Iowa City - "Dreamwell Theatre Presents Gruesome Playground Injuries by Rajiv Joseph and directed by Chuck Dufano. The play will run November 15, 16, 22, and 23 at 7:30 pm at 10 S. Gilbert St., Iowa City.
An accident prone daredevil and a corrosive masochist navigate friendship, love and the squishy parts that lie in between. In a series of non-linear vignettes that bounce over three decades of a relationship, Doug and Kayleen meet in a school nurse’s office, and from there build a complex connection over a lifetime of injuries, both physical and emotional. Truly a different type of love story, Gruesome Playground Injuries will leave you smarting from its sharp humor and sharper insights.
The cast includes Becca Anderson as Kayleen and Nate Sullivan as Doug."
Source: Dreamwell Press Release
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Showing posts with label 2012-13 Season. Show all posts
Showing posts with label 2012-13 Season. Show all posts
Tuesday, November 5, 2013
Saturday, June 8, 2013
Take Five From Your Busy Schedule to Check Out 5
By James E. Trainor III
Cedar Rapids - This weekend, SPT wraps up the fifth show of its fifth season of its Tales from the Writers' Room series. The theme of the show, as you might have guessed, is the number five. Though the show has moved spaces over the years and brought on director Richard Barker, the quality and the format remain the same: funny skits, thoughtful monologues, and rocking music.
Cedar Rapids - This weekend, SPT wraps up the fifth show of its fifth season of its Tales from the Writers' Room series. The theme of the show, as you might have guessed, is the number five. Though the show has moved spaces over the years and brought on director Richard Barker, the quality and the format remain the same: funny skits, thoughtful monologues, and rocking music.
Tuesday, June 4, 2013
Tales from the Writer's Room: Episode Five
Cedar Rapids - SPT'S 2012-13 Tales from the Writer's Room series closes with Episode Five on Friday, June 7 and Saturday, June 8.
The show begins at 8:00 p.m. at CSPS -- 1103 3rd St SE in Cedar Rapids. Guest artists will be Jackson Bartelme and Hannah Spina. Musical guests: Matt Brooks, Greg Kanz, and Dave Ollinger.
The show begins at 8:00 p.m. at CSPS -- 1103 3rd St SE in Cedar Rapids. Guest artists will be Jackson Bartelme and Hannah Spina. Musical guests: Matt Brooks, Greg Kanz, and Dave Ollinger.
Sunday, May 12, 2013
Forum Is Physical Comedy Gold
By James E. Trainor III
Photos by Bob Goodfellow
Coralville - A beloved (if naughty) modern classic, A Funny Thing Happened on the Way to the Forum does indeed have "something for everyone:" bawdy comedy, shameless buffoonery, conniving slaves, cowardly pimps, beautiful dancers, clever songs, and a nonstop stream of jokes. City Circle's production uses a lovely set with colorful costumes, excellent lighting, and some truly wonderful acting from a great cast directed by Patrick Du Laney. As the opening number tells us, there's nothing serious or somber to be had from Forum, but that doesn't mean it's done without care and precision. Du Laney's cast takes comedy seriously, and a number of rather complicated sequences are done with a great deal of skill and energy, to hilarious results.
The musical, by Steven Sondheim, Burt Shevelove, and Larry Gelbart, takes the Roman farces of Plautus for its source material. At the beginning we are introduced to the householders of the three houses onstage: the squabbling middle-aged couple, Senex and Domina (Steve Rosse and Robyn Calhoun); the confused old man, Erronius (Kevin Burford), who is searching for his lost children, and Marcus Lycus (Luis A. Sierra), who is master of whorehouse. The set, by Shelly Ford, is simple and very effective; there are lots of entrances and exits, to allow for the classic farce trope of running in and out of doors, and there is plenty of room downstage for the bulk of the action. The lights, by Drew Bielinski, work well with the set, allowing for some great visual gags, as well as an appropriate tone for every moment. The way the colors play with that of the set and costumes (by Jean Grewe) shows particular care and forethought.
Photos by Bob Goodfellow
 |
| The cast of A Funny Thing Happened on the Way to the Forum |
The musical, by Steven Sondheim, Burt Shevelove, and Larry Gelbart, takes the Roman farces of Plautus for its source material. At the beginning we are introduced to the householders of the three houses onstage: the squabbling middle-aged couple, Senex and Domina (Steve Rosse and Robyn Calhoun); the confused old man, Erronius (Kevin Burford), who is searching for his lost children, and Marcus Lycus (Luis A. Sierra), who is master of whorehouse. The set, by Shelly Ford, is simple and very effective; there are lots of entrances and exits, to allow for the classic farce trope of running in and out of doors, and there is plenty of room downstage for the bulk of the action. The lights, by Drew Bielinski, work well with the set, allowing for some great visual gags, as well as an appropriate tone for every moment. The way the colors play with that of the set and costumes (by Jean Grewe) shows particular care and forethought.
Saturday, May 11, 2013
The Children’s Hour Hits and Misses
 |
| Meg Dobbs as Amelia Tilford, Serena Collins as Mary Tilford |
Photos By Elisabeth Ross
Iowa City - The Children's Hour is a simple enough premise: in 1961 America, two women, teachers and headmistresses of a small private school for girls, are accused by one of their students of committing lesbian acts with each other. The resulting scandal threatens to destroy their lives and the lives of those who love them. Whether the accusation is true or not is irrelevant; it is the perception which matters.
It took me awhile after I sat down for me to put my finger on what seemed so out of place in this theater in which I have many times similarly sat down. The doors to the stage were closed. They are never closed before a show. As soon as I realized this, I was intrigued…what surprises were they hiding behind the doors, on the stage? When they finally opened the doors, it turned out to be relatively mundane, and yet quite surprising nonetheless: it was just a regular set, but a really well done set!
Friday, April 19, 2013
The Children's Hour Opens May 10
Iowa City - "Dreamwell continues its 2012-13 season OVA-tions: A Season of Women's Words with The Children's Hour by Lillian Hellman and directed by Elizabeth Tracy. Performance dates are May 10, 11, 17, 18 at 7:30pm at the Unitarian Universalist Society, 10 S. Gilbert St., Iowa City. Tickets are $13 regular, $10 students/seniors.The Children's Hour is a serious adult play about two women who run a school for girls. A malicious student, trying to protect herself, starts an entirely unfounded rumor about the two women. When the young teen sees the rumor turn to scandal, she understands the power she wields and sticks to her story, which eventually precipitates tragedy for the women.
The Children's Hour Cast
(in order of which they speak)
Peggy Rogers...Rachel Hittner
Catherine...Mary Vander Weg
Lois Fisher...Paige Harken
Mrs. Lily Mortar...Paula Grady
Evelyn Munn...Lizzie Carrell
Helen Burton...Mady Nachtman
Rosalie Wells...Genevieve Wisdom
Leslie...Anna Baynton
Mary Tilford...Serena Collins
Karen Wright...Aisling Beck
Martha Dobie...Heidi Bibler
Dr. Joseph Cardin... Matthew Falduto
Agatha...Valerie Keffala
Mrs. Amelia Tilford...Meg Dobbs"
(Source: Dreamwell Newsletter)
Tuesday, April 9, 2013
Oklahoma! Opens April 26
Iowa City - "The Iowa City Community Theatre is presenting the classic musical “Oklahoma!” on April 26 and 27 and May 3 and 4 at 7:30 p.m., as well as April 27 and 28 and May 4 and 5 at 2 p.m. in the Exhibition Hall at the Johnson County Fairgrounds.The show, with music by Richard Rodgers, book and lyrics by Oscar Hammerstein II is co-directed by Josh Sazon and Richard Riggleman, with music direction by Wes Habley and choreography by Jill and Doug Beardsley.
The performances are sponsored by Dr. William Olin and Bertha Olin and Dr. Steve Hedlund and Chris Hedlund.
Tickets are $18 for adults, $15 for students and seniors, and $10 for children." (Source: ICCT Press Release)
Wednesday, February 20, 2013
Auditions for The Children's Hour
Iowa City - Dreamwell Theatre has announced auditions for The Children's Hour by Lillian Hellman.
From Dreamwell's press release:
"Dreamwell Theatre announces auditions for The Children's Hour by Lillian Hellman February 25 and 26, 6 to 9pm at the Iowa City Public Library. Auditions will consist of cold readings from the script but short monologues may be presented as well. Scripts will be available at the library. Directed by Liz Tracey.
From Dreamwell's press release:
"Dreamwell Theatre announces auditions for The Children's Hour by Lillian Hellman February 25 and 26, 6 to 9pm at the Iowa City Public Library. Auditions will consist of cold readings from the script but short monologues may be presented as well. Scripts will be available at the library. Directed by Liz Tracey.
Saturday, February 9, 2013
Trestle's Engines Lack Steam
By James E. Trainor III
Photos by Elisabeth Ross
Iowa City - Dalton Chance has been flirting with Pace Cregan. Or maybe he's just been flirting with death. Pace isn't the kind of girl you bring home to mother. She spits, she swears, she talks of disturbing topics. And she's had Dalton down by the train tracks rehearsing for a date with destiny that will change him forever.
The Trestle at Pope Lick Creek is Naomi Wallace's Depression-era tale of two teens and their struggle to assert some sort of identity in a hopeless world. At the same time, it explores the effects of economic downturn on the older characters. Dreamwell's production, directed by Chuck Dufano, opened at the Universalist Unitarian Society this weekend.
As the plot, which is somewhat nonlinear, develops, we learn that Dalton (Logan Natvig) is accused of killing Pace (Adeara-Jean Maurice). We learn that Chas (Brad Quinn), Dalton's jailer, had a son who had been captivated -- and killed -- by Pace's obsessions with the train that crosses the trestle at Pope Lick Creek. Pace was training Dalton to run the train. She was also teaching him about love, and how being human means coming to terms with the urgent need to see and be seen by others. As Pace's bizarre story unfolds, Dalton opens up about her philosophy that shattered his world, and how he can never be put back together the same way again.
It's a play of shadows and mirrors, and the story of Dalton's parents, Gin (Meg Dobbs) and Dray (Steven Polchert) mirrors his own. They were once teenagers in love in the same dead-end town, with the same desperation to overcome inertia and become something completely different. But Dray has been laid off and Gin will be any day now, and they're turning out to be nothing but empty. Gin wants to save their relationship, but Dray is completely broken. The subplot showcases Wallace's unabashedly socialist politics and, at the same time, gives us an idea of where Dalton and Pace might have gone.
Photos by Elisabeth Ross
 |
| Brad Quinn as Chas and Logan Natvig as Dalton. |
The Trestle at Pope Lick Creek is Naomi Wallace's Depression-era tale of two teens and their struggle to assert some sort of identity in a hopeless world. At the same time, it explores the effects of economic downturn on the older characters. Dreamwell's production, directed by Chuck Dufano, opened at the Universalist Unitarian Society this weekend.
As the plot, which is somewhat nonlinear, develops, we learn that Dalton (Logan Natvig) is accused of killing Pace (Adeara-Jean Maurice). We learn that Chas (Brad Quinn), Dalton's jailer, had a son who had been captivated -- and killed -- by Pace's obsessions with the train that crosses the trestle at Pope Lick Creek. Pace was training Dalton to run the train. She was also teaching him about love, and how being human means coming to terms with the urgent need to see and be seen by others. As Pace's bizarre story unfolds, Dalton opens up about her philosophy that shattered his world, and how he can never be put back together the same way again.
It's a play of shadows and mirrors, and the story of Dalton's parents, Gin (Meg Dobbs) and Dray (Steven Polchert) mirrors his own. They were once teenagers in love in the same dead-end town, with the same desperation to overcome inertia and become something completely different. But Dray has been laid off and Gin will be any day now, and they're turning out to be nothing but empty. Gin wants to save their relationship, but Dray is completely broken. The subplot showcases Wallace's unabashedly socialist politics and, at the same time, gives us an idea of where Dalton and Pace might have gone.
Thursday, February 7, 2013
Get "Relief" From the Winter Blues at Urinetown
By Andrew Juhl
Coralville - This is not a happy musical, indeed. Sure, City Circle’s production of Urinetown: The Musical contains its share of laughs and jocularity, but it’s also tinged with piss and vinegar—so, okay, mostly piss.
Urinetown is a 2002 multi-Tony Award winner from Mark Hollmann & Greg Kotis. Occasionally (and ultimately) tarrying into seriousness, the musical is also replete with puns, guffawish humor, and outright silliness. As an extra treat for the musical lovers in the crowd, the songs shift in tone from scene to scenes, providing pastiches to straight-up parodies of other great Broadway shows, such as Les Miserables, Fiddler on the Roof, Sweet Charity, and Big River, among others.
Coralville - This is not a happy musical, indeed. Sure, City Circle’s production of Urinetown: The Musical contains its share of laughs and jocularity, but it’s also tinged with piss and vinegar—so, okay, mostly piss.
Urinetown is a 2002 multi-Tony Award winner from Mark Hollmann & Greg Kotis. Occasionally (and ultimately) tarrying into seriousness, the musical is also replete with puns, guffawish humor, and outright silliness. As an extra treat for the musical lovers in the crowd, the songs shift in tone from scene to scenes, providing pastiches to straight-up parodies of other great Broadway shows, such as Les Miserables, Fiddler on the Roof, Sweet Charity, and Big River, among others.
Wednesday, January 30, 2013
The Trestle at Pope Lick Creek Opens February 8
Dalton Chance is 15 years old and an open book. Pace Creagan, aged 17, is fearless and feared, and to Dalton, she’s irresistible. The relationships between Dalton and his parents, Gin and Dray, are explored as well as the curious behavior of Chas, the jailor, with his own secret. All roles examine the depths of how each character found themselves in their current situation and how they deal with it in this world where no bright future is apparent.
Throughout the play Naomi Wallace delves into a story where people struggle to change the lives that bear down upon them. Director Chuck Dufano said that 'bringing out the imagery and reality of this play has been challenging and rewarding. Audiences will absorb the beauty of Wallace's words against the harsh backdrop of these characters' lives.'
The Chicago Theatre Beat describes Wallace’s work as '...Romeo and Juliet without the romance, just rebellion and it’s not enough.' Logan Natvig, who plays Dalton Chance, said 'The biggest challenge I've had with this role is playing the wide range of emotions in a short period of time. I need to go directly to a heavily emotional scene right after a lighter, playful scene.'
This show is an emotional complement to the Dreamwell season, in conjunction with the theme, Ova-tion: A Season of Women’s Words. Adeara Jean Maurice, who portrays Pace, feels 'Naomi Wallace is a playwright that does something really unique. Her plays make you think. You can't leave a Naomi Wallace play without talking about it with a friend a couple weeks later. It's important we do plays like that.' "
(Source: Dreamwell press release)
Tuesday, December 4, 2012
A Christmas Carol Opens December 14
Coraville - "A Christmas Carol opens Friday, December 14 and runs for 6 performances over two weekends. You won’t want to miss the holiday classic that’s true to the Dickens’ story, with a 'musical twist.' According to director Liz Tracey, “the show has been infused with Christmas carols appropriate to the time and they add beautifully to the story."
Performances are December 14, 15, 21, 22 at 7:30 p.m. and December 16 and 23 at 2 p.m. There will be a reception for cast, crew and audience members following the December 16th matinee.
Tickets are available online at coralvillearts.org, by phone at 319.248.9370, and in-person at the CCPA box office at 1301 5th Street and at the Coralville Recreation Center at 1506 8th Street."
(source: City Circle)
Performances are December 14, 15, 21, 22 at 7:30 p.m. and December 16 and 23 at 2 p.m. There will be a reception for cast, crew and audience members following the December 16th matinee.
Tickets are available online at coralvillearts.org, by phone at 319.248.9370, and in-person at the CCPA box office at 1301 5th Street and at the Coralville Recreation Center at 1506 8th Street."
(source: City Circle)
Auditions for Dreamwell's Trestle at Pope Lick Creek
Auditions for Dreamwell Theatre's production of The Trestle at Pope Lick Creek by Naomi Wallace, directed by Chuck Dufano, will be at the ICPL Wednesday, Dec. 12 , 7:00pm and Saturday, Dec. 15 at 2:00pm. Show dates are February 8-9, 15-16. Scripts will be on reserve at the Iowa City and Coralville Public Libraries.
Synopsis: Dalton Chance is 15 years old and an open book. Pace Creagan, aged 17, is fearless and feared, and to Dalton, she’s irresistible. A poetic, Depression-era play by a prize-winning writer; a coming-of-age story with a wicked twist that reaches into the depths of a nation and asks what lies beneath.
Pace Creagan - 17 year old girl
Dalton Chance - 15 year old boy
(Due to mature content, actors 18 or older will be considered for Pace and Dalton.)
Gin Chance - early forties, Dalton's mother
Dray Chance - late forties - Dalton's father
Chris Weaver - early fifties, male
Send inquiries to the director Chuck Dufano at chuck@dreamwell.com.
Synopsis: Dalton Chance is 15 years old and an open book. Pace Creagan, aged 17, is fearless and feared, and to Dalton, she’s irresistible. A poetic, Depression-era play by a prize-winning writer; a coming-of-age story with a wicked twist that reaches into the depths of a nation and asks what lies beneath.
Pace Creagan - 17 year old girl
Dalton Chance - 15 year old boy
(Due to mature content, actors 18 or older will be considered for Pace and Dalton.)
Gin Chance - early forties, Dalton's mother
Dray Chance - late forties - Dalton's father
Chris Weaver - early fifties, male
Send inquiries to the director Chuck Dufano at chuck@dreamwell.com.
Tuesday, November 6, 2012
Dreamwell's 2012-13 Season
by Matthew Falduto
When Dreamwell began, its founders weren't entirely sure what sort of theatre they were going to create. Early shows included Of Mice and Men, Greater Tuna and Barefoot in Park, hardly the cutting edge shows that we've come to expect from Dreamwell in recent years. Yet even in those early years, Dreamwell was producing
Desdemona: A Play about a Handkerchief and the recently revived Baby with the Bathwater, shows that suggested a path toward that edge. By 2002, they were clearly establishing themselves as a theatre of exploration, willing to produce shows you've never heard of because they challenged our preconceptions about life. Shows like Don Delillo's Valparaiso and Terry Lawrence's Rosenstrasse. (Google 'em.)
In recent years, Dreamwell has created theme seasons, where all of the shows revolve a central idea. The Taboo Bijou season, for instance, featured plays that dealt with various societal taboos. Shows like Blackbird and Poona the F*ckdog were part of that season. Currently, Dreamwell is producing Ova-tion! A Season of Women's Words. Every play was written by a female playwright. The first show of the season was Women of Lockerbie, about the effects of the bombing of Pan Am Flight 103 over Lockerbie, Scotland. On Friday, Dreamwell will open House of Yes by Wendy MacLeod. We recently had a chance to talk to Chuck Dufano, co-artistic director of Dreamwell, and ask him about the theatre.
Iowa Theatre Blog: For the last few years, Dreamwell have been doing theme seasons. Can you tell us why you decided to do that and if you see that continuing? What’s the advantage to a theme season for the audience?
Chuck Dufano: When we first starting selecting plays for previous seasons, we noticed they had a connection that seemed to pique the audience's interest. A themed season would allow an audience to theatrically examine different facets of the same idea. We will continue to have themed seasons as long as we find connections between plays that we want to do. We don't feel obligated to have a theme.
Why did you decide to do a season of female playwrights?
We noticed that they were under-represented in previous seasons. Therefore, a season of female playwrights seemed warranted. This season's theme was not selected in the same way as our other themes, but we didn't feel we needed to find any other connection among these plays. The selection committee enjoyed the depth and variety of the many plays we considered. However, pre-selection of season themes will not be our regular procedure.
Tell us about House of Yes. Why would be interested in this play?
House of Yes was one of the few comedies we found and we genuinely believe it is a funny play. Good comedies are hard to come by. This play examines serious confrontations within a dysfunctional family using cutting dark humor and lots of fun twists. Audiences may find it easier to tackle serious issues when they are presented as a comedy vs. a drama.
Naomi Wallace, who wrote the third play of your season, Trestle at Pope Lick Creek, is a former University of Iowa student. Did you factor that into your selection?
Wallace's connection to the University of Iowa was not a factor in our decision to select Trestle at Pope Lick Creek. The committee reviewed four of her plays and this one was selected because we believed it would resonate most with our audience.
Children’s Hour is your most recognizable play and Lillian Hellman the most known of the playwrights for this season. Dreamwell has always been about doing the new and wild and wacky. So why a Lillian Hellman play?
Well, all of our plays can't be new and wild and wacky! Seriously, there is cause to do a classic play. The themes found in The Children's Hour -- bullying, coming out, and the damage of rumor and gossip -- are still relevant today.
Neighborhood 3 deals with the addiction of young people to video games. What is unique about this play? Why is it a good fit for this season?
We believe that despite the eerie context this play will be accessible to anyone in the audience. One of us (we won't say who) has never played a video game in his/her life and s/he totally got what the play is all about. So, the committee concluded this play could speak to a wide audience. And besides, it's new and wild and wacky.
I see you are doing another writers joust – a contest for original plays. Your website says “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).” Can you expand on that? Maybe give some examples of play we all know about that would fit this theme?
We really don't want to say more about this theme because we don't want to tie the theme down too much. We're just looking for plays that depict and/or examine the impact and/or influence women have in some facet of life.
Some examples of plays that reflect this theme would be:
Miss Evers' Boys
Evita
Mrs. Packard
Master Class
A Raisin in the Sun
A Doll's House
The Sound of Music
Doubt
What else do you want to tell us about Dreamwell or this particular season?
Come see the plays or audition! You won't be disappointed. Each play offers new challenges for Dreamwell and we'd like you to join us in exploring them.
When Dreamwell began, its founders weren't entirely sure what sort of theatre they were going to create. Early shows included Of Mice and Men, Greater Tuna and Barefoot in Park, hardly the cutting edge shows that we've come to expect from Dreamwell in recent years. Yet even in those early years, Dreamwell was producing
Desdemona: A Play about a Handkerchief and the recently revived Baby with the Bathwater, shows that suggested a path toward that edge. By 2002, they were clearly establishing themselves as a theatre of exploration, willing to produce shows you've never heard of because they challenged our preconceptions about life. Shows like Don Delillo's Valparaiso and Terry Lawrence's Rosenstrasse. (Google 'em.)In recent years, Dreamwell has created theme seasons, where all of the shows revolve a central idea. The Taboo Bijou season, for instance, featured plays that dealt with various societal taboos. Shows like Blackbird and Poona the F*ckdog were part of that season. Currently, Dreamwell is producing Ova-tion! A Season of Women's Words. Every play was written by a female playwright. The first show of the season was Women of Lockerbie, about the effects of the bombing of Pan Am Flight 103 over Lockerbie, Scotland. On Friday, Dreamwell will open House of Yes by Wendy MacLeod. We recently had a chance to talk to Chuck Dufano, co-artistic director of Dreamwell, and ask him about the theatre.
Iowa Theatre Blog: For the last few years, Dreamwell have been doing theme seasons. Can you tell us why you decided to do that and if you see that continuing? What’s the advantage to a theme season for the audience?
Chuck Dufano: When we first starting selecting plays for previous seasons, we noticed they had a connection that seemed to pique the audience's interest. A themed season would allow an audience to theatrically examine different facets of the same idea. We will continue to have themed seasons as long as we find connections between plays that we want to do. We don't feel obligated to have a theme.
Why did you decide to do a season of female playwrights?
We noticed that they were under-represented in previous seasons. Therefore, a season of female playwrights seemed warranted. This season's theme was not selected in the same way as our other themes, but we didn't feel we needed to find any other connection among these plays. The selection committee enjoyed the depth and variety of the many plays we considered. However, pre-selection of season themes will not be our regular procedure.
Tell us about House of Yes. Why would be interested in this play?
House of Yes was one of the few comedies we found and we genuinely believe it is a funny play. Good comedies are hard to come by. This play examines serious confrontations within a dysfunctional family using cutting dark humor and lots of fun twists. Audiences may find it easier to tackle serious issues when they are presented as a comedy vs. a drama.
Naomi Wallace, who wrote the third play of your season, Trestle at Pope Lick Creek, is a former University of Iowa student. Did you factor that into your selection?
Wallace's connection to the University of Iowa was not a factor in our decision to select Trestle at Pope Lick Creek. The committee reviewed four of her plays and this one was selected because we believed it would resonate most with our audience.
Children’s Hour is your most recognizable play and Lillian Hellman the most known of the playwrights for this season. Dreamwell has always been about doing the new and wild and wacky. So why a Lillian Hellman play?
Well, all of our plays can't be new and wild and wacky! Seriously, there is cause to do a classic play. The themes found in The Children's Hour -- bullying, coming out, and the damage of rumor and gossip -- are still relevant today.
Neighborhood 3 deals with the addiction of young people to video games. What is unique about this play? Why is it a good fit for this season?
We believe that despite the eerie context this play will be accessible to anyone in the audience. One of us (we won't say who) has never played a video game in his/her life and s/he totally got what the play is all about. So, the committee concluded this play could speak to a wide audience. And besides, it's new and wild and wacky.
I see you are doing another writers joust – a contest for original plays. Your website says “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).” Can you expand on that? Maybe give some examples of play we all know about that would fit this theme?
We really don't want to say more about this theme because we don't want to tie the theme down too much. We're just looking for plays that depict and/or examine the impact and/or influence women have in some facet of life.
Some examples of plays that reflect this theme would be:
Miss Evers' Boys
Evita
Mrs. Packard
Master Class
A Raisin in the Sun
A Doll's House
The Sound of Music
Doubt
What else do you want to tell us about Dreamwell or this particular season?
Come see the plays or audition! You won't be disappointed. Each play offers new challenges for Dreamwell and we'd like you to join us in exploring them.
Sunday, October 21, 2012
City Circle's 2012-13 Season
by Matthew Falduto
City Circle - The city of Coralville has changed a lot over the years. From the arrival of the Coral Ridge Mall in 1998 to the creation of a 'downtown' area, Coralville is no longer "Stickville" as it was called in the 1950s or even just the "Strip" as I knew it when I arrived in the early 1990s. If anything epitomizes that change, it's the Coralville Center of the Performing Arts, which opened in 2011. This beautiful theatre is home to the City Circle Acting Company of Coralville. Formed in 1997, the company presented its first show, Nunsense in 1998 at the old University of Iowa Oakdale campus. They followed that rollicking musical comedy with two dramatic plays - The Lion in Winter and The Boys Next Door. From the beginning, their shows were well received and showed a high level of skill. Most of the founding members of the company had honed their talents across town at the Iowa City Community Theatre and knew how to create exciting and invigorating theatre. Over the years, they produced classics like Pippin to shocking shows like Bat Boy: The Musical.
City Circle has bounced around to many different locations - an old warehouse where the Iowa River Landing now lives, the Iowa Children's Museum, and the Englert Theatre in downtown Iowa City. Perhaps most memorably, they performed Mary Zimmerman's Metamorphoses at the Coralville Aquatic Center's outdoor pool. But now they have a permanent home in the heart of downtown Coralville. Last month, they produced Noises Off, one of the funniest shows ever, to much acclaim. Next up is The Hobbit, which opens October 26.We had the opportunity to ask Carrie Houchins-Witt, City Circle's Artistic Core rep, a few questions about the current season.
(Photos by ICPixx.)
City Circle - The city of Coralville has changed a lot over the years. From the arrival of the Coral Ridge Mall in 1998 to the creation of a 'downtown' area, Coralville is no longer "Stickville" as it was called in the 1950s or even just the "Strip" as I knew it when I arrived in the early 1990s. If anything epitomizes that change, it's the Coralville Center of the Performing Arts, which opened in 2011. This beautiful theatre is home to the City Circle Acting Company of Coralville. Formed in 1997, the company presented its first show, Nunsense in 1998 at the old University of Iowa Oakdale campus. They followed that rollicking musical comedy with two dramatic plays - The Lion in Winter and The Boys Next Door. From the beginning, their shows were well received and showed a high level of skill. Most of the founding members of the company had honed their talents across town at the Iowa City Community Theatre and knew how to create exciting and invigorating theatre. Over the years, they produced classics like Pippin to shocking shows like Bat Boy: The Musical.
City Circle has bounced around to many different locations - an old warehouse where the Iowa River Landing now lives, the Iowa Children's Museum, and the Englert Theatre in downtown Iowa City. Perhaps most memorably, they performed Mary Zimmerman's Metamorphoses at the Coralville Aquatic Center's outdoor pool. But now they have a permanent home in the heart of downtown Coralville. Last month, they produced Noises Off, one of the funniest shows ever, to much acclaim. Next up is The Hobbit, which opens October 26.We had the opportunity to ask Carrie Houchins-Witt, City Circle's Artistic Core rep, a few questions about the current season.
Iowa Theatre Blog: You have quite an eclectic group of shows this year:
musicals, a fantasy play, an uproariously funny comedy, original works and a
Christmas show. How did you choose this season?
Carrie Houchins-Witt: We wanted to start off our second season in the Coralville
Center for the Performing Arts with a bang, or in this case, a slam! Noises
Off is a wonderfully fun and witty play that we have been wanting to do for
ages. The show requires an enormous and very intricate set that we have never
been able to accommodate in spaces we have previously used. We also had the
very talented Wallace Chappell who was keen to direct the show. We thought it a
winning combination to set off our second CCPA season. From there, it just fell
into place: we did make an effort to keep things varied in style and genre, as
it's a great way to appeal to the creativity of a wide variety of artists.
I think it’s safe to say most people know the story of
the Hobbit. What adaptation are you using?
The Hobbit is a classic tale that has endured for
generations, with each new group of readers finding new ways to connect to the
story. While this adaptation, written in the 1960s by Patricia Gray, was
intended for children, audiences of all ages will thrill to the adventures
experienced by these well-known characters. In particular, we anticipate that
parents who loved the book in their own youth will be glad of the chance to
share that joy with their children, and devoted fans will have fun exploring
yet another interpretation. Of course no one, not even a newcomer to the story,
is immune to the charm of Bilbo, the reluctant hero. We chose Gray's adaptation
because it is a version that J.R.R. Tolkien approved, and his reasons are
evident in the way that it retains the novel's sense of wonder and excitement.
Two years in a row for Christmas Carol. Is this going to
be a City Circle tradition? Or is there just always going to be a “Christmas”
slot in your season?
A Christmas Carol is a Christmas classic, and many
theaters across the country revisit it yearly. Our dream is that the show will
continue to grow and mature in our hands. A lot of options are open to us as we
continue to perform in the CCPA space. We hope for this to continue as a
community tradition for years to come.
The title of your next show, Urinetown, could turn some
people off. Why do we want to see a show about, well, pee?
While the show does have a potentially controversial title,
it is a fantastic, modern musical that we think many audiences will enjoy. It
is patently self-aware; in fact, one of the first lines in this hilarious
satire is "Nothing can kill a show like...bad subject matter, or a bad
title, even. That can kill a show pretty good." This Tony Award-winner
satirizes capitalism, social irresponsibility, and even the Broadway musical
genre itself. We have confidence that the director, Jesse Jensen, will bring
together an amazing pool of local talent to bring this piece to life.
After that you’ll be presenting a new play festival. Did
you get a lot of submissions? What sort of shows can we expect for that night?
City Circle puts together a New Play Festival every other
year, and this year will not disappoint! We have received over 300 submissions,
and are currently in the process of reading them and selecting which ones will
be produced in February. We are focusing on previously unproduced shorter plays
that have some sort of Iowa connection.
You end the season with a classic musical, A Funny Thing
Happened on the Way to the Forum. This is a play City Circle has presented
before back in the 2000-01 season. What made you bring it back?
A Funny Thing… is, indeed, a classic show. This is
another case where director interest helped spur our choice. We had the very
committed Patrick DuLaney eager to put up this show, so we jumped at the chance
to revive it. It is always a blast. Full of laughs and wonderful music, this
farce is sure to be an audience-pleaser!
What else do you want to tell us about City Circle or
this particular season?
City Circle strives to live up to the community's
expectation of excellent production values while providing an excellent
production experience to the artists with whom we collaborate. Additionally, we
seek to educate our patrons and our artists in different ways by holding
workshops, book clubs, and classes, something which really has taken off for us
this year. We are committed to bringing a variety of experiences to all
audiences, ages, and walks of life.
(Photos by ICPixx.)
Wednesday, September 12, 2012
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.)
Saturday, August 25, 2012
Noises Off Opens September 7
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| The cast of City Circle's Noises Off. Photo by Jackie Jensen |
Fresh off the success of their hugely popular summer teen show, City Circle is headed back to the Coralville Center for the Performing Arts to kick off their 2012-13 season with a real tour de farce! Michael Frayn's beloved comedy Noises Off opens on Friday, Sep. 7 and runs two weekends, with shows at 7:30 p.m. on Fridays and Saturdays, and at 2 p.m. on Sundays.
The play takes a fond look at the follies of theatre folk, whose susceptibility to out-of-control egos, memory loss, and passionate affairs turn every performance into a high-risk adventure. This comedy-within-a-comedy captures a touring theatre troupe’s production of Nothing On in three stages: dress rehearsal, the opening performance, and a performance toward the end of the run. Each performance is portrayed from behind the scenes, progressing from flubbed lines and missed cues in the dress rehearsal to mounting friction between cast members in the final performance. Brimming with slapstick comedy, Noises Off is a backstage farce of slamming doors, falling trousers, and flying sardines!
City Circle has assembled a stellar team of artists for this production. Local powerhouse Wally Chappell is marking his return to directing, and the cast is a veritable who's who of Corridor theatre. No matter which Eastern Iowa theaters you frequent, you're sure to see a familiar face in this show. Actors and audiences alike are consistently drawn to this modern classic—the play first premiered in 1982, and has seen many professional revivals over the years, including one that just closed in London's West End two months ago. City Circle is thrilled to be giving area fans the chance to experience it this fall.
Tickets can be purchased online or by calling 319.248.9370. As some of the jokes and situations do get a bit off-color, Noises Off is recommended for ages 13 and up.
Friday, August 24, 2012
True West Opens September 7
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| Pictured (L-R): Sean Christopher Lewis as Lee and Tim Budd as Austin in Riverside Theatre's True West. Photo by Bob Goodfellow. |
True West is about two brothers with a score to settle. Austin, an ambitious Hollywood screenwriter working on a potential million-dollar movie project and Lee, a desert drifter and a thief with a compulsion for six-packs and toasters, are reunited at their mother’s home while she is away and a struggle for dominance ensues. “True West is sibling rivalry on steroids,” said director Ron Clark. “The two brothers could not be more different. They both despise and envy each other, which I think is always the foundation of sibling rivalry.”
True West is considered to be a modern American classic and Shepard is revered as one of the greatest living playwrights of our time.
True West features Iowa City actors Tim Budd as Austin and Sean Christopher Lewis as Lee. Scot West of Chicago returns to Riverside as Saul Kimmer and Riverside Theatre Artistic Director Jody Hovland rounds out the cast as Mom.
“They’re the A-Team that brings the play to life,” Clark said. “It demands virtroso acting that can plumb the mysteries of the relationships. The turnabouts come fast and furious; the action is explosive.”
True West also features scenic design by Shawn Ketchum Johnson, lighting design by Courtney Schmitz Watson, costume design by Osean Perez, and sound design by Drew Bielinski. Jason Tipsword choreographs the fight work.
Since the scenic design includes numerous toasters, Riverside Theatre is seeking donations of two-slot, old-school toasters (working and non-working) for the production. Donated toasters will not be returned. Toasters may be dropped off at the Box Office at 213 N. Gilbert St, Noon - 4 p.m., Monday – Friday.
Tickets for True West, September 7 – September 30, are $15-$28 with discounts available for those over 60, those under 30, and youth. $15 students rush tickets are available on a first-come, first-served basis 20-minutes before curtain. Tickets are available by phone at (319) 338-7672, online or in person at the Riverside Theatre Box Office, located at 213 N. Gilbert St., Iowa City, IA.
Wednesday, August 22, 2012
Women of Lockerbie Opens September 14
The setting is the hills around Lockerbie, Scotland, where Pan Am flight 103 crashed on December 21, 1988. The play takes place on the 7-year anniversary of the crash and concerns the efforts of a group of Lockerbie women to gain permission and access to the clothes of those killed in order to wash them and return them to the victims' families. The women are joined by the parents of a crash victim who are looking for healing by visiting and seeking signs of their son at the crash site. The efforts of the women are impeded by the American government representative in charge of the warehouse storing the remains from the crash, a man who is anxious to wind up the 7-year long investigation into the crash. The play is modeled on Greek drama and epic in form, in spite of its contemporary events and people. It is a drama that examines how (and whether) people heal after a tragedy of great magnitude.
Friday, July 20, 2012
Riverside Announces 2012-13 Season
Iowa City - Riverside has announced its Gilbert St. season for its 32nd year, beginning September 7 with Sam Shepard's True West.
The shows
True West by Sam Shepard - (September 7 - 30)
Manning Up by Sean Christopher Lewis (October 12 - 28)
The Santaland Diaries by David Sedaris (December 7 - 9)
The Exit Interview by William Missouri Downs (January 25 - February 17)
Walking the Wire: TMI (March 1 - 10)
Blackbird by David Harrower (April 5 - 21)
Both Manning Up and The Exit Interview are new plays, and Walking the Wire is a series of original monologues. In addition, Riverside will present two readings: 8 on November 15 and Permanent Collection on April 22.
Single tickets and Riverdog Season Passes go on sale later this month. Riverdog Season Passes are $115 each. Single tickets are $15-$28 with discounts for youth 18 and under, as well as for those over 60 or under 30.
For more information or to order tickets call the Riverside Theatre Box Office at 319.338.7672 or go online at www.riversidetheatre.org.
The shows
True West by Sam Shepard - (September 7 - 30)
Manning Up by Sean Christopher Lewis (October 12 - 28)
The Santaland Diaries by David Sedaris (December 7 - 9)
The Exit Interview by William Missouri Downs (January 25 - February 17)
Walking the Wire: TMI (March 1 - 10)
Blackbird by David Harrower (April 5 - 21)
Both Manning Up and The Exit Interview are new plays, and Walking the Wire is a series of original monologues. In addition, Riverside will present two readings: 8 on November 15 and Permanent Collection on April 22.
Single tickets and Riverdog Season Passes go on sale later this month. Riverdog Season Passes are $115 each. Single tickets are $15-$28 with discounts for youth 18 and under, as well as for those over 60 or under 30.
For more information or to order tickets call the Riverside Theatre Box Office at 319.338.7672 or go online at www.riversidetheatre.org.
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