Coralville - In its first in a series of "presented works," Three Brothers Theatre is bringing the Neo-Futurists and its show Too Much Light Makes The Baby Go Blind to the Corridor.
The show consists of a variety of two-minute performances, changing each time it is produced.
From Three Brothers' press release:
"The Neo-Futurists are a collective of wildly productive writer/director/performers who create: Theatre that is a fusion of sport, poetry, and living newspaper; non-illusory, interactive performance that conveys experiences and ideas as directly and honestly as possible; and immediate, unreproducable events at headslappingly affordable prices. Too Much Light is their signature show, first performed in 1988 and toured across the country while still performed in Chicago."
Too Much Light Makes the Baby Go Blind will be performed at the Coralville Center for the Performing Arts, July 20 and 21 at 7:30. Tickets are $22.
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Showing posts with label 3 Brothers. Show all posts
Showing posts with label 3 Brothers. Show all posts
Saturday, June 30, 2012
Saturday, June 9, 2012
Sweaty, Manic, Visceral, Hilarious: Compleat
3 Bros - Three guys. Thirty-six plays. Two hours. Can it be done?
Sure, it can! All right, you'll have to condense a bit, but those comedies are all really the same anyway, and hey, the rules of royal succession were so weird that the histories sound like some arcane football game, so let's just do that with that, and you know, we can fit the sonnets on an index card if we really have to, and does Hamlet really have to be so long?
Yes, The Compleat Works of Wllm Shkspr (Abridged) is exactly what it sounds like: a fast-paced, irreverent, nearly manic take on such a cultural treasure as Shakespeare's entire body of work. And it's a laugh riot.
Three Brothers brings the popular show to Cedar Rapids this weekend (it's playing at the Paul Engle Center for Neighborhood Arts) and to Iowa City next weekend (at Public Space One). Kerry Kieler directs. Richard W. Adams, Justin Mangrich and Nick Ostrem star as... well, Richard W. Adams, Justin Mangrich and Nick Ostrem.
The Compleat Works of Wllm Shkspr (Abridged) smashes directly through the fourth wall and takes us on a journey through what are widely regarded as the best plays of all time. We start with a two-man, ten-minute version of Romeo and Juliet; Ostrem and Mangrich play all the parts, while Adams narrates. The result is energetic, silly, and quite fun. They continue through Shakespeare's plays in this vein, often contextualizing them in clever and funny ways. For example, Titus Andronicus could be a cooking show... albeit a rather gross one. And Othello could be brought up to date with a little bit of hip-hop. And Troilus and Cressida... well, they're not quite sure about that one.
A big deal is made over whether Troilus and Cressida should be presented as as scholarly lecture, an interpretative dance, or something in-between. Adams is eager to share his theory that the works of Shakespeare were really written by Elvis Presley, Mangrich is calling on his ballet training, while Ostrem has donned his boxing gloves and is ready to go. This leads to a complete breakdown, as Adams struggles to explain the plot to Ostrem and Mangrich sits down in the audience in protest.
Compleat Works has many moments like this, where the plot of the show is more about interpreting Shakespeare than doing Shakespeare. It's a show about collaboration, creativity, and conflict. This means they parody some cliches about the theatrical process (getting the audience to play along as they "workshop" Ophelia's scream), but it also means they bicker in front of the audience, one-up each other with exaggerated performances, and at times completely break down and refuse to continue with the project. The first act ends with Mangrich leaving the theatre, being emotionally unprepared for Hamlet.
All this back-and-forth and metacommentary requires a really tight ensemble that feeds off of each other well. This group does a fantastic job; they're tuned in to each other, they're always willing to go all the way for a bit, and they understand that the show requires a lot of rapid-fire switching of roles, both as different Shakespeare characters and as the straight man or funny guy in a scene.
As individudal performers, they're great comic actors. Adams is charming and smooth; he can sell a really silly bit with a straight face, he's able to turn on a dime, and when things aren't going well for the project, he's able to summon a hilarious full-body panic that keeps the show rolling along. Ostrem shows a lot of range in this piece, and his different Shakespearean characters are very distinct. He also has excellent comic timing, and can always be counted on to set up a gag or hit it precisely. Mangrich is the loose cannon of the group, over-the-top, larger-than-life, and absolutely hilarious. His exaggerated rage with Tybalt is priceless, and his petulant refusals to play along with the game are some of the best scenes in the show.
Director Kerry Kieler's guidance shows in the cohesiveness and steady pacing of the show. It appears to start rather slowly, but they're just getting warmed up; this piece is a marathon of manic activity, and the performers push through with restless energy. The staging is effective, the physical comedy is well-choreographed, and the entire feel of the show is one of a sweaty, visceral, long-form improv in iambic pentameter. The high level of commitment, flexibility and energy from this company makes this production a success. It's a testament to the spirit of "the show must go on," the willingness to try anything. Near the end of the show, when Mangrich worries about whether they can do Hamlet justice, Adams encourages him: "We don't have to do it justice. We just have to do it!" With Compleat Works, Three Brothers does both.
The Compleat Works of Wllm Shkspr (Abridged) runs June 8 - 10 at the Paul Engle Center for Neighborhood Arts (1600 4th Ave SE in Cedar Rapids), and June 15 - 17 at Public Space One (129 E Washington St in Iowa City). Show times are 8:00 (2:00 on Sundays). Tickets are $10; call 319.621.0024 or get them at the door.
Monday, June 4, 2012
The Compleat Works of Wllm Shkspr (Abridged) Opens June 8
3 Bros - This weekend, Three Brothers brings us everything Shakespeare ever did... in one night. The Compleat Works of Wllm Shkspr (Abridged), originally produced by the Reduced Shakespeare Company, is a comic run-down of the Bard's works, done in a fast-paced low-budget style by three actors.The Compleat Works of Wllm Shkspr (Abridged) opens in Cedar Rapids at The Paul Engle Center for Neighborhood Arts (1600 4th Ave SE), June 8 & 9 at 8:00 and June 10 at 2:00, then moves to Public Space One in Iowa City (129 E Washington St) for its second weekend, June 15 & 16 at 8:00, June 17 at 2:00. Tickets are $10; call 319.621.0024 or get them at the door.
Monday, April 16, 2012
Red Opens April 19
3 Bros - Director Josh Beadle brings us the Iowa premiere of John Logan's Red this week. Logan's script won the Tony Award for Best Play in 2010. Three Brothers' production, a partnership with On-Location Players, takes place at the Cherry Building in Cedar Rapids and stars Coe professor Stephen Marc Weiss and Coe alum Brandon Palmer.
Red tells the story of painter Mark Rothko and his assistant Ken. It runs April 19 through April 22 in Room 318 of the Cherry Building, 329 10th Ave SE in Cedar Rapids. Tickets are $15 ($10 for seniors and students).
Red tells the story of painter Mark Rothko and his assistant Ken. It runs April 19 through April 22 in Room 318 of the Cherry Building, 329 10th Ave SE in Cedar Rapids. Tickets are $15 ($10 for seniors and students).
Monday, April 9, 2012
A Wolf at the Door at the CCPA
3 Bros - Three classic stories - "Peter and the Wolf," "The Three Little Pigs" and "Little Red Riding Hood" - have been combined into one children's show in Three Brothers' A Wolf at the Door.
The show opens April 11 and runs through May 13, 10:00 am on weekdays, 1:00 pm on Sundays. Tickets are $10 and can be purchased by calling 319.248.9370 or going to http://www.coralvillearts.org
The show opens April 11 and runs through May 13, 10:00 am on weekdays, 1:00 pm on Sundays. Tickets are $10 and can be purchased by calling 319.248.9370 or going to http://www.coralvillearts.org
Friday, April 6, 2012
"We'd Better Send Something Up": Search for Meaning; Laughs on the Way
By James E. Trainor III
Photo by Josh Beadle
3 Bros - Who would have thought two assassins could be the source of outrageous comedy? Harold Pinter, apparently, and his 1960 play The Dumb Waiter has become a staple of absurdist theatre. Three Brothers Theatre has brought the play to the Paul Engle Center for Neighborhood Arts in Cedar Rapids, with Josh Beadle directing and Ryan Westwood and Rick Adams playing the dangerous duo.
The Dumb Waiter uses the setup that is so successful in plays like Waiting for Godot and Rosencrantz and Guildenstern Are Dead - two men alone on stage dealing with life's many uncertainties - but unlike those two more ponderous plays it condenses the quest for meaning into one ridiculous and restless act. The play involves Gus (Rick Adams), a young hit-man, Ben (Ryan Westwood), apparently his mentor, a basement room with a sparsely-equipped kitchen, and the receiving end of a dumb waiter. As Gus asks increasingly desperate questions about the uncertainties behind this job (and indeed their career), Ben delves further into his paper and tries alternately to distract Gus and to put him in his place. Soon, they are interrupted by orders for food coming from upstairs, giving their already uncertain situation an amusingly preposterous twist.
Rick Adams is extremely engaging as Gus. Gus seems to be the more thoughtful of the pair; the opening sequence, where he ties his shoes and attempts to get comfortable, is both a great piece of physical acting and a perfect introduction to the character. Adams' Gus seems simple-minded but betrays a deep sense of wonder about the world; he is delightedly fascinated by the pattern on a saucer or the prospect of seeing a soccer match. He is increasingly uneasy, however, about his situation, and Adams takes the audience along on this journey with his impeccable character work. His use of details like a facial tic or a prop grounds us in the physical reality of the character even as we leap out into the larger existential crisis surrounding the material. His comic timing is precise and his vocal work - at first contemplative and then desperate and strained - fits right into this darkly funny play.
Ryan Westwood's intensely grumpy Ben is a lot of fun. He is roused to great anger over trivial details such as the semantics of putting the kettle on (or is it the gas you put on?), but never quite gets outrageous enough to outpace the silliness of the plot itself. He is our barometer; he seems to know a bit more than Gus about the situation, and his nonverbals - especially the way he keeps his eye on Adams - give us a lot of insight as to the stakes. He knows his way in and out of a comic bit very well, and the jagged pace of this hilarious one-act would not work so well without his complete committal to his scene partner and to the various bits of nonsense that make up the dumb waiter sequence.
Josh Beadle's skill at directing is evident in the performance of the actors; the pacing is quite tight, and the show certainly earns its pauses. Pinter is often cited as the playwright who invented the dramatic pause, but The Dumb Waiter stands out as an exception, and its explosive pace is what makes both the comedy and the drama work so well. That said, Beadle is clearly aware of the stakes in the world of these two characters, and he makes some fairly strong directorial choices. Without giving away the final twist, it's safe to say that it becomes clear that Ben knows what's going on, and that puts some interesting moral questions on the tip of the tongue, even as the action barrels on to its conclusion. It's also quite clear when Gus clues in on the scheme, and his resignation to his destiny makes the existential questions of the play become concrete, emotional, and poignant.
The staging makes excellent use of the space available, putting audiences on two sides of a small, intimate area that has a sort of "white box" feel. The dumb waiter is a door in a wall directly upstage of the actors, and its introduction is one of the signature moments of the play. Right at the point where the characters' restlessness grows so palpable that it cannot be resolved between the two of them, the unknown strikes with a bang, causing them to draw their guns and take aim at... a piece of paper requesting tea service. The ramp-up and resolution here is comic gold, and it is executed perfectly by director and cast.
Pinter is an actor's writer, and the passion and excitement given off by actors engaged in such fun work is contagious. This is an ideal setting for such work - intimate, powerful, fast-paced, and hilarious. And it's in the tiny beats between the bizarre that the big questions of this play seep through. What is the meaning of work, whether you're a jaded hit-man on call or suddenly called to be a short-order cook? Is it possible to fulfill or even fathom the expectations of the people upstairs? Is it better to have interests or to simply be interested? Who will clean up after you, if anybody? Can you really trust that man you call your partner? These questions are huge, but, like life, Pinter only gives you a moment to ask them before the next unfathomable task sweeps you away. Three Brothers presents an excellent realization of this script. Like life, this performance is brutal, increasingly odd, and over too soon.
Go see it.
The Dumb Waiter plays through April 15 at the Paul Engle Center (1600 4th Ave SE in Cedar Rapids), 7:30 Fridays & Saturdays, 2:00 Sundays. Tickets are $10.
Photo by Josh Beadle
3 Bros - Who would have thought two assassins could be the source of outrageous comedy? Harold Pinter, apparently, and his 1960 play The Dumb Waiter has become a staple of absurdist theatre. Three Brothers Theatre has brought the play to the Paul Engle Center for Neighborhood Arts in Cedar Rapids, with Josh Beadle directing and Ryan Westwood and Rick Adams playing the dangerous duo.
The Dumb Waiter uses the setup that is so successful in plays like Waiting for Godot and Rosencrantz and Guildenstern Are Dead - two men alone on stage dealing with life's many uncertainties - but unlike those two more ponderous plays it condenses the quest for meaning into one ridiculous and restless act. The play involves Gus (Rick Adams), a young hit-man, Ben (Ryan Westwood), apparently his mentor, a basement room with a sparsely-equipped kitchen, and the receiving end of a dumb waiter. As Gus asks increasingly desperate questions about the uncertainties behind this job (and indeed their career), Ben delves further into his paper and tries alternately to distract Gus and to put him in his place. Soon, they are interrupted by orders for food coming from upstairs, giving their already uncertain situation an amusingly preposterous twist.
Rick Adams is extremely engaging as Gus. Gus seems to be the more thoughtful of the pair; the opening sequence, where he ties his shoes and attempts to get comfortable, is both a great piece of physical acting and a perfect introduction to the character. Adams' Gus seems simple-minded but betrays a deep sense of wonder about the world; he is delightedly fascinated by the pattern on a saucer or the prospect of seeing a soccer match. He is increasingly uneasy, however, about his situation, and Adams takes the audience along on this journey with his impeccable character work. His use of details like a facial tic or a prop grounds us in the physical reality of the character even as we leap out into the larger existential crisis surrounding the material. His comic timing is precise and his vocal work - at first contemplative and then desperate and strained - fits right into this darkly funny play.
Ryan Westwood's intensely grumpy Ben is a lot of fun. He is roused to great anger over trivial details such as the semantics of putting the kettle on (or is it the gas you put on?), but never quite gets outrageous enough to outpace the silliness of the plot itself. He is our barometer; he seems to know a bit more than Gus about the situation, and his nonverbals - especially the way he keeps his eye on Adams - give us a lot of insight as to the stakes. He knows his way in and out of a comic bit very well, and the jagged pace of this hilarious one-act would not work so well without his complete committal to his scene partner and to the various bits of nonsense that make up the dumb waiter sequence.
Josh Beadle's skill at directing is evident in the performance of the actors; the pacing is quite tight, and the show certainly earns its pauses. Pinter is often cited as the playwright who invented the dramatic pause, but The Dumb Waiter stands out as an exception, and its explosive pace is what makes both the comedy and the drama work so well. That said, Beadle is clearly aware of the stakes in the world of these two characters, and he makes some fairly strong directorial choices. Without giving away the final twist, it's safe to say that it becomes clear that Ben knows what's going on, and that puts some interesting moral questions on the tip of the tongue, even as the action barrels on to its conclusion. It's also quite clear when Gus clues in on the scheme, and his resignation to his destiny makes the existential questions of the play become concrete, emotional, and poignant.
The staging makes excellent use of the space available, putting audiences on two sides of a small, intimate area that has a sort of "white box" feel. The dumb waiter is a door in a wall directly upstage of the actors, and its introduction is one of the signature moments of the play. Right at the point where the characters' restlessness grows so palpable that it cannot be resolved between the two of them, the unknown strikes with a bang, causing them to draw their guns and take aim at... a piece of paper requesting tea service. The ramp-up and resolution here is comic gold, and it is executed perfectly by director and cast.
Pinter is an actor's writer, and the passion and excitement given off by actors engaged in such fun work is contagious. This is an ideal setting for such work - intimate, powerful, fast-paced, and hilarious. And it's in the tiny beats between the bizarre that the big questions of this play seep through. What is the meaning of work, whether you're a jaded hit-man on call or suddenly called to be a short-order cook? Is it possible to fulfill or even fathom the expectations of the people upstairs? Is it better to have interests or to simply be interested? Who will clean up after you, if anybody? Can you really trust that man you call your partner? These questions are huge, but, like life, Pinter only gives you a moment to ask them before the next unfathomable task sweeps you away. Three Brothers presents an excellent realization of this script. Like life, this performance is brutal, increasingly odd, and over too soon.
Go see it.
The Dumb Waiter plays through April 15 at the Paul Engle Center (1600 4th Ave SE in Cedar Rapids), 7:30 Fridays & Saturdays, 2:00 Sundays. Tickets are $10.
Monday, April 2, 2012
The Dumb Waiter Opens April 6
3 Bros - Harold Pinter's classic The Dumb Waiter will be presented at the Paul Engle Center in Cedar Rapids this weekend by 3 Brothers Theatre. Rick Adams and Ryan Westwood will star.
The Dumb Waiter was first produced in 1960 and involves two assassins who are waiting for their target. While they are waiting, the people upstairs demand increasingly improbably orders of food.
The Dumb Waiter opens April 6 and runs until April 15 (7:30 Friday and Saturday, 2:00 Sunday) at the Paul Engle Center, 1600 4th Ave SE in Cedar Rapids. Tickets are $10.
Thursday, February 23, 2012
3 Brothers Looking for Stage Manager/House Manager
3 Bros - A new theatre company in the area is looking for volunteers to help with Stage Management and House Management. Interested parties e-mail 3brotherstheatre@gmail.com.
Thursday, February 9, 2012
What Are You Doing This Weekend?
There's a wide variety of theatre in the Corridor this weekend, from old classics to brand-new works, with a little holiday (or rather, anti-holiday) flavor thrown in as well.
Here's the rundown:
@Riverside
Guys on Ice continues its run at Riverside. It's an ice-fishing musical about two pals trying to land a cable fishing show. The show starts at 7:30 (2 on Sunday); tickets Here.
@The Ox Yoke Inn
Murder Rides again is Old Creamery's whodunnit with food, held at the Ox Yoke Inn. The show begins at 6; call the Ox Yoke at 1.800.233.3441 for tickets.
@TCR
Theatre Cedar Rapids continues with the hilarious Oscar Wilde play The Importance of Being Earnest on the mainstage, while down in the basement, Gross Indecency: The Three Trials of Oscar Wilde tells a darker tale of Oscar Wilde's persecution by a court that was highly suspicious of his work and his lifestyle.
Earnest is on the mainstage Thursday through Saturday at 7:30 (Sunday at 2:30); Gross Indecency is in the Grandon at 7:30 Friday & Saturday. Tickets here.
@PS1
3 Brothers' Men Misbehaving is a series of bad-boy monologues that is stomping up the Corridor from Cedar Rapids to Iowa City this weekend. They'll be at Public Space One (129 E. Washington St) at 7:30 (2 on Sunday); call 319.621.0024 for tickets.
Also in Public Space on this weekend is Mud, a University of Iowa Theatre Honors Project. The play is written by Maria Irene Fornes and directed by Maria Vorhis. From the Facebook page:
"Mae is learning to read. When not at school, she irons all day and takes care of Lloyd. Mae meets Henry, and desiring his brilliant mind, invites him to live with them. Tensions in the house grow and Mae must choose between the world she inhabits and the world she craves."
The cost is free, and the time is 8 starting Thursday (tonight), and Friday. For Saturday and Sunday, the show will move to the University of Iowa Theatre Building, room 172.
@UI
While you're in the Theatre Building to see Mud, why not pop into the Next Room? Yes, the University is doing Sarah Ruhl's hit adult comedy In the Next Room or The Vibrator Play. It's an examination of the history of the vibrator, which was originally invented by Victorian doctors to cure "hysteria" in women. Ruhl's play is a bold and funny look at the sexual politics of the Victorian Age and the fear of feminine sexuality. It's at 8pm Friday and Saturday (no Sunday) in E. C. Mabie Theatre. Tickets through Hancher.
@Gilbert St. Piano Lounge
The sexy and funny In the Next Room must be the perfect show for Valentine's Day. But what if you can't stand Valentine's Day? Well, the perfect show for you might be Fourth Room's Anti-Valentine's Day Cabaret, F*CK LOVE!!! From Fourth Room's press release:
"Fourth Room Theatre presents an evening of piano and song dedicated to the misery, insanity, heartbreak, betrayal, boredom, loss, grief, unrequited passion, obsession, creepiness and sadism that comprise the dark side of Hallmark's favorite holiday.
F*ck Love features songs by C.Lo Green, George Michael, Stephen Sondheim, Adele, Dolly Parton, Willie Nelson, Burt Bacharach, Weird All Yankovic, Leonard Cohen, Chess the Musical and many others."
The show begins at 8pm. Cost is a $5 donation at the door, which goes to help fund Fourth Room's next season.
@The UU
Dreamwell continues its "Here I Stand" season with Sans Merci by Joanna Adams. It's the story of a staunchly conservative woman's encounter with her daughter's lesbian lover. The girl has recently died tragically, and as the details unfold, the two very different survivors must find some common ground. Plays Friday & Saturday at 7:30 at the Unitarian Universalist Society. Tickets here.
@Coe College
Last but not least, the Acting Company is bringing a production of Shakespeare's Comedy of Errors to Coe College. The production, directed by Ian Belknap, is a ridiculous romp playing off confusion and mistaken identity, centered around two pairs of long-lost twins. Plays Sunday at 3pm; call Coe's box office at 319.399.8600 for tickets.
So what are you waiting for? Plenty of options this weekend, so you've got no excuse. Grab your date, your twin, your imaginary brother, or your anti-Valentine's-Day anger, and get out to the theatre!
Here's the rundown:
@Riverside
Guys on Ice continues its run at Riverside. It's an ice-fishing musical about two pals trying to land a cable fishing show. The show starts at 7:30 (2 on Sunday); tickets Here.
@The Ox Yoke Inn
Murder Rides again is Old Creamery's whodunnit with food, held at the Ox Yoke Inn. The show begins at 6; call the Ox Yoke at 1.800.233.3441 for tickets.
@TCR
Theatre Cedar Rapids continues with the hilarious Oscar Wilde play The Importance of Being Earnest on the mainstage, while down in the basement, Gross Indecency: The Three Trials of Oscar Wilde tells a darker tale of Oscar Wilde's persecution by a court that was highly suspicious of his work and his lifestyle.
Earnest is on the mainstage Thursday through Saturday at 7:30 (Sunday at 2:30); Gross Indecency is in the Grandon at 7:30 Friday & Saturday. Tickets here.@PS1
3 Brothers' Men Misbehaving is a series of bad-boy monologues that is stomping up the Corridor from Cedar Rapids to Iowa City this weekend. They'll be at Public Space One (129 E. Washington St) at 7:30 (2 on Sunday); call 319.621.0024 for tickets.
Also in Public Space on this weekend is Mud, a University of Iowa Theatre Honors Project. The play is written by Maria Irene Fornes and directed by Maria Vorhis. From the Facebook page:
"Mae is learning to read. When not at school, she irons all day and takes care of Lloyd. Mae meets Henry, and desiring his brilliant mind, invites him to live with them. Tensions in the house grow and Mae must choose between the world she inhabits and the world she craves."
The cost is free, and the time is 8 starting Thursday (tonight), and Friday. For Saturday and Sunday, the show will move to the University of Iowa Theatre Building, room 172.
@UI
While you're in the Theatre Building to see Mud, why not pop into the Next Room? Yes, the University is doing Sarah Ruhl's hit adult comedy In the Next Room or The Vibrator Play. It's an examination of the history of the vibrator, which was originally invented by Victorian doctors to cure "hysteria" in women. Ruhl's play is a bold and funny look at the sexual politics of the Victorian Age and the fear of feminine sexuality. It's at 8pm Friday and Saturday (no Sunday) in E. C. Mabie Theatre. Tickets through Hancher.
@Gilbert St. Piano Lounge
The sexy and funny In the Next Room must be the perfect show for Valentine's Day. But what if you can't stand Valentine's Day? Well, the perfect show for you might be Fourth Room's Anti-Valentine's Day Cabaret, F*CK LOVE!!! From Fourth Room's press release:
"Fourth Room Theatre presents an evening of piano and song dedicated to the misery, insanity, heartbreak, betrayal, boredom, loss, grief, unrequited passion, obsession, creepiness and sadism that comprise the dark side of Hallmark's favorite holiday.
F*ck Love features songs by C.Lo Green, George Michael, Stephen Sondheim, Adele, Dolly Parton, Willie Nelson, Burt Bacharach, Weird All Yankovic, Leonard Cohen, Chess the Musical and many others."
The show begins at 8pm. Cost is a $5 donation at the door, which goes to help fund Fourth Room's next season.
@The UU
Dreamwell continues its "Here I Stand" season with Sans Merci by Joanna Adams. It's the story of a staunchly conservative woman's encounter with her daughter's lesbian lover. The girl has recently died tragically, and as the details unfold, the two very different survivors must find some common ground. Plays Friday & Saturday at 7:30 at the Unitarian Universalist Society. Tickets here.
@Coe College
Last but not least, the Acting Company is bringing a production of Shakespeare's Comedy of Errors to Coe College. The production, directed by Ian Belknap, is a ridiculous romp playing off confusion and mistaken identity, centered around two pairs of long-lost twins. Plays Sunday at 3pm; call Coe's box office at 319.399.8600 for tickets.
So what are you waiting for? Plenty of options this weekend, so you've got no excuse. Grab your date, your twin, your imaginary brother, or your anti-Valentine's-Day anger, and get out to the theatre!
Monday, January 30, 2012
Men Misbehaving Opens Feb 3
3 Brothers - 3 Brothers Theatre are letting their inner bad boys out with Men Misbehaving, beginning Friday at 7:30pm at the Paul Engle Center for Neighborhood Arts in Cedar Rapids.
Men Misbehaving is, according to 3 Brothers artistic director Josh Beadle, "rude, crude, crass, and not for the faint of heart. No subject is taboo for these guys. An entire show of dudes letting loose and letting people have it. But just so you don't get the wrong impression, no matter how much these men misbehave, they get their due!"
Rick Adams, Nick Ostrem, Justin Mangrich, and Sean Curphey will perform. Tickets are $10 and can be purchased by calling 319.621.0024 or e-mailing 3brotherstheatre@gmail.com.
Men Misbehaving opens in Cedar Rapids for the first weekend, then moves to Iowa City (at Public Space one) for the weekend of February 10-12. Showtimes are 7:30pm Fridays and Saturdays, 2pm Sundays.
Men Misbehaving is, according to 3 Brothers artistic director Josh Beadle, "rude, crude, crass, and not for the faint of heart. No subject is taboo for these guys. An entire show of dudes letting loose and letting people have it. But just so you don't get the wrong impression, no matter how much these men misbehave, they get their due!"
Rick Adams, Nick Ostrem, Justin Mangrich, and Sean Curphey will perform. Tickets are $10 and can be purchased by calling 319.621.0024 or e-mailing 3brotherstheatre@gmail.com.
Men Misbehaving opens in Cedar Rapids for the first weekend, then moves to Iowa City (at Public Space one) for the weekend of February 10-12. Showtimes are 7:30pm Fridays and Saturdays, 2pm Sundays.
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