Bloody, Bloody Andrew Jackson a Raucous, Ribald Spin on Historical Philosophy

By James E. Trainor III

Cedar Rapids—Ever since I was a child, I've loved political cartoons, especially older ones. I used to, and still do, thumb through history books just looking at these pictures like a little boy at breakfast who steals the comics from the newspaper and leaves the headlines for the grownups. These caricatures of politicians and oversimplified analogies of complex political issues sum up eras of history in a snapshot, not only giving you a clear idea of what was going on but giving you a very entertaining view of what at least one side thought of the issue. Long lists of lineages can be exhausting and complex battle maneuvers can be confusing, but a funny face with a clever caption draws me in and makes me want to know more about the issue right away.

That's what Bloody Bloody Andrew Jackson is: a live-action political cartoon set to music. Loud, crude, rock music. Leave the bookish historians to argue the subtleties of whether Jackson was a radical reformer or a mass murderer; here he is portrayed as he can be only in a rock musical: as an angry young man whose rage and arrogance transform him into a force of nature. Michael Friedman and Alex Timbers submit Old Hickory to merciless satire, and he isn't alone: other important historical figures such as Henry Clay and Martin Van Buren also get treated irreverently in this very funny show.

TCR's ensemble, directed by Leslie Charipar, does a wonderful job with this material. They're loose, broad, and very very funny. The opening number, which was quite amusing despite some sound issues, segues into a hilarious comic scene that depicts the death of Jackson's parents. Daniel Kelchen and Aaron Murphy do some excellent comic acting in this scene, creating outrageous characters while still managing to set the stage for the conflict between the elitist northerners and the brave frontiersmen of the south. The scene is totally over the top; something of a Howard Zinn meets Family Guy feel. It's crude and irreverent, and it works; it sets the ball rolling for an outrageously entertaining evening of loosely historical satire.

There are many fun characterizations in this play, too many to enumerate, but a few stood out: Jim Kropa's mad, cackling Henry Clay plotting against Jackson; Rob Merritt's slapstick redcoat beating him with a pool noodle; Hannah Spina's ribald groupie offering him sexual favors, and Ken Van Edgon's bumbling Van Buren trying to keep him in line. And, of course, Tim Arnold as Jackson himself.

Arnold definitely has the energy and the audacity to play this role. He comes out strong right from the top, running the scene like a rock show (the lights, by Derek Easton, play along, flashing around the stage and often into the audience). He plays the character with humanity and subtlety at times, too; in some of the earlier scenes you can see his courage clash with his insecurity, while in the later scenes you can see his exhaustion mount as the stakes get higher and higher. He can belt with the best of them, and he fills the stage with a charisma and physical presence worthy of such a huge historical figure.

Nicolette Coiner-Winn is wonderful as Rachel, Jackson's wife. She has a great voice and is able to play with comic energy as well as sensitivity when the time comes. Coiner-Winn and Arnold work well together and support each other through some challenging material. "Illness as a Metaphor," perhaps the show's riskiest number, depicts Rachel bloodletting Jackson, which looks a lot like the contemporary practice of "cutting." Portraying the Jacksons as morbid sex-crazed teenagers, smearing blood on each other and making out, could easily be seen as insensitive. However, the tone is so over-the-top, and the lyrics are so clever and silly, that you just have to laugh. After all, the blood is only metaphorical.

The Rachel subplot gives the show something of a coming-of-age story; he has to give up his political career to be with her or risk everything and be lonely at the top. Or, as he puts it: "I love you, but I have to kill an entire native population." The Rachel/Andrew scenes are a lot of fun, especially given the emo rock context, but they also hint at a deeper meaning of the play: as with the Indians, Jackson has given Rachel an unfair bargain. In "The Great Compromise," a song Coiner-Winn delivers with skill and passion, she sings of how he never gives what he promises.

Meanwhile, some sort of reckoning has to come from Jackson's double-dealing with the natives, and some of these choices are what lead many historians to take such a bitter view of the president. For, even if this blood is only historical, it is very very real. Jackson's policies resulted in the deaths of thousands of Native Americans, and though it is quite funny, "Ten Little Indians," sung primarily by Hannah Spina, is at the same time haunting and infuriating. Under a stage bathed in red light, Spina sings down the verses in a cold, clear voice, while Arnold wheels and deals with members of the ensemble representing different cheated and defeated Indian tribes. The whole number, though riddled with jokes, has a vicious, brutal feel, and that is what turns good comedy into great satire.

Because for all its crudity, the show has some insightful things to say about our national identity. We're walking around on land that we had to trample other people to get, and we often take it for granted. "Second Nature," sung with heart by Sam Butz, takes a more serious, thoughtful look at these contradictions. We want to feel politically correct and civilized and reject Jackson's brutality, but at the same time we live in a society that would not be same without it. Many of history's "great men" were also butchers, depending on which side you were on.

Charipar won't let us forget those dead Indians. She herself plays the role of Black Fox, an Indian chief who sides with Jackson but later betrays him. During the final number, just before the curtain call, Black Fox is killed -- comically -- but she doesn't get up. She doesn't get up as the others take their bows, or as they acknowledge the band. She doesn't get up when the audience begins to file out, or when the last person is asked to leave. She remains there, a grim reminder of the price that was paid for all of this.

I urge you to go see Bloody, Bloody, Andrew Jackson. It's not often that a community theatre channels such skill and energy into such an original and challenging piece. Whether you love or hate our seventh president, this show should give you something to think about -- and a lot of laughs along the way.

Bloody, Bloody Andrew Jackson runs through October 20 at Theatre Cedar Rapids. Tickets are $25-30 ($20 students/$15 rush).

The 39 Steps opens Oct 11 at Old Creamery Theatre

Vaughn Irving and Lisa Margolin in The 39 Steps.
Photo by Shelley Klimes.

Amana—From Old Creamery: "Richard Hannay, usually just an ordinary guy, is suddenly caught up in whispers of espionage, daring escapes and close encounters with beautiful women in this hilarious man-on-the-run play opening Thursday, Oct 11 at 3 p.m. at The Old Creamery Theatre’s Main Stage, 39, 38th Ave., Amana.

You’ll have fun keeping up with the action in this comic thriller adapted by Patrick Barlow, from the novel by John Buchan. The 39 Steps is based on the movie by Alfred Hitchcock. The cast consists of Vaughn Irving of Santa Fe, New Mexico, Lisa Margolin of Iowa City, Sean McCall of Marengo and Nicholas Hodge of South Amana.

Directed by Tom Milligan of West Amana, The 39 Steps runs through Nov 11 and is rated Theatre PG. Tickets are $27 for adults and $17.50 for students. Show times are Wednesdays, Thursdays and Sundays at 3 p.m. and Fridays and Saturdays at 7:30 p.m.

Walk-ins are welcome if seats are still available. Reservations are recommended. Call the box office at 800-35-AMANA (352-6262) or visit us online at oldcreamery.com. Student rush tickets are $12. No reservations accepted for rush tickets. Come to the box office no earlier than 30 minutes before a performance for this special rate.

For more information or to order tickets, call The Old Creamery Theatre at 800-35-AMANA (352-6262) or visit the web site at www.oldcreamery.com."

November Attempts Satire; Serves One Term Only

By Kassia Lisinski

Cedar Rapids— November, written by David Mamet and directed by Jason Alberty, opened this past weekend at Theatre Cedar Rapids. November promises good old poking fun at the incompetence of those in political office, but leaves the audience less with laughter and more with a lingering sense of having been ever so subtly cheated (which perhaps earns the play props for its realistic portrayal of politics). Although there were shining moments, mainly on the part of the actors, the show fell victim to making too light of too serious issues, falling back on insta-humor stereotypes for laughs, and, in the end, failing to satisfyingly resolve the story.

The play runs in the Grandon Theater, in the lower level of TCR, where the lights shine over a replicated Oval Office, slowly dimming as radio-quotes of the presidents of yore are played over the speakers. Illumination returns to the raging of President Charles H.P. Smith, played by Nathan Nelson, upset over the low polls, ranting to his lawyer, Archer. Not only are the polls terrible, but the president is taking home no money, no sofa, and no "presidential library." This bit turned into a phone rant for the next 10 minutes that felt more like listening to a mediocre comedian's monologue than anything else. Not worth a full guffaw, but also not worth heckling. At least Nelson's delivery was well-done, with no verbal foibles and enough animation to salvage an otherwise yawn-worthy diatribe. However, it is here that the thin ice of racial humor begins to be trod, as the president threatens to return Nantucket Island, on which Barry is located, back to the Micmac. It's funny, because it's probably rightfully theirs, and everyone knows jokes about how Native Americans were and continue to be screwed out of everything ancestrally dear to them make for pure hilarity. 

After establishing the conflict of the soon-to-be ex-president's desire for money and his assured failure at securing another term, the audience is introduced to the "Turkey Guy," played by Terry Tesar, whose mission it is to ensure that the birds (two, in case one dies) sniff the president's hand, and are thus pardoned; and  Bernstein, the lesbian and oh-so-liberal speechwriter, called in on her sick day off for shoddy "off-the-cuff" remarks and potential status as traitor to the U.S. (she just adopted a baby from China). The president and his lawyer plan to extort the Turkey Guy, basing the legality of this on some questionable math that I think was supposed to be funny, and the conflict eventually results in the president making money to buy airtime, and a promise to ruin the turkey industry by pardoning ALL of the animals. He tasks Bernstein with writing a speech for this purpose, to declare that Thanksgiving is actually wrong, an instruction which she initially feels morally obligated to disobey. At the close of the second act, Berstein is left entreating the president to do the right thing, to use her speech to declare that Thanksgiving is wrong for the RIGHT reasons, and to pay for the service of a wonderful work of words by marrying her and her partner, live, on TV. 

The writing, the lines, were often over the top. Although it is entertaining and furthermore useful to bring to light the prejudices of public figures, every legitimate call-out was countered with something like "You survived 2000 years without a country, you'll be fine!", to a Jew, or reference to the the Micmac chief Dwight Grackle, played by Steve Worthington, as "Tonto". I'm also torn by the several references to the "piggy plane," which takes people to indefinite detainment, torture, and likely death. Am I supposed to sympathize with a president and cabinet who do this? Should it be funny to laugh about something like that, when Adnan Farhan Abdul Latif, who was never formally charged with a crime, just became the ninth inmate to die at Guantanamo? 

Although most of the show was carried by the actors with much of the writing relying on forced rehashing of the same jokes, there were some gems in the line, such as the unexpectedly profound, "In America there are no solutions. Only rearrangement of problems." The production had some nice touches, especially in terms of props: I especially enjoyed the Turkey Guy's Chinese stress balls and antibiotic spray, and the audience loved Bernstein's "Wedding Singer"-esque bridal outfit. However, all parties went enormously over the top in addressing the Micmac chief. He arrived on set in a primitive frenzy, a white guy wearing a headband, animal skins, feathers, plaid and wranglers, etc. He carried a blow gun that was "wrapped in the hair of 15 virgins." I'm honestly startled he didn't start war-dancing, whooping, hey-yaing and "how"-ing, or make any reference to scalping. In a marvelous display of irony, the director, writer, and costume designer all seemed to forget that a major part of the play's plot was based in the injustice of Thanksgiving as an imperialistic holiday celebrating the subjugation of the indigenous Americans (in Berstein's approximate words), and proceeded to portray a Native American that could better fit the current stereotypes only if he were to be swigging liquor and brandishing a tomahawk as he arrived on scene.

I was a little upset about the production: the unskillful skirting of political correctness, the lack of character growth, the unsatisfying ending. Although there were plenty of issues addressed, it was done so poorly and without the courage to take a real stand so much as to echo current popular opinion. Also, there were loose ends to be tied up, and it seemed like it would be a simple job to end with all the ends tucked in again. True, the conclusion that the plot seems to imply would be somewhat rote: a clueless dolt redeems himself by learning to listen to others, and putting aside his own selfish wants and needs. Yet as frustrating as that pedantic ending and moral lesson might be, especially when figured out early on, it is so much more annoying to be denied any real conclusion at all.

November brings some interesting questions to light; maybe those with a different sense of humor could better enjoy the antics of the show. The play runs through October 13; tickets are $17.50—20 ($15 student, $10 rush, as available).

God of Carnage Pokes Fun at Modern Parenting... With a Stick

By James E. Trainor III; Photo by Shelley Klimes

From Left: Carrie Houchins-Witt,
Jackie McCall, Jeff Haffner, Sean McCall 

Amana - - When their ten-year-old boy is apparently attacked by his playmate, his parents do the only reasonable thing: they call the other parents over to discuss the dispute in a civilized manner. The matter is deeper than it seems, however, and before the conversation that makes up the action of Yasmina Reza's dark comedy God of Carnage (translated by Christopher Hampton) ends, it has traveled from the playground to Darfur and back, and has the potential to destroy the marriages of both couples, and with them, quite possibly, all of what we like to think of as polite society.

The set-up is simple but clever, and it's easy enough to see where we're going as Vernoica (Carrie Houchins-Witt) and Michael (Sean McCall) welcome Alan (Jeff Haffner) and Annette (Jackie McCall) into their home. Houchins-Witt is graceful as the well-meaning but patronizing Veronica, who is trying to facilitate discussion while her disgust at the situation is clearly communicated underneath every twenty-five cent word. Haffner and J. McCall take it in, nod at the right places, share looks, but don't immediately challenge her on her moralistic crusade. She pushes the issue a little too far, however, and won't be satisfied until the other boy is compelled to apologize, an end that Alan is convinced simply isn't realistic.

Veronica and Alan take an immediate dislike to each other, and Haffner is particularly effective in his cool, mocking approach to the passive-aggressive warrior for justice that Houchins-Witt has created. He is friendly enough, and polite (though he insists on dealing with a high-stakes case in front of everyone, instead of excusing himself to take the call). He is charming and composed, and it seems nothing can affect him, though as the action progresses he shows his teeth.

Being somewhat familiar with Reza's work, I expected that I wouldn't like any of these characters as I entered the theatre. What I didn't expect was that I would find them so interesting. Part of the point of the play is that these four are more despicable than their hostile children, and the cast, under the direction of Angie Toomsen, brought a lot of color to what could easily be oversimplified character sketches. Reza's setup is a little too simple, a little too easy (the liberal activist vs. the cynical lawyer), but this production brought life to the characters, making it feel a lot more natural than it reads.

Houchins-Witt has a difficult job, as her character seems the most didactic and artificial of the group. Everyone in the room, including, it seems, the play itself, is against her. An idealist who cannot stand the ugliness of the world, she becomes ugly and vicious herself when things don't go her way. She means well, and doesn't intend to descend to the level of squabbling—"how many parents standing up for their children become infantile themselves?" she asks—but good intentions don't mean much here, and she becomes a screaming mess when she realizes she can't fix the situation. Houchins-Witt's portrayal makes Veronica feel very real, but still hopelessly naive. It would almost feel like Reza is attacking liberalism, if the other characters weren't equally flawed in equally interesting ways.

Veronica's husband, Michael, starts off as a simple man who makes an honest living with his hardware store, but this safe exterior gives way to a gruff and moody man who is desperately unhappy and doesn't like his wife, his children, or their cute cuddly pets (a subplot involves a hamster that Michael set free—or murdered, depending on whose side you take). S. McCall plays this role with a sense of humor, loose and broad, but with a real sense of the inner anger that fuels the character.

J. McCall creates a very interesting character arc in Annette, the docile wife who explodes when she finally tires of listening to her husband's constant phone calls. Her breakdown is extremely effective, done with emotional sensitivity to the character, but also with grace and a sense of humor. Haffner is quite funny and frequently nasty as Alan, who stays significantly quiet for much of the conversation but is precise and harsh when he does let loose.

These actors work very well together, and Toomsen's direction helps the thing mesh. The blocking is dynamic, and the piece clips along at a very energetic pace, with the noise of phones and yelling and drinking and vomiting creating a hectic environment. All the same, it is the nonverbal moments that set up some of the relationships very well. The space itself—Old Creamery's studio theatre—is perfect for a play like this, set as it is in a living room where very serious, very intimate conversations are being had.

The script may be oversimplified, but Reza is dealing with real issues here—helicopter parenting, playground violence, societal hypocrisy—and Toomsen & Co. make this drama feel a lot more real than in does on the page. This is a show of intense drama and a lot of satirical humor; it's definitely worth a watch.

God of Carnage runs through October 7 at Old Creamery's studio stage, 39 38th Ave in Amana. Tickets are $27 ($17.50 for students).

Young Footliters Looking for Actor

Coralville - Young Footliters is looking for a male High School student who is interested in being in our production of Junie B. Jones: Jingle Bells, Batman Smells. This is a lead part in the production.

The performance will be held at the Coralville Center for the Performing Arts on November 9, 10, and 11.

Please contact Brett Myers as soon as possible if you are interested (brett-myers@uiowa.edu) or phone 443-375-6787. There will be an audition scheduled once you express an interest to Brett.

Racial Inequities to Be Examined in Elephant in the Room at Coe

Coe students Rashad Harris ’14 (left, as Jean), Jane Lindemann ’15
(center, as Miss Julie), and Tierre Henry '14 (right, as Celeste)

Cedar Rapids - The Coe College Department of Theatre Arts will open the season with a play focusing on racial inequities.  “Elephant in the Room” will be presented on Sept. 28-30 and Oct. 4-6 in Dows Theatre on the Coe campus.  All performances begin at 7:30 p.m. with the exception of the Sunday, Sept. 30 show, which starts at 2 p.m. 

Seats are reserved, and tickets are $10 for general admission and $8 for students and seniors.  Tickets can be purchased at the door, or by calling the Coe College Box Office at 399-8600, Monday through Friday, 11 a.m. to 7 p.m.

“Elephant in the Room” is written by Tisch Jones (under her maiden name of Patricia Rhone).  Jones, a recently retired theatre professor at the University of Iowa, is also guest directing the play.

The play is a new adaptation of Strindberg’s “Miss Julie.”  Originally an examination of class issues prevalent in Northern Europe during the late 19th century, this drama, in a provocative reframing, provides the audience with a peek into the unique complexity that is born out of the collision between race and class in today’s world. This “Miss Julie” is a violent and dangerous dance between three characters in antebellum New Orleans, foretelling of the quieter, but equally dangerous way we dance around issues of race today.

“The original script, ‘Miss Julie,’ focused on class issues in a Scandinavian country, but I envisioned it in America with the focus on race.  When my (graduate school) classmates argued the reality of a band showing up in Miss Julie's home in the middle of the play, I saw it as normal,” noted Jones in her director’s comments.  “Being from New Orleans, I completely embraced such an occurrence happening during Mardi Gras in New Orleans.  Such moments fostered the beginning of ‘Elephant in the Room.’  When invited to Coe to work on my fantasy production of ‘Miss Julie, it was a graduate school dream come true, 40 years later.”

For more information, call 319-399-8600 or visit theatre.coe.edu.

Combined Efforts' Haunted Dance Hall

Iowa City - Come Howl at the Moon with Combined Efforts Theatre.  First, be entertained in the Haunted Dance Hall: family fun for everybody.  Then, if you are brave, stroll through the Haunted Forest—this is not for the faint of heart.  Finally, gather around the bonfire.

The event is free.  Donations are always welcome.

7:00 pm on September 29
3418 SW Osage
For directions go to www.combinedefforts.org

One More Weekend of Charlotte's Web

Coralville - From Young Footliters:

"This will be our final weekend for Charlotte's Web. Shows will be held at the Children's Museum in the Coral Ridge Mall.

Friday, September 21 7:00 PM
Saturday, September 22 7:00 PM
Sunday, September 23 2:00 PM

Tickets are $10 for adults and $6 for youth and seniors. Tickets purchased at the museum in advance save $1 per ticket.

We had a great turn out last weekend and had shows sell out. If possible get your tickets in advance to make sure you have a seat!

Hope to see you there."

November Opens September 21

Cedar Rapids - Presidential incumbent Charles Smith’s chances for reelection are looking grim. His staff has thrown in the towel and his wife has begun to pack. But Chuck isn’t ready to give up just yet. Amidst the biggest fight of his political career, the President has to find time to pardon a Thanksgiving turkey, adding his own political “spin” to this time-honored event in an attempt to win back public support. With Mamet’s characteristic no-holds-barred style, November is a scathingly hilarious take on the state of America today and the lengths to which people will go to win.

November opens September 21 and runs through October 13 in TCR's Grandon Studio. Tickets are $17.50/$20 ($15 Student, $10 Rush)

ICCT's Fantastick Production of a Modern Classic

By James E. Trainor III

Iowa City - The Fantasticks has been a staple of community theatre for years and, looking at ICCT's production, it's easy to see why. It tells a timeless story, in such a creative and playful way that it remains very fresh. The humor and energy that ICCT's company brings to this piece reminds us why it's so enduring and endearing.

The Fantasticks (book/lyrics by Tom Jones, Music by Harvey Schmidt) is a musical take on Rostand's Les Romanesques, which is in turn a tongue-in-cheek retelling of Ovid's Pyramus and Thisbe. Here, as in the classic tale, the lovers are separated by a wall between the land of their fathers. The feud, however, is a ruse; the fathers are using reverse psychology to trick the children into falling in love. A staged abduction by a ragtag band of actors in the moonlight seals the deal. By the morning, however, the picture's not so pretty, and the show takes us beyond the "happy ending" to see how we cope when our dreams come true, but aren't what we though they would be.

Rich Riggleman's set supports this concept very well. A simple wooden stage-within-the-stage decorated with a few benches and chairs sets up the playing area very clearly. Everything else that's needed is taken out of an unassuming but obviously magical box by the Mute (Regan Loula). Whether it's snow or fire, a bit of tinsel and some lighting (by Rebekah Oulton) does the trick. Rachael Lindhart's costumes finish the look. The lovers and fathers are fully in their characters and immediately recognizable; El Gallo (Kehry Lane) and the Mute are set outside the main action, in black, as if they're stage crew. The overall feel is very successful; it appears the story is being told by a traveling theatre company that once had bigger budgets and sold-out shows. Their youth and vigor and are fading, however, like a lover's dreams, and all that's left is a love of illusion, and the wisdom that comes with age.

Bryan Lawler (as Hucklebee) and Larry Newman (as Bellamy) are a great pair of Pantaloons for the love story, and very funny and real when the young lovers are offstage. Lawler cuts a very grumpy figure, Newman an excessively cheery one, and these two opposites work quite well together as they plot and scheme and vent. "Plant a Radish" is a particularly effective number: the two fathers take comfort in their gardens, as vegetables are a lot more reliable than children. They hit all the jokes with the right comic timing, and the choreography is carried out with snappy precision. It's always a delight to see musical theatre performed with such care and confidence, particularly when the piece itself is so engaging.

The young lovers, Luisa (Mallory Widmer) and Matt (Nicolas Wagner) are skilled actors who throw themselves into their roles. They're a bit sickly sweet in the first act (which is, of course, just right for this piece), and in the second act they show a lot of range. Widmer in particular hits "Much More" with passion, using her expressive eyes to create the silly dreamer that is Luisa. She's a great scene partner; when the seductive El Gallo comes on, seemingly to steal her away from her husband, she responds with plenty of vocal and physical energy. It's really interesting to see how she makes strong acting choices through the choreography -- in "Round and Round," the very theatrical number that stands in for Luisa's "affair," it's clear from the tired way she dances that she's becoming progressively more flustered, more unsure that she really wants what she asked for.

Wagner plays Matt with a sense of humor and a lot of youthful vigor. He works well with Widmer, making the earlier songs sentimental and sweet. When the whole thing turns in the second act, his range really shows. His bitter complaints in "This Plum is Too Ripe" show off his wit and his sense of comic timing. His movement is effective as well; in "I Can See It" he goes off on his journey with a very naive sensuality that is very intense and very real. When he returns, he has a soulful pain to his voice that belies his years.

The pair work well together in the love scenes, each really understanding the types they're playing, but it's the first fight, which is as childish and theatrical as the romantic poems, that really sells the story. After they separate and return to each other, the final number, "They Were You," is more subdued, tender, and mature than anything that came before. As they cuddle up together to survive the coming winter, we have a sense this relationship is going to last. It's quite a journey to go on in the space of an evening, but Widmer and Wagner pull it off.

Of course, no production of The Fantasticks would be complete without strong performances from El Gallo, the Mute, and the actors they call upon. With his rich, deep voice and his dastardly charm, Lane cuts the perfect El Gallo. He is charming, conniving and convincing in "It Depends on What You Pay" and "Round and Round," which is a lot of fun. He also understands the character on a much deeper level, and there is just enough of a hint of the sorrow that haunts the character. When he takes the cheap plastic necklace away from Luisa, metaphorically stealing her childhood and forcing her to grow up, his body language and line readings tell us a lot about El Gallo. There is a sense that he doesn't want to hurt people so badly, though he knows his very job is to cut them so that they develop the scar tissue they need to get through life. We wonder, during the final numbers, if he has the strength and energy to keep doing this for much longer.

Loula is incredibly effective as the Mute. Without a word to work with, she cuts a very clear figure: a confident, professional dramatist who cares about the story she's telling. She works as something of a stage manager, keeping the show rolling along and providing the actors with everything they need, but she also becomes part of the scenery itself. There is a moment early in the play where she creates a wall by standing on a chair and holding out a stick. The moment is funny -- a silent allusion to the ragtag group of actors performing Pyramus and Thisbe in Shakespeare's A Midsummer Night's Dream -- but it also has the practical effect of serving as "wall" for the lover's scenes. The solemn commitment of Loula's Mute is evident in every scene, and there is a sense that without her careful attention the story would not be the same.

El Gallo's actors, Henry (Joseph Dobrian) and Mortimer (Stephen Stonebraker), are a lot of fun to watch. Henry is an old actor well past his prime, and Mortimer his only company member, who specialized in dying. Dobrian's poorly-remembered quotes from Shakespeare are quite funny, as is Stonebraker's comically outrageous death scene. In addition, the two fill in throughout the bigger numbers sporting a number of ridiculous costumes. With their skill and wit, they fit into this company very well.

Josh Sazon, who directs, and Fawn Boston-Halter, who choreographs, obviously understand the appeal of this piece and approach it with care and creativity. The show moves along without a hitch, and the staging and choreography tell the story extremely well. Music director Judy Duncan guides the cast through the score's many flights of fancy. The Fantasticks is a great choice for ICCT, a really fun and meaningful story with an inventive score. Do yourself a favor and check out a "fantastic" production of this modern classic.

The Fantasticks runs through September 23 at the Johnson County Fairgrounds. Tickets are $17 ($14 students/seniors, $8 children).

Formidable Cast of The Women of Lockerbie Gives Sensitive Portrayal of Grief and Remembrance

by Gerry Roe

Iowa City - To begin their season of plays by women, Dreamwell Theatre has chosen The Women of Lockerbie, by Deborah Brevoort, based on the bombing of PanAm Flight 103 in which 270 people died—including all the passengers (most of them Americans), the crew, and 11 people on the ground. Brevoort has written that she set out to write the play, set on the seventh anniversary of the disaster, in the form of Greek tragedy. Dreamwell’s production captures the spirit of Greek tragedy in an extremely moving and cathartic evening of theatre.

Director Rachael Lindhart was drawn to this play not only because it was written by a woman playwright but because she welcomed the challenge and the rewards inherent in the structure and characterizations of the play. She has assembled a formidable cast to bring this play to the stage. Seven years after losing a son in the crash, Madeline Livingston, a New Jersey housewife played with dignity and with passion by Theresa Meeks-Mosley, has come to Lockerbie to search for some remnant of her son. She is accompanied by her husband, Bill (Rip Russell), who has struggled for seven years with Madeline’s obsessive grief, making his own grief inaccessible. The two actors work well together, presenting a convincing picture of a devoted couple torn apart by their separate reactions to incomprehensible loss. Russell gives us a memorably dynamic portrait of frustration and fear that loss of his son will be compounded by the collapse of his marriage.

A feature of Greek tragedy is a chorus reflecting on the protagonists’ actions and reactions. Paula Grady as Olive Allison admirably serves as the leader of the chorus of women as they try to assist Madeline and Bill even as they recall their own direct experience of the shattered airplane and a sky full of falling bodies and body parts. Other chorus members, Mary Jane Myers as Woman 1 and Tracy Schoenle as Woman 2, make strong contributions with their recollections and representations of the Lockerbie women. The women have set a goal of returning to family members the clothes or other personal items belonging to the victims retrieved from the hills after the crash. They are frustrated in this attempt by George Jones (Stephen Ivester), the American in charge of such items, who believes that policy disallows their wishes. He is determined to destroy the hundreds of garments and relics collected in the aftermath of the crash. Together with Hattie (Jen Brown), his office cleaning woman, he shares a comic scene that breaks, momentarily, the tension of the script at the same time as it reveals something of the nature of each character. Ivester and Brown play off each other with gusto and conviction. Their comic interlude provides a welcome relief for the audience even as it captures the essential conflicts between strict adherence to policy and generosity of spirit.

Rachael Lindhart’s sensitive direction of her talented cast has been aided by Movement Director Christina Patramanis and Dialect Coach Brett Myers. Together with the actors, they have prepared an evening of theatre to linger in the mind of anyone who sees it—and I urge you to make this play a part of your theatrical memory.

The Women of Lockerbie runs for three more performances: Sep 15, 21, and 22, 7:30 p.m. at the Unitarian Universalist Society in Iowa City. Tickets are $13 ($10 students/seniors). Reservations can be made at www.dreamwell.com/ or by calling 319-423-9820.

Be First in Line for SPT's New Show, 1

by Kassia Lisinski

Cedar Rapids - I count myself lucky to have had the opportunity to experience SPT Theatre's first production of their newest season. This season is based on the theme of numbers and opens with the appropriately titled: 1. It's my first time back at an SPT production in a few years, and I've been itching to return since that first show, curious about the art and growth of a company which includes three of my former teachers. And well I waited, for it is a trauma of a unique and delightful sort to witness your one-time instructor dressed in a tight white hoodie, swimming goggles, and prosthetic tail, arms tucked under the spandex, making swimming motions as he imitates a sperm dropping pick-up lines for a sexy anthropomorphization of an unfertilized egg.

I loved the ridiculousness of this show, and I love CSPS for supporting it: for the venue itself—the old wood floors, the post-flood expansion of space, the ceiling tiled in dove-grey mandalas—and for the crowd, a delightful amalgam of cultured New Bo residents and enthusiasts, wine-drinkers, and bespectacled intellectuals. I always feel like this kind of crowd could use a little mess to it, and the raunchiness of SPT's humor provides. The sheer absurdity of subjects—a school of fish with one daring individual breaking the grapevine dance routine, the endearing guest Nicolette Coiner-Winn's rampant string of unexpected expletives on a Jeopardy spoof, the dating show complete with a neo-Nazi in search of his beloved fascism (broadcast on US news)—is mind-boggling in its originality and dedication to "no subject too odd to be awesomely produced." The show comes complete with a full and fantastic band, particularly guest Matt Brooks on soul-enthralling electric blues guitar and founders Gerard Estella's keys and Jane Pini's voice.

The energy was apparent as the audience seemed to anticipate the beginning even before the lights dimmed and the actors took their places. The show began with Akwi Nji giving a short definition of the many different meanings of the word "one," or "won," or even "wan," with a relevant quip for each delivered in a few lines by Mary Sullivan and guest Nicolette Coiner-Winn (potentially an overused ploy, but saved by charisma and humor). Following this, the audience was immediately abducted by the band and SPT's spectacular arrangement of Harry Nilsson's famous "One," led by Jane Pini's beautiful, space-filling vocals. The whole audience was enlivened; the musical assortments which interspersed skits and monologues helped to carry a sense of unity through what could have been a more confusing, disjointed production. However, like a dream in which the scenes change rapidly but maintain a theme of meaning or feeling, so was this performance linked by the prompt of "One," the music, and the five sequential episodes of "Grant Woody," in which Sullivan's Nan and guest David Combs' Grant Wood part ways and journey through the art world in search of space from each other.

The performance of each and every participant was wonderful, with almost too many highlights to point out. Sullivan's Nan, with her Fargo accent, startled jumps, and conspicuous huffing her bangs from her face, was especially endearing. Coiner-Winn, Adam Witte, and David Morton also had their stage-stealing moments, and their parts in "Alex Trebek," "The Search," "First Among Equals," "Madame Ovary," and "School of Fish" are certainly to be anticipated.

Yet, however strong the acting, the real star of the show was the unceasingly unique and engaging writing, particularly evident in the innumerable one-liners provided by the one-sided phone conversation in "First Among Equals" and in the poignancy of "I Would Like to Say," written by Nji. This latter in particular stuck with me, not least because of its sobriety of topic—ideas of kindness and the universality of religious teachings—in the midst of all the silliness. I found especially memorable the lines, "I believe peace on Earth comes in fleeting moments," and "...Heaven is bribery, Hell is extortion, and senseless kindness is the only kind that makes sense." Nji's writing shone again in her monologue about her young headstrong daughter, who replies to "You can't go to Monroe, they're closing the school," with "Watch me!" Which of course results in on-stage consumption of a quantity of wine (provided by the attendant Witte with a nice bottle of red).

There were few flubs and mistakes throughout the production, although there were several instances of unintended darkness. Most mistakes were, I'm sure, unnoticeable to me, and the rest were covered adequately with ad lib, such as when the wine in the aforementioned skit was spilled a bit and Nji simply proceeded to sip it off her sleeve and glass, no big deal. The one major trip-up came in one of the last musical numbers: I'm not sure exactly what was going on, but the song seemed vocally unrehearsed and more than a little sloppy to begin with. Just as I was becoming concerned that the magic of the production would be ruined, the piece was salvaged and ended strongly, and I envy the audience's experience tonight.

I am so glad I was able to experience SPT's production of 1, playing one more night only: September 15 at 8:00 p.m., at CSPS in Cedar Rapids. It was was immensely engaging and, surprisingly, left me with equal doses of giggle-induced endorphins, meditations on meaning, and pride in the talent inherent in the artists of my home region. I look forward to the next show, 2, which opens early in November, and the many future "Tales From the Writers' Room." Don't miss out- make sure to get your tickets and seats early!

Auditions for A Christmas Carol

Coralville - A Holiday Tradition Returns!

"The air has only just started to taste of fall, but here at City Circle, we're already thinking about Christmas... and the winter magic of A Christmas Carol. Now is your chance to join the Cratchit family or channel your spookiest apparition. This adaptation, by Barbara Field, was a beloved staple for many years at the Guthrie Theater in Minneapolis. Auditions will be held on Thursday, Sep 20, 6-8:30 p.m. and Saturday, Sep 22, 1:30-4:30 p.m., at the Coralville Public Library.

Director Liz Tracey will be asking auditioners to either read sides from the show or recite a prepared monologue. She would also like to hear each person sing a snippet from their favorite Christmas carol. She is hoping for a broad and diverse cast, and encourages actors of all ages and backgrounds to audition. A complete list of roles and their descriptions can be found at citycircle.org/category/auditions.

No one can resist the rush of joy A Christmas Carol brings. Come help City Circle warm the most humbug hearts this holiday season! The show runs Dec 14-16 and 21-23 at the Coralville Center for the Performing Arts. Contact the director at liz@citycircle.org with any questions, or to schedule an alternate audition time."

Auditions for Show Boat

Iowa City - Director Josh Sazon and music director Ed Kottick announce auditions for their production of the classic American musical, the Kern/Hammerstein "Show Boat." Ensemble positions and secondary leads are open,and all voice types are encouraged to audition. The concert-style production will be at Coralville's Center for the Performing Arts, with two performances, on October 19 and 20.

Auditions for "Show Boat" are Sunday, September 16, from 2:00-5:00, and Monday, September 17, from 6:30-9:00, both in Room A of the Iowa City Public Library.

Auditions for White Christmas

Cedar Falls - The Cedar Falls Community Theatre announce auditions for the Irving Berlin musical extravaganza White Christmas. Auditions will take place at the Oster Regent Theatre, 103 Main Street in downtown Cedar Falls September 16 & 18, at 7 p.m. Some limited rehearsals for music would start October 5 and dance full rehearsal schedule would start the week of October 21. Performance dates are November 30, December 1, 2, and 7, 8, 9. Full sponsors include 1st National Bank, KWWL Television, and Taylor Veterinary Hospital. Co-sponsors include Vision Media Services, An Elegant Affair, John Hansen in Memorium - former CFCT board member & actor, and Mudd Advertising.

White Christmas is a delightful new show that's as fresh and rare as newly fallen snow. The classic movie holiday tradition White Christmas comes to the stage at last, as a brand new Irving Berlin musical. Brimming with such wonderful Berlin hits as "Sisters", "Count Your Blessings Instead of Sheep", and of course, the unforgettable title song, Irving Berlin's White Christmas tells the story of two successful song & dance showbiz buddies who met in the Army and later are putting on a show in a picturesque Vermont inn. In the process, they find their perfect mates, two singing sisters. Of course, it's full of fun complications along the way. With this jolly live holiday extravaganza, there's a new kid on the block that's full of dancing, romance, laughter and some of the greatest songs ever written. There just aren't enough superlatives for this irresistible show that promises to be a merry and bright experience for the entire family!

There are many lead, character, and chorus parts. There is only one child/student female actor in a 8 - 13 age range. People auditioning are asked to wear clothes easy to move in. Everyone auditioning will be asked to sing a song of their choice. Everyone cast in the show will sing but you do not need a solo quality voice to audition. A pianist will be provided. Bring your own sheet music or sing acappella. People auditioning for character parts will read from sides (scenes from the actual script). Liane Nichols will direct this musical. Nichols is the Artistic Coordinator for the CFCT. She directed several hit shows for theatre group that have included: The Music Man, Nuncrackers, Plaid Tidings, Singin' in the Rain, I Do! I Do!, Man of LaMancha, The Wizard of Oz, and many others. Steve Citta is the Conductor and Mary Citta is the Vocal Director. Steve was the Conductor and Musical Director for The Music Man. Mary was the Vocal and Musical Director for The Music Man, Nuncrackers and Plaid Tidings. The Choreographer is Deb Tuzicka. Tuzicka was the choreographer for CFCT's The Music Man and Kiss Me Kate.

Lead character parts are listed as in the original script and could change in some age ranges, depending on actors auditioning. Lead roles include:

Bob Wallace
Late 20's to mid 30's, a major singing star, Bob is the force behind the singing team of Wallace & Davis. A born leader, despite his gruffness, is kind and principled. Baritone with a crooning style.

Phil Davis
Late 20's to mid 30's, fun loving song & dance partner of the team Wallace & Davis. Strong jazz/movement and some tap dancing possible. He is a comic performer and a Bari-Tenor.

Betty Haynes
Mid - 20's, the responsible half of The Haynes Sisters, beauty and charm, rich chest mix with soprano extension, must move well.

Judy Haynes
Early to mid 20's, ambitious, sexy and flirty, a charmer no man can resist. A strong song & dance performer, chest mix.

General Henry Waverly
Late 50's to mid 60's, a retired Army General adjusting to civilian life running a Vermont Inn, a man of principle, compassion and dignity. A non-singing role with the exception of one line.

Martha Watson
Late 40's to mid 60's, once a Broadway star, now the housekeeper at the Inn, a big hearted irrepressible meddler, a winning character-comedienne with a clarion belt voice.

Susan Waverly
8- 13 year old to play a 9 year old, the General's granddaughter, lovable and outgoing smart beyond her years. She demonstrates everything that is good in a child performer, must have an excellent belt voice and be able to move well.

Ralph Sheldrake
Mid to late 30's, old army buddy of Bob and Phil, now a major executive with the Ed Sullivan Show, fast-talking professional, baritone.

Rita and Rhoda
Mid 20's to early 30's, Bob and Phil's two chorus star girls, brash, sexy and fun, not the smartest.

Ezekiel Foster
Mid 40's to late 50's, helps out at the Inn and goes at a very slow pace, can be double-cast with role of The Snoring Man.

Mike
Mid 20's to late 30's, Bob and Phil's stage manager, over dramatic and sometimes hysterical but gets things done, never seen without whistle and clipboard, can be double cast with role of Ed Sullivan Announcer.

Ensemble speaking parts being cast in White Christmas include: (an * indicates a solo singing part in a song) Tessie, Jimmy, Cigarette Girl, *Snoring Man, *Mrs. Snoring Man, Train Conductor, Dance Captain, Ed Sullivan Announcer. Ensemble members will also play dance/chorus kids, "Jimmy's Back Room" clubgoers, train passengers, inn guests, and patrons of the Regency Room.

Please bring calendars to note conflicts. People auditioning will fill out an audition form. Scripts are available for a 3-day check out with a $25 refundable deposit. To request more information by e-mail, send to cfct@cfu.net or dial 319-APP-LAUD (319-277-5283). If you are not able to make audition times, please call the director at 319-266-2376.

This Fall at ICCT

Iowa City - ICCT begins its fall season with The Fantasticks, which opens September 14. They'll follow that up with Steel Magnolias, which has recently been cast, and then Annie (audition information here.)

Auditions at Riverside

Iowa City, Iowa - Riverside Theatre will be holding auditions on Saturday, September 15, 1-3 p.m.

The 2012-2013 season has one role available in The Exit Interview (male actor, 20s-35). This raucous comedy by William Missouri Downs is a National New Play Network Rolling World Premiere. It will begin rehearsals December 19, 2012 and open January 25, 2013.

Actors (either male or female) may also audition for Walking the Wire, which will be cast in November following final selection of monologues.

Those wishing to audition are required to prepare one contemporary monologue (2 minute maximum) and bring a headshot if not already on file.

To schedule an audition please call the Riverside Theatre Box Office at 319-338-7672. Box office hours are Noon to 4 p.m., Monday-Friday.

For more information on the 2012-2013 season, contact Artistic Director Jody Hovland at artistic@riversidetheatre.org.

True West Illuminates Script with Amazing Physical Work

By James E. Trainor III; photo by Bob Goodfellow.

Sean Christopher Lewis (l) and Tim Budd in True West

Iowa City - True West is Sam Shepard's explosive drama about sibling rivalry taken to absurd lengths. It tells the story of two brothers: Austin (Tim Budd), a would-be screenwriter, and Lee (Sean Christopher Lewis), a petty thief. Austin is plantsitting for their mother in L.A. while she visits Alaska, and taking this opportunity to work on his screenplay. Lee shows up unannounced and, with his roguish charm, commences to hustle his way into Austin's life. Within twenty-four hours of his arrival, he has Austin's producer in the palm of his hand, and convinces him to produce his idea -- a real, true-to-life western -- rather than Austin's predictable love story.

Trouble is, Lee can't write -- he can't even spell. He needs Austin to write the script for him. The frustrated Austin is reluctant, but there's something enchanting in the reversal of roles -- he has long wished to ditch his suburban life and head off into the desert in search of adventure. Of course, he doesn't have what it takes to survive any more than Lee has a screenwriter in him. The two brothers spend the entire play circling each other, like dangerous animals, but with a very human depth to their jealousy and need.

Sean Christopher Lewis is charming, and frighteningly authentic, as the drifter Lee. His physical work creates an easy-going but competent cat burglar, someone usually slovenly but capable of stealth. He is intimidating but also a great deal of fun. Lewis has captured a striking duality in Lee. There's a boyishness about him that is endearing -- a certain creative drive and restless energy that Austin seems to lack -- but the flip side of that is a petulant, destructive, manipulative nature. The composite is a fascinating character that is gleefully horrifying to watch. At the same time, Lee is ultimately sympathetic because it seems his every action is motivated by compassion for his poor, alcoholic father.

Austin, played with precision and passion by Tim Budd, seems to have written their father off completely. He's certainly not happy to see Lee, as Budd's acting choices make quite clear. His constant sizing up of his scene partner, and his timid nature, even when he's clearly frustrated, speaks volumes about how dangerous Lee really is. When Austin finally comes undone, drunkenly crooning and insisting on making a huge plate of toast for breakfast, Budd's skill as an actor really shines. He's found just the right level of comic exaggeration to keep the situation ridiculous and entertaining while still being scary and sad.

Budd and Lewis play off of each other well, ribbing each other as brothers would, and when they get physical there is a real sense of how much unresolved tension there is in this relationship. They say a great deal silently that enriches Shepard's already magnificent script. They also both understand the way these two's identities intertwine: they're both similarly lost, both restless seekers, whether they're in search of a good story or a place to call home. Their destinies are wrapped up together, just like in plot of a bad western, as Lee points out at the end of the first act: "The one that's chasing, he don't know where the other one's taking him. And the one that's being chased -- he don't know where he's going." Lee can scare Austin into submission and prod him into action, but he has no idea what he'll set in motion. Neither brother has a plan, and what's going to be unleashed when all this pent-up hostility explodes is something they can only discover together.

Ron Clark's direction guides these skilled actors to just the right tone and pace for this piece. Particularly effective is starting with a silent moment, as Budd sits timidly at the typewriter, and Lewis looms larger-than-life in the kitchen. We know instantly which brother is which, and the nonverbal interaction makes the tension that much thicker when they finally do speak. He also understands how to make the most of the comic moments in this play while still painting the dramatic picture very clearly.

Jason Tipsword's fight choreography helps flesh out the physical relationship between these two brothers, as things gradually escalate from nudges to pushes to full-on fratricidal fury. The moments of violence are exciting and visceral and fit right in with the general destruction that happens in the final scenes.

The set, by Shawn Ketchum Johnson, is realistic and functional; scene changes take place smoothly and create the feel of chaos very effectively. One of the most memorable things about True West is how the two brothers tear apart their mother's house as they find it more and more difficult to contain their rage. A word of warning to those planning to sit in the front row: this play uses a more old-fashioned method of 3D than modern movies. Don't be surprised if a typewriter key or phone receiver comes flying at you!

The play is an American classic, almost Greek in its simplicity and emotional scale, but very modern with its wild flights of fancy. Many consider it the peak of Shepard's brilliance, and it's definitely a play that challenges and rewards actors. Riverside Theatre has done an excellent job of bringing this engaging script to life.

True West runs through September 30, Thursdays, Fridays, and Saturdays at 7:30 and Sundays at 2:00. Tickets are $15-28.

Noises Off Delivers Non-Stop Comedic Action

By Gerry Roe; photos by Jackie Jensen.

Bryant Duffy as Frederick/Phillip

Coralville - From its beginning in 1982, Michael Frayn’s Noises Off has been a favorite among regional and community theatres, and with good reason. It is among the best farces of modern times, and certainly one of the best dealing with a theatrical company. Frayn’s play gives us a company assembled to perform a British sex comedy called Nothing On and follows the company from an exhausting dress rehearsal to a matinee one month into the tour to the final performance another month later. Although we see the performances at various stages, we see only the first act. However, we see it from multiple points of view: we are in the audience’s conventional seats in the front of the house at the outset; the second act takes us backstage where we can watch the interactions of the company as they make their various entrances and exits; the third act brings us back to the front of the house for the conventional view of the stage.

A digression: in general the British do better sex comedies than we Americans. Think of Dirk Bogarde’s Doctor in the House and the series that followed it, or the Carry On… movies, the farces of Ray Cooney, or the Monty Python sketches. I think it is their ability to be naughty without being vulgar that makes them special.

Director Wallace Chappell has assembled a talented troupe of local actors to bring to life the on- and off-stage characters who struggle with a production of Nothing On. Wisely setting the “tour” in our own Cultural Corridor, Chappell has made it possible for us to accept the varying degrees of success with British accents without affecting our senses or sensibilities. Robyn Calhoun plays the leading role of Dotty/Mrs. Clackett with believable confusion during the late-night dress rehearsal and frustration in the final performance. Act II gives us more of Dotty’s search for affection as well as revealing her financial interest in the production. On-stage or off, her comic instincts are well employed. Her director, played by Eddie Skaggs, enlists our sympathy in Act One for putting up with the staggering misadventures of his actors. Subsequent acts show him as less put-upon than manipulating; E. Skaggs does it all with conviction.

Kaitlyn Skaggs plays the short-sighted ingénue, Brooke/Vicki, with aplomb. Her self-centered qualities are made clear without ever becoming irritating; there is something about her innocent indifference that keeps her an appealing character. Shannon Bonney as Belinda/Flavia does good work in both her on- and off-stage characters, from the affluent housewife to the rather maternal care for her fellow actors when offstage.

Matt Falduto (l) as Garry/Roger and Robyn Calhoun as Dotty/Mrs. Clackett

Matt Falduto’s work as the inarticulate but hardly silent Garry and as Roger, intent on a passionate interlude with Vicki, is exemplary for its vocal variations and its skillful physical comedy. His exertions are enough to make the audience breathless. Bryant Duffy as Frederick is an earnest but clueless actor attempting to find his motivation and rendered helpless in the presence of even perceived violence. When Frederick assumes the role of the hapless Phillip, Duffy keeps Frederick very much in mind and on view, a sterling example of the merger of actor and character. Kevin Burford is thoroughly enjoyable as the old actor, Selsdon, who has lost much of his hearing but nothing of his dedication to two things: the stage and the bottle.

The two “off-stage” actors, Brett Borden as Tim, the company and stage manager, and Ramya Hipp's assistant stage manager, Poppy, are equally convincing in their roles. Tim is called upon to fix any mechanical problems on stage and to serve as understudy for Selsdon and, apparently, any other male character. Borden does excellent work as the general factotum, requisite but unrewarded. Poppy’s concentration in following the book, calling cues, and even becoming an emergency off-stage voice for a missing actor, and the complications of her personal life, are all reflected appropriately in her delivery of comparatively fewer lines than others on stage.

Shannon Bonney as Belinda/Flavia; 
Kaitlyn Skaggs as Brooke/Vicki

City Circle Acting Company is to be commended for its presentation of Noises Off. The production crew responsible for the design of the rotating set, the lighting, sound, costumes, and makeup all make a strong contribution to the success of the production. Chappell and his actors keep the comedy moving from beginning to end. Acts I and III are funny and satisfying; Act II is a three-ring circus. You may not always know exactly where to look but wherever you look you will find action integral to the drama at hand. And you may even spot a plate of sardines.

Noises Off runs through Sep 16 at the CCPA, with shows at 2 p.m. on Sundays and 7:30 p.m. Friday and Saturday. Tickets are $22-27 ($17 students/seniors).

God Of Carnage Opens September 20

Amana - God of Carnage, a dramatic comedy by Yasmina Reza, opens Thursday, Sep 20 at 3 p.m. on the Studio Stage at The Old Creamery Theatre in Middle Amana.

Translated by Christopher Hampton, God of Carnage focuses on two couples as they meet one evening to discuss a playground scuffle between their sons. As the evening wears on, differences between the couples become more apparent and nerves shatter in this thought-provoking play.

The cast of God of Carnage consists of Jeff Haffner of Cleveland, Ohio, Jackie McCall and Sean McCall of Marengo, and Carrie Houchins-Witt of Coralville. Winner of the 2009 Tony Award for Best Play, God of Carnage is rated Theatre R for adult language.

Tickets are $27 for adults and $17.50 for students. For more information or to reserve tickets call The Old Creamery Theatre at 800-35-AMANA (352-6262) or visit the web site.

The Old Creamery Theatre Company is a not-for-profit professional theatre founded in 1971 in Garrison, Iowa. The company is celebrating 41 years of bringing live, professional theatre to the people of Iowa and the Midwest.

Audition Notice for Pump Boys and Dinettes

Amana - Audition Notice: The Iowa Theatre Artists Company in Amana is scheduling audition appointments for two non-union male Musician/Singer/Actors for their upcoming production of Pump Boys And Dinettes. The roles of Jim and Jackson are yet to be cast. The production runs four weekends, October 26 — November 18. Please call Meg Merckens, Artistic Director of ITAC for information, details, and to schedule an audition appointment. Looking for non-union performers only, please, with strong background in guitar. These are paid positions. All other roles have been cast. 319-622-3225 or email: itac@southslope.net

Fall Drama Classes in Iowa City

Iowa City - The Iowa City Parks and Recreation Department is offering dance and drama classes this fall. Information here.

Back-to-School Time at City Circle!

Coralville - City Circle Acting Company has announced its fall line of classes. From City Circle's press:

"The leaves are shifting hue, the heat is... slightly less oppressive, and all through the Corridor, children are donning their thinking caps. What better subject to study than theater? City Circle Acting Company is offering a multitude of options for young theater lovers this fall!

We're joining forces once again with the Coralville Parks and Recreation department to offer classes through their Leisure Line. In the physical copy, we're on page 23; you can also register online by visiting http://activenet21.active.com/coralvillerecreation/ and searching for each class by name. You can contact Coralville Parks and Recreation at 319.248.1750.

Our Class Offerings
Time to PLAY!: Ages 3-5. Three 3-week sessions available. Saturdays 10-10:40 a.m. "Actors spend so much time discovering their inner child: now it's time for your child to discover their inner actor! Pre-schoolers will have a blast doing what they do best - pretending. These sessions are just the right length to pique your child's interest in theater, with games and activities geared towards drawing out their natural creativity."

Theater Antics: Grades K-2. Two 5-week sessions available. Saturdays 11 a.m.-12 noon. "Find yourselves transported to worlds of your own creation as you thrill to the wild world of theater. Let your imagination soar and learn how to share it with others! You'll create wacky characters in zany situations, all while learning about life on stage through movement, voice exploration, and a whole lot of fun."

Not Your Mama's Drama: Grades 3-6. One 6-week session. Saturdays 2-3 p.m. "Here's where the fun really begins! Have a passion for the theater? Start honing your performance skills with games and activities to help you grow as an actor. You'll work on story-telling, voice, and movement as well as starting some basic scene work. Come meet all of the different people you never knew you could become!"

We're also offering classes on the No-School Days this fall!
"The Hobbit" Make-Up Experience: Grades 3-6. 9 a.m.-3 p.m. on Fri, Nov 9.
"A Christmas Carol" Victorian Experience: Grades 3-6. 9 a.m.-3 p.m. Thu and Fri, Dec 20-21.

Jump-start the love of theater in your little one's life. Enroll them in a class with City Circle!"

Writer's Joust Submissions Due December 1

Iowa City - Dreamwell Theatre continues its tradition of producing original work through its annual playwriting contest, the Writers’ Joust. The winner will receive a $100 cash prize and a full production of his or her play in July, 2013. Two runner up playwrights will receive a staged reading of their plays.

The theme for Dreamwell’s 2012-13 season is “OVA-tion!”, featuring all female playwrights. Dreamwell is looking for full length plays that demonstrate women’s impact on some aspect of life (for example, but not limited to, family, society, politics, religion, or art). Note that for the Writers’ Joust, men are encouraged to submit plays as well.

Previous contest winners were Tom Deiker’s Innocence and Amy White's World's Teeniest.

Writers’ Joust Rules

Writers must currently live in Iowa or explain their connection to the state. Judges have the right to disqualify a playwright without adequate connection to Iowa.

Keep the set and production value simple.

Only full length plays will be considered.

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

Manuscripts should be 12 font, double spaced, 1 inch margins and page numbered (starting with cover sheet).

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

Do not include your name on the script itself – only on the cover sheet. Scripts are judged anonymously.

Email submissions to: joust@dreamwell.com or by postal mail to: Dreamwell Theatre, Writers’ Joust, PO Box 2903, Iowa City IA 52244.

Deadline is December 1, 2012 for e-mailed entries. Mailed manuscripts must be postmarked no later than December 1, 2012.

Mailed manuscripts will not be returned.

Only one submission per playwright.

All playwrights submitting by the stated deadline will be sent a confirmation e-mail.

All playwrights will be notified of winning plays through an e-mail by March 31, 2013.

ITAC's The Drawer Boy Balances Humor & Depth

Robert Gardner (left) and Steve Shaffer;
Photo by Meg Merckens

 

by Gerry Roe
Amana—The Drawer Boy tells the story of a young actor who inserts himself into the lives of two bachelor farmers. Miles, the actor, is part of a 1972 Toronto group with the goal of creating plays about rural life. In order to gather material, the actors are sent into the country to learn about Ontario farm life and to bring their stories back to the group. The result was The Farm Show, which was first presented to the farm families with whom the actors lived for a time and from whom the stories were collected. Later The Farm Show spread across Canada including performances in urban centers such as Ottawa, Stratford, and Manitoba.

In Healey’s 1999 play, Miles (Alex Shockley) arrives at the small farm run by Morgan (Robert Gardner) and Angus (Steve Shaffer), lifelong friends and veterans of World War II. Miles asks to live on the farm for a while in order to research farming and farm life. In exchange, he will help out with chores. With some reluctance, Morgan agrees and sets about “teaching” Miles, assigning him useless tasks and providing gross misinformation about the farming business. City boy Miles is naïve enough to take his jobs seriously and the exchanges between Morgan and Miles provide much of the humor in the first act. Assigned to spend time with the cows, Miles thinks he can interpret their mooing and finds in it evidence of their incipient terror of insufficient milk production leading to their demise and conversion to beef. Morgan could be seen as cruel for taking advantage of the naïve Miles but Gardner's subtlety lets us in on the fact that he is merely playing practical jokes on him.

Angus, the drawer boy whose talent for drawing could have allowed him a university education and a career in architecture if he hadn’t gone to war and lost his memory through a head injury, now relies on Morgan as his only link to his own past. Morgan keeps that past alive by telling Angus the story of two friends from childhood (a drawer boy and a farmer boy) who played together, grew up, joined the army, and met two girls “one tall, the other taller,” and who planned to build two houses "connected but separate” for them and the girls.

Enough about the plot. Go see this play and the plot will emerge sufficiently. The real reason to see the play is the characters and the performances. In addition to the humor, there is great depth in the characters and in the actors’ performances. Robert Gardner as Morgan is masterful in his portrayal, showing us his burden of caring for his friend, as well as his private burden of keeping Angus functioning in spite of the memory loss and the pain of his terrible headaches. Steve Shaffer’s Angus is utterly convincing as he shuffles along in his confused state, pathetic at times, amusing at times, and never setting a foot wrong. These are bravura performances, deeply moving in their shared existence, and inspiring in their portrayal of friendship’s demands and rewards. Alex Shockley’s Miles is amusing in his apparent haplessness but thoroughly convincing in his ability to discern the flaw in Morgan’s story.

Thomas Johnson’s set design is attractive and efficient, evoking the bachelors’ farm kitchen and a bit of the outdoors beyond. Johnson’s direction seems low-keyed but it is extremely effective. In a pre-show message to the audience, Johnson said directing was easy because all he had to do was let these talented actors go. Anyone who has ever directed a show can see beneath his comment and recognize the work involved in giving actors their freedom and helping them select the various routes to their successful performances.

The Drawer Boy runs through September 16, with performances Fridays and Saturdays at 7:30 p.m. and Saturdays and Sundays at 1:30 p.m. Tickets can be reserved by calling the ITAC box office at 319-622-3222 or via email: itac@southslope.net. Tickets are $22.50 for adults and $10 for students, with group rates available as well.

City Circle/Dreamwell's All-in-a-Day

Coralville - Saturday night is City Circle's annual collaboration with Dreamwell Theatre, the All-in-a-Day Play Festival! Actors, directors, and writers come together to throw up a series of 10-minute plays for you, all produced in only 24 hours. The results are often astonishing! Showtime is 7:30 p.m. Saturday Sep 1, at the Coralville Center for the performing Arts. Tickets are only $8.