3 Brothers - 3 Brothers Theatre are letting their inner bad boys out with Men Misbehaving, beginning Friday at 7:30pm at the Paul Engle Center for Neighborhood Arts in Cedar Rapids.
Men Misbehaving is, according to 3 Brothers artistic director Josh Beadle, "rude, crude, crass, and not for the faint of heart. No subject is taboo for these guys. An entire show of dudes letting loose and letting people have it. But just so you don't get the wrong impression, no matter how much these men misbehave, they get their due!"
Rick Adams, Nick Ostrem, Justin Mangrich, and Sean Curphey will perform. Tickets are $10 and can be purchased by calling 319.621.0024 or e-mailing 3brotherstheatre@gmail.com.
Men Misbehaving opens in Cedar Rapids for the first weekend, then moves to Iowa City (at Public Space one) for the weekend of February 10-12. Showtimes are 7:30pm Fridays and Saturdays, 2pm Sundays.
Want to contribute reviews or articles?
Contact us at ictheatreblog@gmail.com.
Monday, January 30, 2012
Murder Rides Again Opens February 3
Old Creamery - Saddle up and ride out to the Ox Yoke Inn this weekend to see Murder Rides Again, Old Creamery's wild-west murder mystery dinner.
Murder Rides Again features Ian Zahren, Sean McCall, Amber Snyder, Deborah Kennedy, Nicholas Hodge and Jackie McCall. It is written by James Daab.
Show dates are Fridays, Saturdays and Sundays Feb. 3 through 19; Tuesday, Feb. 14; Saturday, Feb. 25 and Saturday, March 3. All shows begin at 6 p.m. with seating opening at 5:30 p.m. Tickets are $45 including dinner and show. Call the Ox Yoke Inn for reservations at 800-233-3441.
Murder Rides Again is sponsored by City Revealed Dining Guide.
Murder Rides Again features Ian Zahren, Sean McCall, Amber Snyder, Deborah Kennedy, Nicholas Hodge and Jackie McCall. It is written by James Daab.
Show dates are Fridays, Saturdays and Sundays Feb. 3 through 19; Tuesday, Feb. 14; Saturday, Feb. 25 and Saturday, March 3. All shows begin at 6 p.m. with seating opening at 5:30 p.m. Tickets are $45 including dinner and show. Call the Ox Yoke Inn for reservations at 800-233-3441.
Murder Rides Again is sponsored by City Revealed Dining Guide.
Saturday, January 28, 2012
Earnest Is Seriously Funny
by James E. Trainor III
TCR - Jack and Algernon are two friends who are quickly learning that they have more in common than they suspected. Jack has slipped up and allowed Algernon to discover his imaginary brother Earnest, whom he uses as an excuse to go to the city whenever he likes. Algernon has decided to reveal to Jack the secret of his fictional friend Bunbury, whom he uses as a pretext to visit the country on a moment's notice. Thess little secrets would probably remain between the two men if matters of the heart weren't complicating things: Jack is attempting to court Algernon's cousin Gwendolen in the city, and Algernon visits the country in order to woo Jack's ward Cecily.
It is with this cleverly convoluted setup that Oscar Wilde begins his most successful play — a witty, biting portrayal of late Victorian society entitled The Importance of Being Earnest. TCR's production opened last night, under the direction of Leslie Charipar.
The text is full of the clever one-liners for which Wilde is known, but at the same it is paced quite well and plotted precisely. In order to manage their marriages, Jack and Algernon must not only clear up the issue of their false identities, but they must also contend with Lady Bracknell, the draconian guardian of Victorian mores. Bracknell is a wonderful creation: sharp-tongued, cynical, and maddeningly rational in defense of her irrational ideals. As a piece of satire, she hits the nail on the head and is instantly familiar. "She is a monster, without being a myth, which is rather unfair,' says Jack.
Bracknell's rigid social rules are ridiculous: invalids must hurry up and decide whether or not they're going to die, an orphan can be excused losing one parent but certainly not two, and marriage is far too important an institution to be left up to the two young people involved in it.
The principals inhabit this world of hypocrisy and cynicism as well. Jack and Algernon are excessively genial until they start courting each others' family members, and Cecily and Gwendelon express boundless affection for each other, while they sublimate their rage into a bitter dispute over the tea setting. It is all done in a style of high farce that is great fun.
Charipar understands the vicious social environment of the play quite well, and her casting and staging underline the power struggles and create tension, energy, and a lot of laughter. Scott Olinger's set is open, airy, and picturesque. It's very effective, though the change from city to country does seem to go on a bit. Joni Sackett's costumes and Derek Easton's lighting create a pleasant, sophisticated environment for these entertaining but ultimately petty characters. Care is taken to create a physical world for the actors to bring to life. One image near the end stands out as an example of this unity of elements: Jack, who is preparing to out Algernon, turns from the window, trots smugly down the stairs, dapper in his white coat and tails, and reveals the worst of Algernon's ghastly behavior: he ate all the muffins.
It is satire at its best -- sharply critical and gleefully unapologetic -- and the company delivers it well. Aaron Murphy plays Algernon with wit and ease; he seems perfectly at home in the altogether silly world he inhabits. Alex Williams plays Jack with desperate energy, driving home the scenework with powerful but precise strokes. The two work well together, and the scenes in which they spar are as delightful as the scenes in which they frantically work together.
Hannah Spina is simply adorable as Cecily. Her character is ludicrously childish and vain, filled to the brim with youthful vigor. The way she interacts with Miss Prism is priceless. The way she runs Algie in circles and cautiously sizes up Gwendolen shows a range of skill. She is able to turn on a dime, and never afraid to commit herself fully to a bit. Comic acting of this caliber is always a joy to watch.
Angela Meisterling Billman, as Gwendolen, is the reserved, sophisticated counter to Spina's bubbly country girl. Her vocal energy is excellent, and she plays scenes with a subtlety and an intensity that fit right into the mix. With Williams she is charming, and the barely contained sexual tension is hilarious. With Spina she is sharp and sarcastic, and the supposedly civil conversation between the two ladies is quite entertaining.
Cherryl Moon Thomason plays the immortal Lady Bracknell, and she does so with grace and precision. Thomason knows exactly how to effectively portray power onstage, and she adds a great deal of tension and energy to every scene she inhabits.
The rest of the company consists of Marty Norton (who plays Miss Prism, the flighty and overbearing tutor to Cecily), Jim Kern (who plays Reverend Chasuble, the learned but lecherous country preacher), and Scott Humeston (who plays all the servants). These performances are delivered with the skill and care you'd expect from TCR veterans, but Humeston's Merriman was a little perplexing.
The old servant plods on and off stage in an exaggerated manner and speaks in a barely intelligible way. Apparently he's had a stroke; exactly what is going on is unclear, but what does happen is that every time he comes on or off, the "pause" button is pressed on the plot. A bit of physical comedy as a palate-cleanser to a couple of hours of verbal sparring is completely understandable, but the timing here seems oddly inexpert. Humeston's slow, staggering (and staggeringly slow) entrance interrupts the rising tension of the fast-paced dispute between Cecily and Gwendolen, steals focus from the principals, and drains quite a bit of energy from a really engaging scene. Lady Bracknell's game-changing entrance later is similarly upstaged. The performance is quite good, but the absurd physicality of the choice seems disruptive. Humeston's reserved butler Lane and his rustic gardener Moulton are a bit subtler, and are quite funny.
Overall, though, if you're a fan of Wilde, you cannot miss this play. It's an excellent example of skilled artists faithfully producing a timeless script. If you've never heard of this Oscar Wilde fellow, this is a great opportunity to see what all the fuss is about. I cannot overstress the importance of seeing Earnest.
The Importance of Being Earnest runs through February 18th on the mainstage at TCR. Performances are at 7:30pm (2:30pm on Sundays). Tickets here.
TCR - Jack and Algernon are two friends who are quickly learning that they have more in common than they suspected. Jack has slipped up and allowed Algernon to discover his imaginary brother Earnest, whom he uses as an excuse to go to the city whenever he likes. Algernon has decided to reveal to Jack the secret of his fictional friend Bunbury, whom he uses as a pretext to visit the country on a moment's notice. Thess little secrets would probably remain between the two men if matters of the heart weren't complicating things: Jack is attempting to court Algernon's cousin Gwendolen in the city, and Algernon visits the country in order to woo Jack's ward Cecily.
It is with this cleverly convoluted setup that Oscar Wilde begins his most successful play — a witty, biting portrayal of late Victorian society entitled The Importance of Being Earnest. TCR's production opened last night, under the direction of Leslie Charipar.
The text is full of the clever one-liners for which Wilde is known, but at the same it is paced quite well and plotted precisely. In order to manage their marriages, Jack and Algernon must not only clear up the issue of their false identities, but they must also contend with Lady Bracknell, the draconian guardian of Victorian mores. Bracknell is a wonderful creation: sharp-tongued, cynical, and maddeningly rational in defense of her irrational ideals. As a piece of satire, she hits the nail on the head and is instantly familiar. "She is a monster, without being a myth, which is rather unfair,' says Jack.
Bracknell's rigid social rules are ridiculous: invalids must hurry up and decide whether or not they're going to die, an orphan can be excused losing one parent but certainly not two, and marriage is far too important an institution to be left up to the two young people involved in it.
The principals inhabit this world of hypocrisy and cynicism as well. Jack and Algernon are excessively genial until they start courting each others' family members, and Cecily and Gwendelon express boundless affection for each other, while they sublimate their rage into a bitter dispute over the tea setting. It is all done in a style of high farce that is great fun.
Charipar understands the vicious social environment of the play quite well, and her casting and staging underline the power struggles and create tension, energy, and a lot of laughter. Scott Olinger's set is open, airy, and picturesque. It's very effective, though the change from city to country does seem to go on a bit. Joni Sackett's costumes and Derek Easton's lighting create a pleasant, sophisticated environment for these entertaining but ultimately petty characters. Care is taken to create a physical world for the actors to bring to life. One image near the end stands out as an example of this unity of elements: Jack, who is preparing to out Algernon, turns from the window, trots smugly down the stairs, dapper in his white coat and tails, and reveals the worst of Algernon's ghastly behavior: he ate all the muffins.
It is satire at its best -- sharply critical and gleefully unapologetic -- and the company delivers it well. Aaron Murphy plays Algernon with wit and ease; he seems perfectly at home in the altogether silly world he inhabits. Alex Williams plays Jack with desperate energy, driving home the scenework with powerful but precise strokes. The two work well together, and the scenes in which they spar are as delightful as the scenes in which they frantically work together.
Hannah Spina is simply adorable as Cecily. Her character is ludicrously childish and vain, filled to the brim with youthful vigor. The way she interacts with Miss Prism is priceless. The way she runs Algie in circles and cautiously sizes up Gwendolen shows a range of skill. She is able to turn on a dime, and never afraid to commit herself fully to a bit. Comic acting of this caliber is always a joy to watch.
Angela Meisterling Billman, as Gwendolen, is the reserved, sophisticated counter to Spina's bubbly country girl. Her vocal energy is excellent, and she plays scenes with a subtlety and an intensity that fit right into the mix. With Williams she is charming, and the barely contained sexual tension is hilarious. With Spina she is sharp and sarcastic, and the supposedly civil conversation between the two ladies is quite entertaining.
Cherryl Moon Thomason plays the immortal Lady Bracknell, and she does so with grace and precision. Thomason knows exactly how to effectively portray power onstage, and she adds a great deal of tension and energy to every scene she inhabits.
The rest of the company consists of Marty Norton (who plays Miss Prism, the flighty and overbearing tutor to Cecily), Jim Kern (who plays Reverend Chasuble, the learned but lecherous country preacher), and Scott Humeston (who plays all the servants). These performances are delivered with the skill and care you'd expect from TCR veterans, but Humeston's Merriman was a little perplexing.
The old servant plods on and off stage in an exaggerated manner and speaks in a barely intelligible way. Apparently he's had a stroke; exactly what is going on is unclear, but what does happen is that every time he comes on or off, the "pause" button is pressed on the plot. A bit of physical comedy as a palate-cleanser to a couple of hours of verbal sparring is completely understandable, but the timing here seems oddly inexpert. Humeston's slow, staggering (and staggeringly slow) entrance interrupts the rising tension of the fast-paced dispute between Cecily and Gwendolen, steals focus from the principals, and drains quite a bit of energy from a really engaging scene. Lady Bracknell's game-changing entrance later is similarly upstaged. The performance is quite good, but the absurd physicality of the choice seems disruptive. Humeston's reserved butler Lane and his rustic gardener Moulton are a bit subtler, and are quite funny.
Overall, though, if you're a fan of Wilde, you cannot miss this play. It's an excellent example of skilled artists faithfully producing a timeless script. If you've never heard of this Oscar Wilde fellow, this is a great opportunity to see what all the fuss is about. I cannot overstress the importance of seeing Earnest.
The Importance of Being Earnest runs through February 18th on the mainstage at TCR. Performances are at 7:30pm (2:30pm on Sundays). Tickets here.
Friday, January 27, 2012
Auditions for Hospice Benefit Show
Young Footlighters - Auditions will be held tomorrow for a Hospice benefit to be performed at the Coralville Center for the Performing Arts on March 9th and 10th.
Auditions run from 1pm to 5pm at the Austin Burke location by Von Maur in the Sycamore Mall.
The show is called “Under The Community BigTop: A Musical Entertainment for Iowa City Hospice”. Keyboard accompaniment will be provided.
Auditions run from 1pm to 5pm at the Austin Burke location by Von Maur in the Sycamore Mall.
The show is called “Under The Community BigTop: A Musical Entertainment for Iowa City Hospice”. Keyboard accompaniment will be provided.
Thursday, January 26, 2012
Auditions for Baby With the Bathwater
Dreamwell - Auditions for Baby With the Bathwater will be held February 11th at 7pm in Meeting Room D of the Iowa City Public Library, and again on February 13th at 2pm in Meeting Room A.
Baby With the Bathwater is a comedy about the emotionally crippling effects of bad parenting. Performances begin April 20th. Rachael Lindhart directs.
Cast needs are as follows:
2 Men: John, the father, going from his mid 20s to mid 50s--an addictive personality.
Daisy, the child--portrayed from infancy to toddler offstage; we first see him fully as a 17-year old and follow him through his 30th birthday. He has been dressed as a girl until this time and that has played havoc with his psyche--to say the least. He is listed in the cast list as "The Young Man."
4 Women: Helen, the mother, also going from mid 20s to mid 50s--a would-be writer who admires Judtih Krantz very much.
Nanny: A crazy version of a child-rearing expert; she is in her mid to late 30s and then is about 65 when we see her at the end of the play.
Kate and the Principal: Kate is a concerned mother interacting with Daisy and Helen on the playground; the same actress will play the Principal who espouses the worst trends in modern education. Age can be variable, from 20s to 40s.
Angela and Miss Pringle: Angela is another mother interacting on the playground; again the same actress will play Miss Pringle, who is Daisy's concerned teacher. She is probably a bit younger than the Principal, but age can still vary from late 20s to late 30s.
Cynthia and Susan: Again, these roles are to be played by the same actress. These two characters are perhaps the most sympathetic in the play. Both are in their mid to late 20s. Cynthia is quite pregnant when we first see her but not so much later; she would probably make a good mother if she could solve some of life's practical problems. Susan, whom we meet late in the play, is also going to be a great mother--because she has reasoning faculties.
Rachael's Note: In the original production(s) the roles of Nanny, Kate, the Principal, Cynthia, Angela, Miss Pringle and Susan were all played by only two actresses. I intend to double the roles as above, adding two more actresses to the mix and, hopefully, giving sharper and more specific edges to these characters.
More information here.
Baby With the Bathwater is a comedy about the emotionally crippling effects of bad parenting. Performances begin April 20th. Rachael Lindhart directs.
Cast needs are as follows:
2 Men: John, the father, going from his mid 20s to mid 50s--an addictive personality.
Daisy, the child--portrayed from infancy to toddler offstage; we first see him fully as a 17-year old and follow him through his 30th birthday. He has been dressed as a girl until this time and that has played havoc with his psyche--to say the least. He is listed in the cast list as "The Young Man."
4 Women: Helen, the mother, also going from mid 20s to mid 50s--a would-be writer who admires Judtih Krantz very much.
Nanny: A crazy version of a child-rearing expert; she is in her mid to late 30s and then is about 65 when we see her at the end of the play.
Kate and the Principal: Kate is a concerned mother interacting with Daisy and Helen on the playground; the same actress will play the Principal who espouses the worst trends in modern education. Age can be variable, from 20s to 40s.
Angela and Miss Pringle: Angela is another mother interacting on the playground; again the same actress will play Miss Pringle, who is Daisy's concerned teacher. She is probably a bit younger than the Principal, but age can still vary from late 20s to late 30s.
Cynthia and Susan: Again, these roles are to be played by the same actress. These two characters are perhaps the most sympathetic in the play. Both are in their mid to late 20s. Cynthia is quite pregnant when we first see her but not so much later; she would probably make a good mother if she could solve some of life's practical problems. Susan, whom we meet late in the play, is also going to be a great mother--because she has reasoning faculties.
Rachael's Note: In the original production(s) the roles of Nanny, Kate, the Principal, Cynthia, Angela, Miss Pringle and Susan were all played by only two actresses. I intend to double the roles as above, adding two more actresses to the mix and, hopefully, giving sharper and more specific edges to these characters.
More information here.
Apprentice Auditions for Riverside Shakespeare Festival
Riverside Theatre - Auditions and interviews for Riverside's 2012 Shakespeare Festival apprentice company will be held February 4. Full-time apprenticeships are open to undergraduate, graduate students or others seeking a professional experience in the areas of acting, directing and stage management. Call Riverside at 319.338.7672 to set up an audition or interview.
The apprentice program contracts from May 15 - July 9 as Riverside rehearses and produces As You Like It and The Merchant of Venice in repertory. The program includes a $75/week stipend, housing for non-local interns, and weekly master classes. More information here.
The apprentice program contracts from May 15 - July 9 as Riverside rehearses and produces As You Like It and The Merchant of Venice in repertory. The program includes a $75/week stipend, housing for non-local interns, and weekly master classes. More information here.
Auditions for House of Wonders
ICCT - Auditions for Kate Aspengren's House of Wonders are being held January 30th and 31st at 6pm in the Room A of the Iowa City Public Library.
The show involves a an author struggling to write a book about her great aunt. Unfortunately, she knows nothing about her, so she decides to contact her through a Ouija board, and gets more than she bargains for. Cast needs are as follows:
Roles for 3 men: 1 (30′s) and 2 (40s+)
Roles for 5 women: 1 (20s), 2 (30′s), 1 (40′s), and 1 (50s+)
Voice over role
Performances begin March 23rd. More information here.
The show involves a an author struggling to write a book about her great aunt. Unfortunately, she knows nothing about her, so she decides to contact her through a Ouija board, and gets more than she bargains for. Cast needs are as follows:
Roles for 3 men: 1 (30′s) and 2 (40s+)
Roles for 5 women: 1 (20s), 2 (30′s), 1 (40′s), and 1 (50s+)
Voice over role
Performances begin March 23rd. More information here.
Wednesday, January 25, 2012
What Are You Doing This Weekend?
January's not quite over, and already we're waking up in pitch darkness, scraping ice off our windshields, and wondering if those New Year's resolutions are really going to stick. There's nothing quite like post-holiday blues, but luckily there's a great way to shake them...
... get out to the theatre!
Riverside Theatre is already breaking the ice with another side-splitting production of their popular comedy Guys on Ice: An Ice Fishing Musical Comedy. It's set in an ice-fishing shanty in Wisconsin, and is full of warm humor for the cold season. John Watkins, who plays Lloyd, calls it "a terrifically written show with fabulous music, a big heart, sidesplitting humor grounded in Ernie, Marvin and Lloyd's candid simplicity, and a halftime show where you can win prizes."
Or, if you're more comfortable sitting in a stately British Manor than being exposed to the elements, TCR's The Importance of Being Earnest might be more your speed. Just make sure your calling card has the right name printed on it; you wouldn't want to cause undue confusion.
Or, if student theatre is your cup of tea, the University of Iowa is presenting a brand-new play by Louisa Hill. It's called The Lord of the Underworld's Home for Unwed Mothers, and it's described as "a reimagining of the Demeter and Persephone myth set in the 1960s and 1990s that explores the politics of motherhood through a landscape of Catholicism, horticulture, and death metal."
And finally - included just for completeness as the tickets are already sold out - SPT has one more weekend of its hit music-and-comedy show at Brucemore, A Modern Salon. If you already have tickets, you're one of the lucky ones; congratulations, SPT and special guest Jeff Ircink, on a successful run!
Guys on Ice opened January 20th and runs until February 19th. Get tickets here.
The Importance of Being Earnest opens January 27th and runs until February 18th. Get tickets here.
The Lord of the Underworld's Home for Unwed Mothers opens January 27th and runs through January 29th at the UI Theatre Building (Theatre B). More information here.
... get out to the theatre!
Riverside Theatre is already breaking the ice with another side-splitting production of their popular comedy Guys on Ice: An Ice Fishing Musical Comedy. It's set in an ice-fishing shanty in Wisconsin, and is full of warm humor for the cold season. John Watkins, who plays Lloyd, calls it "a terrifically written show with fabulous music, a big heart, sidesplitting humor grounded in Ernie, Marvin and Lloyd's candid simplicity, and a halftime show where you can win prizes."
Or, if you're more comfortable sitting in a stately British Manor than being exposed to the elements, TCR's The Importance of Being Earnest might be more your speed. Just make sure your calling card has the right name printed on it; you wouldn't want to cause undue confusion.
Or, if student theatre is your cup of tea, the University of Iowa is presenting a brand-new play by Louisa Hill. It's called The Lord of the Underworld's Home for Unwed Mothers, and it's described as "a reimagining of the Demeter and Persephone myth set in the 1960s and 1990s that explores the politics of motherhood through a landscape of Catholicism, horticulture, and death metal."
And finally - included just for completeness as the tickets are already sold out - SPT has one more weekend of its hit music-and-comedy show at Brucemore, A Modern Salon. If you already have tickets, you're one of the lucky ones; congratulations, SPT and special guest Jeff Ircink, on a successful run!
Guys on Ice opened January 20th and runs until February 19th. Get tickets here.
The Importance of Being Earnest opens January 27th and runs until February 18th. Get tickets here.
The Lord of the Underworld's Home for Unwed Mothers opens January 27th and runs through January 29th at the UI Theatre Building (Theatre B). More information here.
Ch-ch-ch-changes...
Hi Iowa Theatre Blog readers,
I started this blog on September 5th, 2007. In the past four and a half years, I have really enjoyed bringing attention to so much of the exciting theatre done in our little part of Iowa. However, it's time for me to step away. I will no longer be the editor in chief of this blog. It's been a lot of fun, but I need a break.
I've been joined these last four years by a talented group of reviewers who have expressed their opinions in a distinctly Iowan way. I think our philosophy of reviewing was best summed up by actress Lorin Ditzler, who wrote on her blog a number of years ago:
"...the Iowa Theatre blog ... manages to be insightful and honest without ever being mean, because this is Iowa and that's how we roll."
How true and one of the reasons I love this state. So here's to being insightfully honest! Our reviewers have done a great job critiquing and praising the work of our theatre artists. Thank you, all.
One reviewer in particular has stood out, not just for his excellent writing, but also because of all of the work he has done as my partner behind the scenes here at the Iowa Theatre Blog: James Trainor. And so it is with great confidence that I announce that James will take over the reins of the Iowa Theatre Blog. I am still going to help out in a limited capacity, but James will be the driving force moving forward. Thank you, James!
Finally, a special thank you to you, the readers who have enjoyed this blog over the years. I have truly appreciated your support. I hope you will continue to support James and the blog as it transitions.
See you at the theatre!
Matt Falduto
I started this blog on September 5th, 2007. In the past four and a half years, I have really enjoyed bringing attention to so much of the exciting theatre done in our little part of Iowa. However, it's time for me to step away. I will no longer be the editor in chief of this blog. It's been a lot of fun, but I need a break.
I've been joined these last four years by a talented group of reviewers who have expressed their opinions in a distinctly Iowan way. I think our philosophy of reviewing was best summed up by actress Lorin Ditzler, who wrote on her blog a number of years ago:
"...the Iowa Theatre blog ... manages to be insightful and honest without ever being mean, because this is Iowa and that's how we roll."
How true and one of the reasons I love this state. So here's to being insightfully honest! Our reviewers have done a great job critiquing and praising the work of our theatre artists. Thank you, all.
One reviewer in particular has stood out, not just for his excellent writing, but also because of all of the work he has done as my partner behind the scenes here at the Iowa Theatre Blog: James Trainor. And so it is with great confidence that I announce that James will take over the reins of the Iowa Theatre Blog. I am still going to help out in a limited capacity, but James will be the driving force moving forward. Thank you, James!
Finally, a special thank you to you, the readers who have enjoyed this blog over the years. I have truly appreciated your support. I hope you will continue to support James and the blog as it transitions.
See you at the theatre!
Matt Falduto
Sunday, January 1, 2012
What's coming in January
Before we call it quits for a month, I want to let you know about some January happenings. Read on and then I'll see you in February!Auditions for Gigi!
Iowa City Community Theatre will hold auditions for Gigi January 5-6 at 6 pm at the Iowa City Public Library. From their website: ?We love Paris in the springtime! Let ICCT take you to turn-of-the-century Paris this spring with Gigi, the award-winning musical by Lerner & Loewe. Dashing and wealthy Gaston Lachaille realizes, perhaps too late, that the girl of his dreams has been in front of him all along."
Riverside brings back Guys on Ice!
Riverside brings a popular favorite from the past back to the Gilbert Street stage beginning January 20. Guys on Ice: An Ice Fishing Comedy invites you to join long-time pals Lloyd and Marvin in their ramshackle ice fishing shanty outside of Sturgeon Bay, Wisconsin. The guys keep warm with a mutual appreciation for good bait, cold beer and the Green Bay Packers. As they anxiously await their opportunity to appear on a popular cable TV fishing show, the pals scramble to protect their beer from fellow angler, Ernie the Moocher. They pass the time by swapping jokes, ice fishing, playing cards, talking about their romantic problems – and occasionally breaking into song and dance about snowmobile suits, beer, and fish. With manly musical numbers like "Ode to a Snowmobile Suit" and "Fish is de Miracle Food," this show is sure to charm your wool socks off! For more information, go here.
TCR's first 2012 show!
The Importance of Being Earnest opens January 21 at Theatre Cedar Rapids. Go here for more information. The cast list follows:
Angela Billman - Hon. Gwendolen Fairfax
Scott Humeston - Lane/Moulton/Merriman
Jim Kern - Reverend Canon Chasuble, D.D.
Aaron Murphy - Algernon Moncrieff
Marty Norton - Miss Prism
Hannah Spina - Cecily Cardew
Cherryl Moon Thomason - Lady Bracknell
Alex Williams - John Worthing, J.P.
Audition for Our Town!
Auditions for City Circle Acting Company of Coralville's production of Our Town are coming up later this month.
Director Chris Okiishi will be seeing interested actors on Saturday, Jan. 21 from 9:00 am to 3:00 pm. Please e-mail CityCircleOurTown@gmail.com to schedule an audition. Actors are asked to prepare a short, 2 minute or less, monologue which shows off range. It may be classical or contemporary. Alternatively, there will be sides from which to read at the auditions.
Our Town by Thornton Wilder is the Pulitzer Prize-Winning drama about everyday life in early 20th century America. This production will be an unsentimental take on the material, which has proved timeless and universal. Production will be at the Coralville Center for the Performing Arts the last two weekends in March, 2012. Rehearsals will begin in late January.
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