: “Dreamwell’s Soldier’s Daughter is an interesting show.” I keep writing the sentence because Dreamwell’s Soldier’s Daughter IS an interesting show. I keep erasing the sentence because it feels like damnation by faint praise. “Interesting,” however, is precisely what this show is.
Soldier’s Daughter is an original tale about a soldier's emotional connection with his 13-year-old daughter, Tigerlily. It opens with Tigerlily waiting for her father to return from his latest deployment in Afghanistan, hoping desperately that this homecoming will be for good. Asleep on the porch of her farmhouse, she wakes to find her father standing before her, ready to take her on a “story walk” around their farm, a tradition the two of them have shared ever since Tigerlily was very young. The overarching narrative progresses and unfolds via the stories Tigerlily hears, and sees, during their walk.
What makes this production so special is that the audience actually walks around the farm with Tigerlily, watching these stories and experiencing the overarching narrative develop against the backdrop of the bucolic midsummer Iowa landscape. Additionally, each “story” in the play was written by a different author, all members of a local playwriting group, the Black Doggers. The concept of a multi-authored piece of “promenade theatre” is both inherently intriguing and not without a conspicuous modicum of potential. I am pleased to report that Dreamwell makes respectable strides toward maximizing that potential in ways throughout the evening.
This was helped in no small part by some good casting for Tigerlily; young actress Makayla Phillips does a fine job of inhabiting the titular role. Although she is distinctly more believable in some scenes than others, this appeared to be more a consequence of the fractured writing style used to create the overall narrative than anything attributable to Ms. Phillips’ abilities. Specifically, Tigerlily is a page out-of-real-life as a popularity-obsessed tween in The Gypsy Story, fully realized and identifiable to anyone who either knows or has been an 8th grade girl. On the flipside, her dialogue seemed forcibly maudlin and redundant—though competently acted—in The Hope/Sarah Story, a scene about an imprisoned fairy and her captors.
Brian Tanner, as the Soldier, guided his daughter between and within scenes with workmanlike aplomb, though the character feels undeniably secondary to the journey, and—as such—both less important and less interesting than might have been intended. This could be a consequence/weakness of the framing story (Tigerlily and Soldier), which seemed to both lack focus and contain needless repetition as well as excessive platitudes. The characters of Tigerlily and Solider could have benefited greatly from a bit more bulk at the beginning and/or finale, whereas currently these two moments—especially the final scene of the evening—feel tossed-off in favor of “Yay, let’s get to the stories!” and “Hooray, we’re done with the stories!”
As far as the stories along the story walk go, an obvious stand-out is author Amy White’s Moose Story. The two moose in this story, actors Mark Nidey and James Anderson, have a wonderful chemistry and laugh-out-loud comic timing, but also the ability to effectively deliver the sobering denouement of the scene. Also very enjoyable were the aforementioned Hope/Sarah Story and the seafaring Tiger/Boy Story—though the latter suffered, in my opinion, from an underwhelming amount of pirates. But, hey, I’m a man who really likes his pirates.
The first two stories of the evening, however, were not-at-all as enthralling or interesting to me as the last four (and specifically the powerful ending trilogy of Moose, Hope/Sarah, and Tiger/Boy). To the point, I wasn’t entirely sure why these initial two stories were even in the play. The first story of the evening is The Aria/Coral Story about two magical sprites. I enjoyed actress K. Lindsay Eaves’ portrayal of ‘Aria’ a great deal; it was a one-note performance, but it was the exact right note, and it allowed Avonique Tipsword (‘Coral’) to play off of Aria very easily. The story is metaphor heavy—a conceit applicable to play in toto—but, more than that, the scene just didn’t seem to matter to Tigerlily’s overall journey. The Aria/Coral Story is immediately followed by perhaps the evening’s shortest scene, the Eros/Psyche Story, which seemed charily out-of-pace with the rest of the show and even contained a couple somewhat jarring anachronisms—though I would be remiss if I didn’t mention that both actors’ performances (Brad Quinn’s ‘Eros’ and Elizabeth Breed’s ‘Psyche’) were pitch-perfect and enjoyable.
Still, neither scene seemed like a story that a father would be telling his daughter, especially if that father was having trouble coming to grips with how his daughter was maturing. Specifically, I would have expected Tigerlily to exhibit more of a “Daaaaa-ad! Ewww!” kind of reaction to Eros/Psyche. (Upon later reflection, it occurred to me that the idea behind these two segments might have been that Tigerlily’s father first told a story that was too young for her, then one that was too old—but if that was the point, it shouldn't have taken me until two hours after the show to realize it.)
There are also three young actresses playing birds throughout the evening, portraying extensions of Tigerlily's emotions. This generally worked for me, but the idea could have used a little more explanation/exposition within the show. I almost wanted the birds to be onstage whenever Tigerlily was, but I can understand how that would be difficult with a trio of such young actors. Perhaps if each one had represented a more specific aspect of Tigerlily’s personality, this storytelling contrivance could have worked better; even as-was, however, these three young actresses brought a smile to my face whenever they came back into the story.
Summarily, Matt Falduto’s overall direction of the evening was apt, the costuming was never outlandish or distracting, and the promenades were never poorly spaced, nor did they seem inappropriately long distances to travel. The show ended as the last bits of sun were quickly fleeing the evening into night, and with 7+ stories performed, one would be hard-pressed to argue they didn’t get their money’s worth from the price of their ticket.
Contrary to my normal track, I tried NOT to read too much about this show beforehand, as I wanted to be as surprised as possible by the evening. Only after the show was over did I go back and peruse the newspaper articles my friends sent me, as well as some of the posts on this very blog. This may be a play that's best enjoyed when one has a sense of how much effort, collaboration, and passion were required for its genesis, and it simply may not be as gratifying or make as much sense to an audience without that additional knowledge. Regardless of that assessment, I would encourage anyone with a sincere interest in theatre to come see this production. Dreamwell has a reputation for producing exhilarating shows that merit observation based solely on the company’s dedication and pluck, and Soldier’s Daughter falls well in-line with that tradition.
Saturday, July 16, 2011
Hairspray Cast announced
City Circle - The cast for the first City Circle show to be performed in the Coralville Center for the Performing Arts has been announced. Longtime Iowa City actress Elizabeth Breed will portray Tracy Turnblad with Chuck Bogh playing her mother Edna. The show opens September 9th. The full cast of Hairspray follows.
CAST:
TRACY TURNBLAD- Elizabeth Breed
EDNA- Chuck Bogh
WILBUR- Doug Beardsely
LINK- Esack Grueskin
SEAWEED- Tevin Jones
CORNY COLLINS- Justin Mangrich
VELMA VON TUSSLE- Carrie Houchin- Witt
AMBER VON TUSSLE- Janelle Barrow
PENNY PINKLETON- Victoria Vaughn
MOTORMOUTH- TBD
LI’L INEZ- Makela Spence
FEMALE AUTHORITY- Robyn Calhoun
MR. PINKY- Rod McCrea
MR. SPITZER- Kenneth Van Egdon
BEATNIK CHICK- Rick Crooks
PRINCIPAL- Colin Nies
BRAD - Rick Adams
FENDER- Ryan Shelladay
SKETCH- Tyler Jensen
I.Q. - Michael Penick
BRENDA- Sydney Lewis
TAMMY- Jessica Murillo
SHELLY- Olyvia Simmonds
LOU ANN- Ramya Hipp
MONIQUE/Dynamite- Taisha Poole
LORRAINE/Dynamite- Chastity Dillard
CINDY /Dynamite- Naomi Spence
TORY- Anna Sheffield
GILBERT- Ray Echols
STOOIE- Nate Moysta
DUANE- Jacob Lundin
CAST:
TRACY TURNBLAD- Elizabeth Breed
EDNA- Chuck Bogh
WILBUR- Doug Beardsely
LINK- Esack Grueskin
SEAWEED- Tevin Jones
CORNY COLLINS- Justin Mangrich
VELMA VON TUSSLE- Carrie Houchin- Witt
AMBER VON TUSSLE- Janelle Barrow
PENNY PINKLETON- Victoria Vaughn
MOTORMOUTH- TBD
LI’L INEZ- Makela Spence
FEMALE AUTHORITY- Robyn Calhoun
MR. PINKY- Rod McCrea
MR. SPITZER- Kenneth Van Egdon
BEATNIK CHICK- Rick Crooks
PRINCIPAL- Colin Nies
BRAD - Rick Adams
FENDER- Ryan Shelladay
SKETCH- Tyler Jensen
I.Q. - Michael Penick
BRENDA- Sydney Lewis
TAMMY- Jessica Murillo
SHELLY- Olyvia Simmonds
LOU ANN- Ramya Hipp
MONIQUE/Dynamite- Taisha Poole
LORRAINE/Dynamite- Chastity Dillard
CINDY /Dynamite- Naomi Spence
TORY- Anna Sheffield
GILBERT- Ray Echols
STOOIE- Nate Moysta
DUANE- Jacob Lundin
Thursday, July 14, 2011
Backstage with Soldier's Daughter
Iowa City - Dreamwell's original play, Soldier's Daughter, opens this weekend. This show 
marks a number of firsts for the company. The location, the style, and the fact that the show is an original play written specifically for the company are all unique experiences for the 14-year old theatre. The show is performed promenade style on a farm just short ways from Iowa City proper. We had a chance to talk with the co-writer and director of the show, Matt Falduto, who is also a founder of the company. Our conversation follows.
So where did the idea for this show come from?
Matt Falduto: Well, I saw a show by Working Group Theatre called Odysseus, Iowa last year at this farm. The audience moved around the farm to different locations and I was just so taken with the idea, the concept, that I knew I had to do a show in that style. So I decided to write one especially for the farm. And that’s when I asked the Black Doggers for help.
And now let me make sure I understand this. The audience will move around the farm?
Matt: Right. It's called promenade theatre. We are fortunate enough to have Mike Moran, the Goatsinger, be our traveling
minstrel for the show. He will lead the audience to the different locations.
Kind of like the Pied Piper?
Matt: Kind of. Yes. Except we're not stealing children.
Okay, so let's talk about the writing process a little bit. You mentioned the Black Doggers. Who are they?
Matt: They are a group of playwrights from all over the Corridor who meet every two weeks to give and receive feedback on their current projects. Joe Jennison started the group a number of years ago. I’ve been a member since the beginning and it’s been a huge help with my writing to be a part of the group.
So they helped write it?
Matt: Yes, five of them did.
Amy White, James Trainor, Mike Moran, Brian Tanner and Barbara Lau. I gave each of them a location on the farm – the pond, a field, the sailing ship…
Wait, there’s a sailing ship?
Matt: There is. It’s really cool. Wait til you see it. And we made a sail for it.
Okay. So each writer got a location…
Matt:Right. Random location and random
concept – like love, courage or jealousy. Then they had to write a scene using that location around that concept. The only thing I told them was the story had to be a story a Dad would tell his 13 year old daughter. They came up with the most interesting stories – there are moose, Greek gods, and fairies. Something for everyone.
I see. So then you put the stories together?
Matt: I took them and created the story of Tigerlily, a 13 year old girl waiting for her Dad to come home from Afghanistan. He comes home from the war and takes Tigerlily on a story walk, which is something they have done many times in the past. They walk the farm and Dad tells her stories. Weaving the stories together and creating the through line of Dad and Tigerlily was a really interesting writing challenge.
Did you have to do any re-writing?
Matt: Yes, that’s been part of the process. I did a reading of the first draft in January or February, I can’t remember, for the Black Doggers and got some great feedback. Then I wrote a second draft. That was what we started rehearsals with, but there's been major and minor rewriting as we've moved through the rehearsal process.
Major re-writing? Has that been difficult to work with?
Matt: No, not really. There was one of the stories that the actors had a completely different take on than we had intended when it was written. So we re-worked that to take into account their ideas. It made for a much stronger scene. That kind of collaboration has been a lot of fun. We have such insightful actors in this show.
So tell us about these actors.
Matt: Well, the Dad is played by Brian Tanner, who may be the hardest working theatre person in our area. He’s always working on a show. Brian also wrote one of the stories Dad tells Tigerlily. Tigerlily is played by Makayla Phillips, who was recently seen in A Little Night Music with City Circle. She immediately got the character of Tigerlily from day one and does such a good job of taking us though her journey. We have a great group of actors with a wide range of ages. There is a 10 year old girl, Mary Vander Weg, who plays a 100 year old fairy. She’s great.
Wait a minute, there are kids in a Dreamwell show?
Matt: Yep, that is a little different for us. Though we did have a couple of very talented younger actors in Henry V. We're trying to expand a little bit.
So tell me more about these kids.
Matt: Well, there are three birds played by girls who range in age from 9 to 11. They represent Tigerlily’s emotions and sort of
her younger self in a way. They fly in and out of the play at different points to give us greater insight into what’s happening in her mind and heart. The girls are doing a great job as the birds. There's a wonderful dance sequence with the birds and Tigerlily that was choreographed by Carol Johnk. It's an important moment for Tigerlily in the play and I'm really happy with how it turned out.
So which of the stories is your favorite?
Matt: Oh, I’m not picking favorites – they’re all great! I will say that the moose scene makes me laugh every time I see it. James Anderson and Mark Nidey portray the moose and they are hilarious. But I also love the Eros-Psyche scene. We have two veterans in that scene – Brad Quinn and Elizabeth Breed. Their scene really shows off the majesty of the Iowa landscape. And the fairy scene is great…and the gypsy scene…and the pond scene…
Okay, I get it. No favorites. What has it been like creating a show in an outdoor setting?
Matt: There’s been a lot of unexpected challenges. There are a bunch of animals on the farm who have been, well, loud. In a traditional show, you’re not really expecting to hear a sheep bleat right in the middle of a scene. And then there’s the sun. Oh my gosh, it’s been hot. And humid. We’ve been drinking lots and lots of water. The cast has been great though in dealing with all of that. And you know, I think it’s all going to be worth it. Creating this show outside against the Iowa landscape… well let’s just say our set designer is pretty amazing.
How does this show fit with Dreamwell's mission of exploration?
Matt: We have done so much exploring with this
show. From the collaborative writing process to the unique location to creating roles in the show for children, which is not something Dreamwell is known for at all, it's been one new experience after another. I have to say I feel very fortunate that the Dreamwell Board took a chance on this show. They had no script when they committed to the project. All they had were my ideas and my promise to make it happen. I hope this becomes a regular thing that we do - ask a writer to create a show specifically for our theatre. I'd love to see more original work done in this manner.
Are you worried about the weather?
Matt: Can't worry about it. If it rains too much, we'll cancel, but hopefully things will work out. We do have two rain dates set up. Sunday, July 17 and Sunday July 24 at 2 pm. With luck, we won't need them.
Any last words?
Matt: I hope people check this show out. It'll be a truly unique experience. Theatre on a farm! Don't miss it.
Reserve your tickets at www.dreamwell.com. Tickets also available at the door.
(Photos by Carol Grow Johnk)
marks a number of firsts for the company. The location, the style, and the fact that the show is an original play written specifically for the company are all unique experiences for the 14-year old theatre. The show is performed promenade style on a farm just short ways from Iowa City proper. We had a chance to talk with the co-writer and director of the show, Matt Falduto, who is also a founder of the company. Our conversation follows. So where did the idea for this show come from?
Matt Falduto: Well, I saw a show by Working Group Theatre called Odysseus, Iowa last year at this farm. The audience moved around the farm to different locations and I was just so taken with the idea, the concept, that I knew I had to do a show in that style. So I decided to write one especially for the farm. And that’s when I asked the Black Doggers for help.
And now let me make sure I understand this. The audience will move around the farm?
Matt: Right. It's called promenade theatre. We are fortunate enough to have Mike Moran, the Goatsinger, be our traveling
minstrel for the show. He will lead the audience to the different locations. Kind of like the Pied Piper?
Matt: Kind of. Yes. Except we're not stealing children.
Okay, so let's talk about the writing process a little bit. You mentioned the Black Doggers. Who are they?
Matt: They are a group of playwrights from all over the Corridor who meet every two weeks to give and receive feedback on their current projects. Joe Jennison started the group a number of years ago. I’ve been a member since the beginning and it’s been a huge help with my writing to be a part of the group.
So they helped write it?
Matt: Yes, five of them did.
Amy White, James Trainor, Mike Moran, Brian Tanner and Barbara Lau. I gave each of them a location on the farm – the pond, a field, the sailing ship…Wait, there’s a sailing ship?
Matt: There is. It’s really cool. Wait til you see it. And we made a sail for it.
Okay. So each writer got a location…
Matt:Right. Random location and random
concept – like love, courage or jealousy. Then they had to write a scene using that location around that concept. The only thing I told them was the story had to be a story a Dad would tell his 13 year old daughter. They came up with the most interesting stories – there are moose, Greek gods, and fairies. Something for everyone.I see. So then you put the stories together?
Matt: I took them and created the story of Tigerlily, a 13 year old girl waiting for her Dad to come home from Afghanistan. He comes home from the war and takes Tigerlily on a story walk, which is something they have done many times in the past. They walk the farm and Dad tells her stories. Weaving the stories together and creating the through line of Dad and Tigerlily was a really interesting writing challenge.
Did you have to do any re-writing?
Matt: Yes, that’s been part of the process. I did a reading of the first draft in January or February, I can’t remember, for the Black Doggers and got some great feedback. Then I wrote a second draft. That was what we started rehearsals with, but there's been major and minor rewriting as we've moved through the rehearsal process.
Major re-writing? Has that been difficult to work with?
Matt: No, not really. There was one of the stories that the actors had a completely different take on than we had intended when it was written. So we re-worked that to take into account their ideas. It made for a much stronger scene. That kind of collaboration has been a lot of fun. We have such insightful actors in this show.
So tell us about these actors.
Matt: Well, the Dad is played by Brian Tanner, who may be the hardest working theatre person in our area. He’s always working on a show. Brian also wrote one of the stories Dad tells Tigerlily. Tigerlily is played by Makayla Phillips, who was recently seen in A Little Night Music with City Circle. She immediately got the character of Tigerlily from day one and does such a good job of taking us though her journey. We have a great group of actors with a wide range of ages. There is a 10 year old girl, Mary Vander Weg, who plays a 100 year old fairy. She’s great.
Wait a minute, there are kids in a Dreamwell show?
Matt: Yep, that is a little different for us. Though we did have a couple of very talented younger actors in Henry V. We're trying to expand a little bit.
So tell me more about these kids.
Matt: Well, there are three birds played by girls who range in age from 9 to 11. They represent Tigerlily’s emotions and sort of
her younger self in a way. They fly in and out of the play at different points to give us greater insight into what’s happening in her mind and heart. The girls are doing a great job as the birds. There's a wonderful dance sequence with the birds and Tigerlily that was choreographed by Carol Johnk. It's an important moment for Tigerlily in the play and I'm really happy with how it turned out. So which of the stories is your favorite?
Matt: Oh, I’m not picking favorites – they’re all great! I will say that the moose scene makes me laugh every time I see it. James Anderson and Mark Nidey portray the moose and they are hilarious. But I also love the Eros-Psyche scene. We have two veterans in that scene – Brad Quinn and Elizabeth Breed. Their scene really shows off the majesty of the Iowa landscape. And the fairy scene is great…and the gypsy scene…and the pond scene…
Okay, I get it. No favorites. What has it been like creating a show in an outdoor setting?
Matt: There’s been a lot of unexpected challenges. There are a bunch of animals on the farm who have been, well, loud. In a traditional show, you’re not really expecting to hear a sheep bleat right in the middle of a scene. And then there’s the sun. Oh my gosh, it’s been hot. And humid. We’ve been drinking lots and lots of water. The cast has been great though in dealing with all of that. And you know, I think it’s all going to be worth it. Creating this show outside against the Iowa landscape… well let’s just say our set designer is pretty amazing.
How does this show fit with Dreamwell's mission of exploration?
Matt: We have done so much exploring with this
show. From the collaborative writing process to the unique location to creating roles in the show for children, which is not something Dreamwell is known for at all, it's been one new experience after another. I have to say I feel very fortunate that the Dreamwell Board took a chance on this show. They had no script when they committed to the project. All they had were my ideas and my promise to make it happen. I hope this becomes a regular thing that we do - ask a writer to create a show specifically for our theatre. I'd love to see more original work done in this manner. Are you worried about the weather?
Matt: Can't worry about it. If it rains too much, we'll cancel, but hopefully things will work out. We do have two rain dates set up. Sunday, July 17 and Sunday July 24 at 2 pm. With luck, we won't need them.
Any last words?
Matt: I hope people check this show out. It'll be a truly unique experience. Theatre on a farm! Don't miss it.
Reserve your tickets at www.dreamwell.com. Tickets also available at the door.
(Photos by Carol Grow Johnk)
Tuesday, July 12, 2011
Honk! needs one more actor
Iowa City - The Iowa City Community Theatre production of Honk! is looking for one more actor to complete the cast. They need a 40+ male (or a male who can play 40+), who is a strong solo singer, to play two roles, Drake, the Ugly Duckling's father, and Greylag, a goose with delusions of Patton. Any interested parties can e-mail the director, Jeff Mead, at jeffinic@hotmail.com or call 319-400-4142.
Monday, July 11, 2011
Guys and Dolls Entertains from Beginning to End
by Sarah Jarmon
Cedar Rapids - I had a rough week, so when
Friday night came around, I was exhausted. I was cranky, worn out, and just a little bit bitter about life in general. But I had a commitment to review Theatre Cedar Rapids' production of Guys and Dolls, and I keep my commitments. I have never been more glad that this is the case.
I was a little concerned going in that due to my terrible mood I might be too hard on the show. I might find myself less forgiving or overly critical. The fact of the matter was however, they gave me very little to criticize.
From the moment the overture began and the lights dimmed on that brilliant red curtain, my troubles seemed to melt away. The curtain rose on a tableau of vibrantly colored characters on a darkly attractive set. The music, reminiscent of classic Broadway, had me tapping my toes and fighting the urge to dance in my seat.
Fugue for Tinhorns, the first song, sung by Nicely Nicely (Zach Parker), Benny (Stephen Brandt), and Rusty (Jeff Parry) opened the action of the play with punctuated choreography and a delightful harmony. The audience, as one, lit up for what was undoubtedly going to be a show that knocked our socks off. And we were not disappointed.
Now I am not, in general, a musical kind of girl. I have, on occasion, earned myself the title of theatre snob. Usually, I feel that straight plays offer better acting and more interesting staging than musicals do. TCR's Guys and Dolls either proved the exception to that belief, or broke it entirely.
Mary Rinderspacher was absolutely delightful as Miss Sarah Brown. Her sweetly pious nature and indomitable spirit made me root for her from the moment I first saw her standing on her soap box. Her physicality, from the purposeful way she moved across the stage to the indignant slap she gave Sky after he kissed her, was childlike and adorable enough to make you feel protective of her, but never came across as weak. And during I'll Know, when we were first graced with the full beauty of her breathtaking soprano, everyone in the theater fell in love with her. During Marry the Man Today, her duet with Heather Akers, her airy tones blended with Heather's more tinny sound in a uniquely wonderful way. She took the stage and shared the stage in equal measures and was an absolute joy to watch.
Sky Masterson, played by seasoned performer Trevor Debth, masterfully grew from a smarmy scoundrel to a love-struck gentlemen without ever seeming disingenuous or forced. Though he was manipulative, you couldn't help but like him, maybe because he never claimed to be a good guy. His relationship with Sarah, and his strange friendship with the charmingly corrupt Nathan Detroit, played by Jonathan Swenson, made you believe that people can change, but you can bet that they're doin' it for some doll.
Nathan Detroit's doll, Miss Adelaid, was played by the singular Heather Akers, whose
enchantingly batty portrayal put me to mind of a blond Betty Boop. Sexy, dippy, and darling, you understand why Nathan's in love with the dame. And when she gets together with her Hot Box Girls the stunning dance routines and slightly off color jokes that resulted were pure entertainment. From these energetic numbers to the slower, Adelaide's Lament, I could not keep my eyes off her.
This is definitely an ensemble show, and everyone in it shines. Guys and dolls alike hit every note and step of the familiar songs and dazzling choreography with pizzazz. The guys, offering cartoonish villains like John Ryal as the endearingly ominous Big Jule, are hilarious. The dolls drip with glamour and talent. Even the Mission Band is spot on, most notably Gene Whiteman, who received possibly the longest and loudest applause of the evening at the end of his undeniably touching rendition of More I Cannot Wish You. When the last beautiful note of his song left the air, there were quite a few people discreetly wiping their eyes.
But the actors were not the only stars in this play. The set was gorgeous. Upon first glance it seemed clean and simple, but scene after scene it afforded the actors with several different locations to play in. It opened and moved and changed completely with the slightest adjustment. Only one scene change was off, when a rotating booth on the upper level had a locking mechanism that seemed to stick. It was fixed almost immediately however and didn't really take away from the show. The walls were dressed with the classic Coca-Cola sign, and other lighted advertisements that gave the whole thing that big city feel without overwhelming the characters. Nooks and crannies came into view only when an actor unexpectedly emerged from it. Which happened quite often. The actors found every level available and used the set magnificently.
There was possibly one missed opportunity. During the second night of the floating crap game, when the guys have relocated to an underground venue, Sky goes down through the trapdoor to find them. As he descends the set is transformed by pipes and a ladder lowering onto the stage to take us into the sewers with him. A fantastic dance takes place during The Crapshooter's Ballet where all kinds of technically amazing steps portray the wonder of gambling and winning. I waited with baited breath for Sky to come down the ladder that had descended. Sadly I was disappointed. He entered from a side door on the highest platform on the set, but as that ladder had come down I really, really wanted him to use it. Of course I forgot this minor disappointment the moment he launched into Luck Be A Lady. The staging of this crowd favorite lent us a a sense of tension that built to a crescendo throughout the song, even for those of us who knew how the dice came out.
The lighting was elegant and attractive, casting bright highlights and interesting shadows that emphasized the lush, evocative costumes from Joni Sackett's designs. Purples, reds, oranges, and other vivid colors splashed all over without ever being garish or overwhelming. And the direction ensured that this show, which I am told is quite long, flew by. The timing was perfect. When it ended, to a standing ovation, I am sure I wasn't the only one who wished there was more to see.
Thoroughly entertaining from beginning to end, this is not a show to miss. TCR's Guys and Dolls reminds me why we go to the theatre. We go to forget our own lives, to laugh, to cry, to see a story that unfolds and makes us believe again that everything can turn out right. I could really go on and on about this performance, but I always hate it when someone gives away the best parts of a show, so suffice it to say, buy yourself a ticket for next weekend today and thank me later.
Cedar Rapids - I had a rough week, so when
Friday night came around, I was exhausted. I was cranky, worn out, and just a little bit bitter about life in general. But I had a commitment to review Theatre Cedar Rapids' production of Guys and Dolls, and I keep my commitments. I have never been more glad that this is the case. I was a little concerned going in that due to my terrible mood I might be too hard on the show. I might find myself less forgiving or overly critical. The fact of the matter was however, they gave me very little to criticize.
From the moment the overture began and the lights dimmed on that brilliant red curtain, my troubles seemed to melt away. The curtain rose on a tableau of vibrantly colored characters on a darkly attractive set. The music, reminiscent of classic Broadway, had me tapping my toes and fighting the urge to dance in my seat.
Fugue for Tinhorns, the first song, sung by Nicely Nicely (Zach Parker), Benny (Stephen Brandt), and Rusty (Jeff Parry) opened the action of the play with punctuated choreography and a delightful harmony. The audience, as one, lit up for what was undoubtedly going to be a show that knocked our socks off. And we were not disappointed.
Now I am not, in general, a musical kind of girl. I have, on occasion, earned myself the title of theatre snob. Usually, I feel that straight plays offer better acting and more interesting staging than musicals do. TCR's Guys and Dolls either proved the exception to that belief, or broke it entirely.
Mary Rinderspacher was absolutely delightful as Miss Sarah Brown. Her sweetly pious nature and indomitable spirit made me root for her from the moment I first saw her standing on her soap box. Her physicality, from the purposeful way she moved across the stage to the indignant slap she gave Sky after he kissed her, was childlike and adorable enough to make you feel protective of her, but never came across as weak. And during I'll Know, when we were first graced with the full beauty of her breathtaking soprano, everyone in the theater fell in love with her. During Marry the Man Today, her duet with Heather Akers, her airy tones blended with Heather's more tinny sound in a uniquely wonderful way. She took the stage and shared the stage in equal measures and was an absolute joy to watch.
Sky Masterson, played by seasoned performer Trevor Debth, masterfully grew from a smarmy scoundrel to a love-struck gentlemen without ever seeming disingenuous or forced. Though he was manipulative, you couldn't help but like him, maybe because he never claimed to be a good guy. His relationship with Sarah, and his strange friendship with the charmingly corrupt Nathan Detroit, played by Jonathan Swenson, made you believe that people can change, but you can bet that they're doin' it for some doll.
Nathan Detroit's doll, Miss Adelaid, was played by the singular Heather Akers, whose
enchantingly batty portrayal put me to mind of a blond Betty Boop. Sexy, dippy, and darling, you understand why Nathan's in love with the dame. And when she gets together with her Hot Box Girls the stunning dance routines and slightly off color jokes that resulted were pure entertainment. From these energetic numbers to the slower, Adelaide's Lament, I could not keep my eyes off her.This is definitely an ensemble show, and everyone in it shines. Guys and dolls alike hit every note and step of the familiar songs and dazzling choreography with pizzazz. The guys, offering cartoonish villains like John Ryal as the endearingly ominous Big Jule, are hilarious. The dolls drip with glamour and talent. Even the Mission Band is spot on, most notably Gene Whiteman, who received possibly the longest and loudest applause of the evening at the end of his undeniably touching rendition of More I Cannot Wish You. When the last beautiful note of his song left the air, there were quite a few people discreetly wiping their eyes.
But the actors were not the only stars in this play. The set was gorgeous. Upon first glance it seemed clean and simple, but scene after scene it afforded the actors with several different locations to play in. It opened and moved and changed completely with the slightest adjustment. Only one scene change was off, when a rotating booth on the upper level had a locking mechanism that seemed to stick. It was fixed almost immediately however and didn't really take away from the show. The walls were dressed with the classic Coca-Cola sign, and other lighted advertisements that gave the whole thing that big city feel without overwhelming the characters. Nooks and crannies came into view only when an actor unexpectedly emerged from it. Which happened quite often. The actors found every level available and used the set magnificently.
There was possibly one missed opportunity. During the second night of the floating crap game, when the guys have relocated to an underground venue, Sky goes down through the trapdoor to find them. As he descends the set is transformed by pipes and a ladder lowering onto the stage to take us into the sewers with him. A fantastic dance takes place during The Crapshooter's Ballet where all kinds of technically amazing steps portray the wonder of gambling and winning. I waited with baited breath for Sky to come down the ladder that had descended. Sadly I was disappointed. He entered from a side door on the highest platform on the set, but as that ladder had come down I really, really wanted him to use it. Of course I forgot this minor disappointment the moment he launched into Luck Be A Lady. The staging of this crowd favorite lent us a a sense of tension that built to a crescendo throughout the song, even for those of us who knew how the dice came out.
The lighting was elegant and attractive, casting bright highlights and interesting shadows that emphasized the lush, evocative costumes from Joni Sackett's designs. Purples, reds, oranges, and other vivid colors splashed all over without ever being garish or overwhelming. And the direction ensured that this show, which I am told is quite long, flew by. The timing was perfect. When it ended, to a standing ovation, I am sure I wasn't the only one who wished there was more to see.
Thoroughly entertaining from beginning to end, this is not a show to miss. TCR's Guys and Dolls reminds me why we go to the theatre. We go to forget our own lives, to laugh, to cry, to see a story that unfolds and makes us believe again that everything can turn out right. I could really go on and on about this performance, but I always hate it when someone gives away the best parts of a show, so suffice it to say, buy yourself a ticket for next weekend today and thank me later.
Friday, July 8, 2011
Queen of Bingo filled with fun
by Meghan D'Souza
Amana - Generally, my idea of a good time would not be watching two ladies play Bingo. However, Krista Neumann and Marquetta Senters took a play based on this very idea and turned it into a fun-filled afternoon in The Queen of Bingo.
The set of the Old Creamery Theatre show was simple, with the ladies facing the audience from behind a card table set up just how you'd imagine they'd be at a church Bingo function. On the right, Neumann had a portable fan and variety of good luck knick-knacks including an 8-Ball. On the left, Senters emptied her pink bag full of good luck trolls in a specific order. They sat on chairs with brightly colored cushions under window panes and a sign pointing to the Boys Locker Room.
What made this play unique was not only the topic of Bingo, but how the actresses, playing sisters, kept the audience engaged and related Bingo to their personal lives. Instead of feeling like we were watching two people on stage, the energized twosome welcomed us into their world, making it feel like we were all a large group of friends sharing an experience. They gossiped about acquaintances and revealed
secrets about what playing Bingo really means to them. It isn't just a game.
Neumann pulled the audience in with her soft, but excited approach to the game and her surroundings. Senters exuded a bubbly persona the moment she stepped on stage, leaving the audience giggling with even the tiniest change in body language.
The talent shown with the strong bond between the two actresses, the great comedic timing, and the different look at the game of Bingo makes this play a must-see this summer.
Amana - Generally, my idea of a good time would not be watching two ladies play Bingo. However, Krista Neumann and Marquetta Senters took a play based on this very idea and turned it into a fun-filled afternoon in The Queen of Bingo.
The set of the Old Creamery Theatre show was simple, with the ladies facing the audience from behind a card table set up just how you'd imagine they'd be at a church Bingo function. On the right, Neumann had a portable fan and variety of good luck knick-knacks including an 8-Ball. On the left, Senters emptied her pink bag full of good luck trolls in a specific order. They sat on chairs with brightly colored cushions under window panes and a sign pointing to the Boys Locker Room.
What made this play unique was not only the topic of Bingo, but how the actresses, playing sisters, kept the audience engaged and related Bingo to their personal lives. Instead of feeling like we were watching two people on stage, the energized twosome welcomed us into their world, making it feel like we were all a large group of friends sharing an experience. They gossiped about acquaintances and revealed
secrets about what playing Bingo really means to them. It isn't just a game.
Neumann pulled the audience in with her soft, but excited approach to the game and her surroundings. Senters exuded a bubbly persona the moment she stepped on stage, leaving the audience giggling with even the tiniest change in body language.
The talent shown with the strong bond between the two actresses, the great comedic timing, and the different look at the game of Bingo makes this play a must-see this summer.
Prepare to Skirmish!
Iowa City - Dreamwell Theatre announces a contest 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. The deadline is November 1, 2011.
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. We judge scripts anonymously.
- Mail submissions to Dreamwell Theatre, Writers Skirmish, PO Box 2903, Iowa City IA 52244
- Manuscripts will not be returned.
- Entry must be postmarked November 1, 2011.
For more information, email joust@dreamwell.com.
Thursday, July 7, 2011
Dreamwell presents world premiere of Soldier's Daughter
Iowa City — Dreamwell Theatre concludes its "War and Consequences" season with a touching original tale of a soldier's connection with his daughter, written by members of the Black Doggers playwriting group and directed by Matthew Falduto, co-founder of Dreamwell Theatre and original member of the Black Doggers.13-year old Tigerlily is waiting for her dad to return from the latest of many deployments to Afghanistan. She prays his homecoming will be for good this time. Asleep on the porch of her farmhouse, she wakes to her dream come true – her father stands before her and takes her on a "story walk" around their farm, a special tradition between the two of them. At each location on the farm, a new story unfolds. But, something is different this time and, as the walk progresses, Tigerlily realizes her future may never be the same.
Tigerlily's story is staged on a working farm, where the audience will promenade from one unique location to another, against the absorbing beauty of the Iowa landscape.
"I've loved creating this show on the farm," said Falduto. "And I was surprised at how close to Iowa City it is. It's very convenient."
During the writing process, each playwright was tasked to write a story about an aspect of humanity, such as jealousy or courage, and a location at the Country Camp farm, such as the pond or pirate ship. From these assignments came the stories Tigerlily (and the audience) hears and sees on her story walk.
"It's been really cool to see how everything connects," says writer Brian Tanner, who also plays the Soldier/Dad in the show, "and to actually be a part of it out on the farm makes for an immersive experience that I think will really touch people."
The show runs July 15, 16, 22, 23 at 7:00 p.m. (note that's a half hour earlier than usual Dreamwell shows.) The location is Country Camp, 3418 Osage St. SW, Iowa City, Iowa. Audience is encouraged to bring a lawn chair or a blanket. For tickets, call 319-541-0140 or go here.
(Photos by Carol Grow Johnk.)
Guys and Dolls Opens Tomorrow
Cedar Rapids - Theatre Cedar Rapids presents its final show of the 2010-11 season this weekend, offering the classic musical Guys and Dolls. This show soars with the spirit of Broadway as it introduces us to a cast of vivid characters: Sarah Brown, the upright but uptight “mission doll”; Sky Masterson, the slick, high‑rolling gambler who woos her on a bet and ends up falling in love; Adelaide, the chronically ill nightclub performer who’s been engaged to the same man for 14 years; and Nathan Detroit, her devoted fiancé, desperate as always to find a spot for a game. The book is by Jo Swerling and Abe Burrows, the music & lyrics are by Frank Loesser, and the show is based on The Idyll of Sarah Brown and characters by Damon Runyon.The cast boasts a plethora of TCR veterans, from Trevor Debth (The Producers) as Sky Masterson to Jonathan Swenson (Annie) as Nathan Detroit. Mary Rinderspacher and Heather Akers play Miss Adelaide and Sarah Brown respectively. Check out thhttp://www2.blogger.com/img/blank.gife preview video:
And for this opening weekend only, there is a two for one ticket sale. Go here for more information. The show runs through July 30th. All the information is here.
Photo by Trevor Debth.
Wednesday, July 6, 2011
The Queen of Bingo returns
Amana – It’s back for those who missed it in 2009 and for those who just want to see it again. Sisters Sis and Babe might not agree on much, but they both know there’s nothing quite like the thrill of being able to yell BINGO! Join them and share the excitement of a good round or two during The Old Creamery Theatre’s production of The Queen of Bingo. Written by Jeanne Michels and Phyllis Murphy, the show opens Thursday, July 7 at 3 p.m. on The Old Creamery’s Studio Stage in Middle Amana. The cast consists of Marquetta Senters of South Amana, Ian Zahren, also of South Amana and Krista Neumann of Iowa City. Directed by Nicholas Hodge, the play runs through July 24. Tickets are $27 for adults and $17.50 for students. Show times are Thursdays and Sundays at 3 p.m. and Fridays and Saturdays at 7:30 p.m. http://www2.blogger.com/img/blank.gif
Although walk-ins are always welcome if seats are still available, reservations are highly recommended. For more information, go here.
Tuesday, July 5, 2011
Audition Workshop for Hairspray tomorrow
Coralville - City Circle Acting Company of Coralville will offer a free Singing Audition Workshop in preparation for their production of Hairspray.
The free audition workshop will give actors the opportunity to practice their audition piece and get feedback from the production team. The focus of the workshop is to rehearse an audition song with a live accompaniment. Each participant will be able to sing a portion of their audition song and receive individual coaching.
The singing workshop will be held Wednesday, July 6, at the Coralville Public Library. There will be two sessions, one at 6:30pm and one at 7:30pm. Actors may attend either session and are asked to bring sheet music for the song they plan to perform at the audition. If they have not selected a song, they will be given assistance at the workshop.
Participation in the workshop is not a requirement for auditions. Auditions will be held Saturday, July 9, from 10am to 4pm at the Coralville Public Library. Actors are asked to email hairsprayproduction@gmail.com to schedule an audition appointment. Actors should prepare 16 bars of a 1960s pop song and bring sheet music; an accompanist will be provided. Actors without a prepared song will be given a song to sing at the audition. More information and role descriptions can be found here.
Hairspray will be the first production held in the brand-new Coralville Center for the Performing Arts. The hit Broadway musical inspired a major motion picture and won eight 2003 Tony Awards, including Best Musical. The production will feature a large, diverse cast of actors, singers and dancers and will debut the new theater being built in Coralville. The show will be directed by Chad Larabee, with choreography by Leslie Nolte and musical direction by Kent Keating. Hairspray will be performed September 9-18, 2011.
The free audition workshop will give actors the opportunity to practice their audition piece and get feedback from the production team. The focus of the workshop is to rehearse an audition song with a live accompaniment. Each participant will be able to sing a portion of their audition song and receive individual coaching.
The singing workshop will be held Wednesday, July 6, at the Coralville Public Library. There will be two sessions, one at 6:30pm and one at 7:30pm. Actors may attend either session and are asked to bring sheet music for the song they plan to perform at the audition. If they have not selected a song, they will be given assistance at the workshop.
Participation in the workshop is not a requirement for auditions. Auditions will be held Saturday, July 9, from 10am to 4pm at the Coralville Public Library. Actors are asked to email hairsprayproduction@gmail.com to schedule an audition appointment. Actors should prepare 16 bars of a 1960s pop song and bring sheet music; an accompanist will be provided. Actors without a prepared song will be given a song to sing at the audition. More information and role descriptions can be found here.
Hairspray will be the first production held in the brand-new Coralville Center for the Performing Arts. The hit Broadway musical inspired a major motion picture and won eight 2003 Tony Awards, including Best Musical. The production will feature a large, diverse cast of actors, singers and dancers and will debut the new theater being built in Coralville. The show will be directed by Chad Larabee, with choreography by Leslie Nolte and musical direction by Kent Keating. Hairspray will be performed September 9-18, 2011.
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