Rage Seeks Plays for Combat Show

Iowa City - Local action theatre company Rage Theatrics is now accepting submissions for their next showcase of action theatre scenes. Playwrights and directors are invited to submit scripts and/or scene proposals by July 15, 2011 for consideration. Scenes should be no longer than 20 minutes in length, and feature stage combat/action. Submissions should be emailed (preferred) to jkbeadle@gmail.com or mailed to Submissions, 1310 Yewell Street, Iowa City, IA 52240.

Directors who are interested in this production but who do not have a proposal may request to be paired with an existing project. This is an excellent opportunity for directors to work closely with experienced fight choreographers. Contact Producer Josh Beadle at 319-621-0024 or jkbeadle@gmail.com for more information.

This production will be similar in format to past Rage Theatrics shows - including Love and Rage in 2007 and Hero Stories in 2008 - featuring scenes coordinated by several directors from throughout the Iowa City/Coralville area. The show will be presented October, 2011.

SCENE SUBMISSION GUIDELINES:

1. Proposals should be submitted by July 15 and include the proposed script, or a detailed proposal of an action-based theatrical piece.

2. Scenes should last no more than twenty minutes in performance.

3. Scenes should contain elements of ACTION THEATRE. (This can be defined as fighting or violence, chase scenes, stunt work, slapstick, or any combination of similar elements.)

4. Proposed projects should be original OR fall within the public domain.

5. Preference will be given to projects with few or minimal technical requirements (set pieces, props, costumes, lighting, etc.)

6. Submissions should be appropriate for a show taking place near Halloween. Themes may include horror, suspense, monsters, etc. Both humorous and dramatic submissions are welcome.

Although submissions that diverge from these guidelines will be considered, preference will be given to projects that meet these requirements.

Rage Theatrics will provide a fight choreographer and training for approved projects.

Selections will be announced in early August. Auditions will take place later that month. Rehearsals will take place throughout September and October.

Auditions for Shattock Schoole of Defence

Rage - Rage Theatrics is excited to announce auditions for the 12th season of The Shattock Schoole of Defence. Shattock performs a variety of shows at renaissance and community events throughout the Midwest from approximately May-October. Total commitment for the season will consist of approx 5-7 weekends (Friday evening – Sunday) as well as Sunday evening rehearsals starting a few months before the first show.

Troupe members will learn a variety of parts in 2-3 short (~30 minute) shows. Material consists of a mixture of acting, comedy, improv and stage combat disciplines. Experience in one or more areas is a plus, but no specific experience is required.

Auditions will consist of an interview followed by a small group session for fight call and readings. Interviews will take place during October and early November with the group session tentatively scheduled for November 13th.)

For more information or to schedule an interview, contact Scott Lewis at (319) 936-1847, or email director@ragetheatrics.com

Rage is looking for some fighters

Rage - Rage Theatrics is having auditions for the Shattock Schoole of Defence, the touring ren faire stage combat and comedy theatre troupe. They have weekly rehearsals, have a four show repertoire, and new members will likely be in two or three of those shows. Participants will be committed to up to 8 weekends away at faires between May and September. No prior stage combat experience necessary. Auditions consist of an interview, fight call and a few readings, scheduled individually. Call Scott Lewis, 936-1847 with questions or to schedule.

(Photo by Shuva Rahim)

A Review of Prisoner of Zenda

Rage - When you venture out to watch a full-length show put on by a stage combat troupe group self-named “Rage Theatrics,” you’re almost required to wonder if the production is going to focus on fighting to the detriment of story and acting. Well, maybe you aren’t, but I did. And I was pleasantly surprised.

The stage combat in Rage’s production of The Prisoner of Zenda does indeed take a backseat to the acting and story. As one would expect from the area’s premier and most-experienced group of stage combatants, the fights are fluid, mostly-organic moments of heightened interest that—if anything—are over too soon. Though relegated almost entirely to the second act, these are scenes worth waiting for.

And if the second act is about the payoff (the fights), then the first is about the build-up (the acting and the story). First and foremost, Rage founding member and Zenda star Jason Tipsword (yes that is his real name) does a fine job of separating and characterizing the twin roles of “Rassendyll” and “Rudolf,” two never-met cousins that get mistaken for one another. Nearly ever-present during the show, Tipsword carries the play through many of its slower scenes. Brittney Swenson, playing the main love interest “Flavia,” does an admirable job in her role—looking and acting every bit the part of a confused princess in costumes expertly designed by the second female lead, Nika Niehaus. Niehaus, too, performs commendably on stage amidst the likes of Tipsword, Swenson, and the visually and audibly redoubtable Nate Kula, himself inhabiting the role of the disreputable (if not overtly villainous) “Black Michael,” Rudolf’s brother and chief rival.

Rounding out the notable cast are Adam Turner and Robert Minder, who skillfully assist the plot as “Fritz” and “Sapt”; Rage Board Members Brad Carey and Aaron Hayworth, who humorously bumble and trundle their way through a handful of fight scenes as the henchmen “Bersonin” and Detchard”; and Derek Schmeling—deftly performing as various characters, alternatively outstanding or forgettable, depending on what the particular scene demands.

Of special note for Zenda is the actor K. Michael Moore. Moore, featured as “Rupert of Hentzau,” is the true villain of the play, and there can be little doubt of this fact from the moment he first takes the stage in an early scene with Nate Kula’s Black Michael. This reviewer has always been impressed when an actor is able to project an unmistakable visual mask of scum and villainy, and Moore is the face of evil throughout this performance of Zenda. I look forward to (hopefully) seeing him in other future local productions.

Whereas the pacing throughout the play (with the notable exception of the aforementioned fight scenes) could have been drastically sped up, the scene changes, blocking, and story are collectively engaging enough to allow most theatergoers the opportunity to forgive the show’s 150+ minute runtime. The experienced director Josh Sazon knows how to properly utilize a space, and the sound incorporation of Peter Birk is expert, as always.

So if you’ve got a couple of hours to kill this weekend and you’re in the mood to see a decent play with a little bit of action, a little bit of intrigue, and a lot of great characters, costumes, and removable facial hair, I recommend you swing by North Hall’s Space/Place Theatre for one of the final three performances of Rage Theatrics’ production of The Prisoner of Zenda.

--Andrew R. Juhl

Andrew R. Juhl is an area author and director. He has previously worked with the City Circle Acting Company of Coralville and Rage Theatrics.

Backstage with Zenda

Rage - For the past two years, Rage Theatrics has presented a show that uniquely fits their niche of "action theatre." Love and Rage presented a number of short plays around the theme of love and last year's Hero Stories focused on, well, heroic stories. This year, they're doing something a little different. Rage will present The Prisoner of Zenda, a swashbuckling comedic epic. We recently had a chance to discuss the show with Jason Tipsword, one of the founders of Rage, and two actors in the show, Kevin Moore and Brittney Swensen.

Jason, The Prisoner of Zenda, a full length show, is a departure from the last two years when you did a number of short shows in one evening. Why the change for this year?

Jason: Rage Theatrics has always wanted to present full length shows as part of our program. The showcase style shows we’ve done during the last couple of years have allowed us to get more people involved in our projects. We have a lot of fun with those kind of shows as well, and I’m sure you’ll see more of them from us. With Zenda, we are branching out in order to include evening length stories.

Do you plan to do more full length shows in 2009? Or will it remain a once per year project?

Jason: When Rage incorporated in 2006, we decided not to try and get too big, too fast. Our touring company, the Shattock Schoole of Defence, has now been around for 10 years and dominates our summer. We do demonstrations year round, and practice as often as possible. Presenting theater of a physical/action-centered nature is a challenge since many of our actors come to us with little or no stage combat experience. Starting slow allows us to "grow" a stage combat community in the Iowa City area. Our involvement with the Society of American Fight Directors continues to develop, and we hope to be able to offer more in the way of instruction in this particular kind of acting and theater soon. As the community grows, so do our opportunities to present exciting action theater experiences.

Kevin, you play Rupert of Hentzau. Can you tell me a little bit about that character and how he fits into the plot?

Kevin: Rupert is, quite simply, a scoundrel. He is a villain’s villain – without remorse or any sense of fair play. In a story like Zenda, that makes him a great bad guy. He’s also charming...well, maybe smarmy... cunning and skilled with a sword. Rupert is the right-hand man to King Rudolph’s brother, Duke Michael, and they scheme together to take over the kingdom, trying to trick and bedevil Jason’s characters any way they can imagine.

What challenges did you have in portraying Rupert?

One major challenge to playing Rupert has been to slip into the persona of someone so clearly without conscience – it’s exciting and a little bit frightening to try to explore the darker portions of a truly wicked soul. Beyond that, with all the amazing stage combat talent in this show, I have spent a great deal of time learning and re-learning how to make amazing swordplay look easy. Jason is a marvelous choreographer, and so many members of the cast have been very helpful in making sure the show looks brilliant. I have been having a blast.

Now Kevin, if I'm not mistaken, you just finished a run in Dreamwell's production of Pillowman, a very dark show. What was it like moving on to this very different kind of show?

Kevin: Well, it has been a switch. The Pillowman is a brilliant play, and I loved doing it. But you’re right; it is very dark, even in its more humorous moments. Playing Rupert in The Prisoner of Zenda has been very different. First of all, and at the most basic level, fewer lines to memorize. The lighter tone of Zenda makes for a refreshing change, even though I play one of the more evil elements of the play. The tone of the script is much more adventure oriented, with even dangerous combats having a sort of "devil-may-care' feel. It’s more lively and fun, even when the characters’ lives might be at stake. The cast has been wonderful, and Josh’s direction is always easy and clever.

Jason, you play the lead characters: Rassendyll and Rudolf. Talk a little bit about the challenges of the dual role. How did you differentiate them?

Jason: Voice, posture and movement skills have been incredibly useful to me in this process, and have left me wishing I had more training in these areas. The central difficulty is in switching back and forth between the two of them. Act One is a challenge since I switch almost every scene. Never have I been more keenly aware that it is much easier to stay in character than to get into character.

Jason, I am guessing you did much, if not all of the fight choreography. Talk a little bit about the challenges in that for this particular show.

Jason: Fight choreography is much easier when you can see what’s happening. When I have to fight in the scene as well it can be harder to get the whole scene in my head. Most of the fighters in Zenda are actors who have done Rage shows in the past, and that helps. It goes back to building a community of stage combatants from which to cast. This particular show would be a far greater challenge without the skills and experience of these actors.

Last year's Three Musketeers battle was one of the most involved combat scenes I've ever seen on stage. Do we have something to compare to that this time around?

Kevin: I was not a part of last year’s show, and I will defer to Jason for details of the combat sequences, except to say that the variety that will be witnessed is outstanding.

Jason: Act Two is pretty much one fight scene after another. The combat in the show is a blend of grit and old-Hollywood swashbuckling, building to the final conflict at Zenda, where loyalties are tested and scores settled.

Brittney, tell us a little bit about your character, Flavia, and how she fits into the story.

Brittney: Flavia is the Princess who is intended to marry the crowned Prince of Ruritania, Rudolph. He, however, is a cruel, rude, and childish (and usually drunken) man who shows a complete disinterest in her. This is quite a dilemma for Flavia as she reluctantly peruses him as it is her duty to her family and country. When the King’s temporary replacement is introduced, Flavia is unaware of the swap. Upon meeting Rasendyll she falls in love with the drastic change in character that she encounters in the man she believes she is intended to marry. As a character, she is a very intelligent and poised person who knows her place well and has the awareness and confidence to exist in the full rang of her privileges.

What challenges did you have in portraying her?

Brittney: Flavia was a surprisingly challenging character for me to play for several reasons, the first being that I typically win roles that call for either some sort of mental instability/affliction or an excessively quirky personality... or at the very least some sort of silly accent. Flavia is the closest I have ever come to playing a normal, possibly ideal, person whose dimension exists subtly within an obedient and proper demeanor. The other main challenge is that Flavia is the only main character who is oblivious to the impersonator’s identity. In the early weeks, I found myself ignoring other scenes in order to maintain the same ignorance to the conspiracy that Flavia has. However, after I developed a sturdy a base of anti-awareness to the plot, I dove into the script to focus on interactions with other characters.

Brittney, tell us a little bit about you and your background in theater.

Brittney:I’ve been involved in theatre since I was very young. I started out in my county’s summer theatre program as soon as I could read. My most memorable part there was Peter Pan, and yes, I know that’s a male role… that’s why it’s memorable. I also did a production of State Fair with the Audubon County Country Player’s when I was in high school as well as other shows. My favorite of these was Audrey in Little Shop of Horrors. My most significant theatre experiences came in the summer of 2006, which I spent in England with seven other American actresses and actors. I went there with a program called E.I.L. and toured all over England performing and participating in workshops. While I was there I played Kate Monster in Avenue Q, Blanche Dubois in A Streetcar Named Desire, and Bananas in House of Blue Leaves as well as many others. This is my first production in Iowa City as well as my first year out of high school. I hope to be involved in many other shows in Iowa City and work my way up in the world of theatre!

What's the humor like in the show? Are we talking witticisms, pratfalls, situational humor, all of the above?

Kevin: There’s a good variety of humor in the show. Anyone who enjoys the thrill of mistaken identity plays will enjoy exchanges between Rassendyll and nearly everyone as he tries to present himself as King Rudolph. More than one exchange carries on the joke of identity switch in clever ways. A few of the combat sequences border on slapstick for the physical humor fan. For me the funniest parts of the show involve the characters of Bersonin & Detchard, Michael’s villainous henchmen – but I am biased, as I play a villain too…

Brittney: The humor in this show is innocent in that magical way where the parents and the children will both be laughing at the same joke but for different reasons.

Jason: As Rasendyll, I continually find himself in awkward situations stemming from the fact that I’m pretending to be someone I’m not. While the "masterminds" behind this situation have tried their best to prepare me for my masquerade, they haven’t remembered to tell me everything. Occasionally, I’m left to fend for myself with mixed results. The funniest part of the shows for me comes when, in addition to pretending to be the king, I’m also confronted with the Princess who turns out to be a little more than I expected.

The press release tells me there's romance in the show - can you talk a little bit about that? Does that drive the action or is more of a subplot?

Brittney: It is a subplot for every character except mine. I am the love interest and unaware that the true plot even exists. My character is almost entirely invested in the sub plot of romance.

Kevin: Yes, the romance between Flavia & Rassendyll could be described as a sub-plot, I suppose, but it’s really a central part of both characters’ choices throughout the play. One of the ultimate conflict for these characters is their devotion to duty and honor and that devotion as it conflicts with their growing love. As a "bad guy", I should mention that Michael’s relationship with Antoinette is a great sub-plot, as these two very worldly characters grapple with their feelings for each other and their needs, both political and personal.

Jason: I think romance is both a sub-plot, and a complication to the central plot. Everything is going fine until Rasendyll must fool someone he’d really like to get to know better.

The press release also refers to dancing. What sort of dancing can we expect to see in this show?

Brittney: There’s a lovely ballroom scene with some waltzing and such. We had a great time learning how to waltz and the gowns are excellent! I’ve really never waltzed, and I don’t think that Jason had either.

Jason: I attempt to waltz. Thankfully there are other people in the show who can in fact dance.

Brittney: But the lessons helped, and Nika’s etiquette classes about procedures and social rules at the time improved things.

Kevin: The Victorian era was pretty strict about how proper folk danced. It was very controlled, courteous. Its glory comes largely in grandeur. There are a few moments in the show where convention is less strictly adhered to, and simple, sometimes silly, dance and song will be present. The grandeur of Victorian ballrooms is a great visual, and it contrasts nicely with those moments.

Josh Sazon is a well known director in Iowa City. Can you talk a little bit about what it was like working him?

Jason: Josh and I first worked together six or seven years ago on I Hate Hamlet at ICCT. Since then we’ve worked together here and there and he directed a scene from Cyrano for Love and Rage in 2007. When we selected Zenda as this year’s feature, Josh was at the top of our list to direct. It’s always great to work with a director who really has a passion for the genre.

Kevin: I worked with Josh on The Pillowman also, and found him amazing in both shows. He has a great vision, and a fantastic talent for letting an actor explore the character while also remaining true to the script. I am thrilled to work with him again. One of his greatest talents as a director is to ask poignant questions about why the actor is making a specific choice. He doesn’t tell you what to do, but asks you why you choose what you are choosing. The difference is stunning from an actor’s standpoint, because you work further and further into a character with each question he asks. He is very aware of each character, what they are saying and doing, and why. He’s clearly also aware of each actor in the same way.

Brittney: Oh, Josh is great. He’s really easy to work with because he is consistant and knows what he wants. He allows for your opinions on a character and also gives excellent direction. He is also just a great person to have in the Zenda family because of his demeanor and sense of humor. We all have so much fun at practices and yet manage to get so much done — that’s Josh.

Has the weather affected the rehearsal process?

Kevin: The weather has made us grumble a bit more. It has certainly been an adventurous rehearsal schedule. But it has been rare for someone to miss out on rehearsal due to weather. This, I think, hasn’t been a terrible issue, despite the winter we have had so far. I’m much more concerned with folks braving the weather to come see the show.

Brittney: The weather hasn’t affected our practices much at all. The show must go on.

Well, give us one great reason why we should venture out on a cold January night in Iowa to see some theatre.

Brittney: All of the women are in corsets! The costumes are gorgeous! The combat scenes are really cool! I’ll be blonde!

Wow, that's about five reasons!

Brittney: Seriously, we have a great cast who would all love to see you there! You’ll like it, I swear!

Jason: Rarely do you get to see this kind of story portrayed live on stage anymore. Swashbucklers are a challenge to produce, and this style of full-blooded, gritty melodrama is a challenge to act. Rage prides itself on doing theater that is accessible to a none theater-going audience, or to put it another way, we do theater for people who like movies. Swordplay, double-dealing, intrigue, romance, mistaken identity, revenge... all forty feet from your seat.

Thanks to all of you for taking the time to tell us about the show.

For more information about Rage, go here.

The cast of Prisoner of Zenda

Rage - Rage Theatrics' next production is the full length show, The Prisoner of Zenda, which is based on the novel by Anthony Hope.

Rage offers this description: "The Prisoner of Zenda begins with the arrival in Ruritania of Rudolph Rassendyll, an Englishman who bears a remarkable resemblance to King Rudolph. After a chance meeting, the King befriends Rassendyll and the Englishman is drawn into a plot by the King's brother to usurp the throne. What follows is a comedic adventure of impersonation, romance, and swashbuckling."

The cast:

Rassendyll/Rudolf - Jason Tipsword
Black Michael - Nate Kula
Sapt - Robert Minder
Fritz - Adam Turner
Rupert of Hentzau - Kevin Moore
Antoinette de Mauban - Nika Niehaus
Flavia - Brittney Swensen
Detchard - Nate Mims
Bersonin - Brad Carey
Harry - Logan Natvig
Robert, Earl of Burlesdon - Derek Schmeling
Johann - Rex Van Dorpe
Strakencz - Al Kittrell
Edward VII - Stephen Polchert

The show is directed by Joshue Sazon and will run January 23-25, 30-31 & February 1, 2009 at Space Place Theatre at the University of Iowa.

Auditions for Prisoner of Zenda

Rage - Rage Theatrics will hold auditions Monday, November 3 and Tuesday, November 4 at 6:00 PM for the upcoming production of The Prisoner of Zenda. This classic tale of romance, intrigue, and swordplay will be Rage Theatrics' first presentation of a full-length play. Auditions will take place at Old Brick, 26 E. Market Street in Iowa City. Actors should come prepared for cold readings and dressed to move for a fight call; please check the Rage website for character descriptions. Theatre and stage combat experience is welcome, but not required. If you wish to audition but are unavailable Nov. 3 & 4, please call to request an alternative time. For more information, contact Scott Lewis at director@ragetheatrics.com, (319) 936-1847, or visit the website.

The Prisoner of Zenda begins with the arrival in Ruritania of Rudolph Rassendyll, an Englishman who bears a remarkable resemblance to King Rudolph. After a chance meeting, the King befriends Rassendyll and the Englishman is drawn into a plot by the King's brother to usurp the throne. What follows is a comedic adventure of impersonation, romance, and swashbuckling that will take place in January 2009 at Space/Place Theater.

Rage's Shattock announces show

Rage - Rage Theatric's Shattock Schoole of Defence is offering a free performance in Iowa City on Sunday, September 28th. Shattock travels to various Ren Faires all over the country and performs their unique blend of comedy and swordfighting. This show is "to celebrate the close of another great Shattock season and entertain our friends, family and neighbors." It will take place at 5 pm in the Triangle, which is the neighborhood bordered by Muscatine, Court, and 7th in Iowa City.

Parking is limited in the Triangle, so please plan to park on a side street (7th Ave, College Court etc). Audience members are advised to bring their own chair or blanket. The show will take place from 5:15-5:45, followed by encore antics. For more information about Rage go here.

Rage on the road

Rage - An anonymous commentator informs us that one of the shows from Rage Theatrics' Hero Stories will be produced at Muscatine Community College in April. The show is The Legends of Robin Hood and Little John, one of the best shows of the collection. For more information, go here.

Theatre weekend

Two very different shows are going up this weekend. Riverside's Doubt opens tonight on Gilbert Street. We'll have a review of it next week. And Hero Stories ends its run this weekend with shows on Saturday night and Sunday afternoon. The reviews for that show are below. Check 'em out!

A second review of Hero Stories

(The first review is here.)

Rage - Over the river and through the sub-zero to Hero Stories we go. This collaboration between Rage Theatrics and the Old Creamery Theatre opened on January 19th in the Amana Colonies.

It’s a bit of a drive down meandering two-lane highways to get there, but the journey is worth it. First off, watching Hero Stories in the pleasant atmosphere of the Old Creamery’s proscenium theatre makes it all the better. And secondly, opportunities are few to enjoy over two hours of live theatre, complete with swordfights, for only twelve dollars.

Rage has become well-known in the area for producing shows in which stage combat plays an integral role, but Hero Stories is a bit of a departure for the group as it includes original works centered on the theme of “heroes.” Some of these works were more polished and tightly written than others, but it’s always invigorating to see new plays on their feet, and every piece presented had enough appeal to contribute to an overall enjoyable evening.

True to “Rage” form, the swords start clanking even before the curtain opens on a scene adapted from The Three Musketeers, and the high energy combat continues through a vampire hunting adventure and a slick, Matrix-inspired, post-apocalyptic duel.

The sets are simple but effective with lighting design going a long way to set the proper mood in many of the pieces.

The large ensemble cast serves the stories well. A few performers would do well to slow down and fill the space a bit more with their voices and presence, but many more performers take this opportunity to shine—too many, in fact, to mention each one by name. Some of the particular stand-out performances include Adam Turner as a comically self-aggrandizing Robin Hood and Brad Cary as a lovable yet oafish Little John. The cast of Pop Tart Hero was also particularly strong. Emily Dokken is lovely as the slightly awkward love interest, and Thomas Henrich’s performance as Stan is both impressively athletic and emotionally honest. Nika Neihaus and Nate Kula are visually perfect videogame characters in their hilarious “virtual fighting” scene.

Throughout all six pieces, the actors made the fight sequences appear natural and seamless (but not painless) while simultaneously working up a sweat.

As a whole, the evening achieved a nice rhythm and balance with three fast-paced shows in each act. Particularly wise was the choice to end Hero Stories with Pop Tart Hero, a play about an apathetic kid who longs for something tragic to happen so he can prove himself heroic. After watching five pieces full of serious swordplay and traditional stage fighting, Pop Tart Hero’s original take on stage combat is the perfect way to end the evening. It splits the side to see two fast food employees come to arms with spatulas, and to view a video game come to life. A man in front of me had to take his glasses off because he was laughing so hard his eyes were watering. Pop Tart Hero left me wishing there was a rewind button so I could see it again.

Not only does this piece amuse, it successfully leaves the audience with questions. What is a hero? What does it mean to act heroically? What will we sacrifice to be regarded as a hero? Is it worth it?

As the director’s note in the program reads, “We live in a society enamored with heroes.” Indeed, the hero’s narrative is one of the earliest forms of storytelling that exists. Hero Stories can’t possibly address all the dimensions of heroism that have been explored through the ages, but it does a nice job of mixing contemporary and classic notions while keeping the audience wholly engaged.

Even if it is twenty degrees below zero, take the trip out to see this collection of shows before it closes on January 27th. It’s not often that you can actually see blood, sweat and tears in a performance, but this one promises all three—plus a good belly laugh or two.

--Vicki Krajewski

Vicki Krajewski has acted and directed with theatre companies in Chicago and Iowa including the Prairie Center for the Arts, Sandcastle Productions, Dreamwell, Catalyst, Iowa City Community Theatre and City Circle. Several of her short plays and monologues have been produced in Iowa City and Cedar Rapids. Along with her performance pieces, she does occasional newspaper reporting, freelance feature writing, technical writing, personal essays and even some poetry.

(The top picture shows Erik Wissenberg, Tyler Hanft, Brad Cary, Lane Hanon and Emily Dokken in Captain Blood. The bottom picture shows Nate Mims, Nate Kula, Derek Schmelling, Brad Cary, and Aaron Haworth in The Siege of La Rochelle. Both photos taken by Shuva Rahim.)

A review of Heroes Stories

Rage - Despite one pretty wide miss, Rage Theatrics' Hero Stories hits the target, its six parts adding up to one very entertaining evening. The production, playing at the Old Creamery Theatre in Amana through January 27th, will have you laughing, thinking, and thrilling, sometimes all at the same time.

There are three pieces in each act of Hero Stories, with the first piece in each act being a snippet of an existing work and the other two segments original works. The production opens with The Siege of Rochelle , taken from Dumas' The Three Musketeers. This is the portion of the novel where the Musketeers, plus D'Artagnan and faithful lackey Grimaud, attempt to hold a bastion for one hour to win a bet. The line readings from the leads was a little unpolished - a nearly silent Brian Tanner as Grimaud conveyed more emotion with facial expressions and gestures than the leads did with dialogue - and I think it was a mistake to leave in dialogue referring to the palace intrigue aspects of the novel. That dialogue had nothing to do with the actual action taking place, and it might have been confusing for someone unfamiliar with the story. But the action was first rate. Fast-paced, hectic, thrilling - a flurry of swordplay and motion that was fun to watch. All in all, a good way to start the evening.

I wish I could say that the next piece, Fine Men of Ostermark, was a good way to continue the evening. Sadly, this was the poorest piece of the evening. The work opened on a dark-blue-lit stage with a small circle of bright light off to one side. The circle wasn't large enough to cover the four actors standing in that location, and except for one brief moment later in the work, the lighting never improved. Several of the actors had projection problems, though not being able to hear the actors may have been a blessing: the script was nothing but a long string of sophomoric jokes. Appropriately enough, the only joke that had an enjoyable payoff involved no dialogue, only the grunting of Brad Cary's Ira.

On the other hand the next piece, The Legends of Robin Hood and Little John, was the highlight of the evening. A Rashomonesque retelling of the first meeting between Robin Hood and Little John, the piece features that meeting as seen through the eyes of three characters, Little John (Brad Cary), Robin Hood (Adam Turner), and Little John's wife Fanny (Mollie Laylin). All three actors brought high energy and fine comedic skills to the piece, displaying the sort of give and take that makes theatre come alive. It's always a pleasure to watch good actors playing off each other, taking the energy of another actor and bouncing it back through their own performance. The acting, combined with the smart writing of Jeff Goode and the crisp direction of Nate Kula and Nancy Mayfield, made for a throughly entertaining little screwball comedy.

After a brief intermission, the second act opened with Captain Blood. A very short work, this piece seemed to exist only as a reason to provide a fight scene between Aaron Haworth's Peter Blood and Erik Wissenberg's Levasseur. I'm not complaining, mind you - this was one of the best extended duels of the evening. The fight between the two ranged from blade to fist, and the action was the most realistic of the evening. I just wish the scene had gone on a little longer; what was there made me want to see more.

The next piece, The Post-Apocalyptic Adventures of Charlie Punter & The 8th Century Kid, made me want to see less. A jumble of cliche sci-fi situations and hokey dialogue that went on a bit too long, the piece was redeemed by strong acting and direction. While the cast as a whole was good, Brian Tanner, Adam Turner, and Mollie Laylin in particular stood out, bringing a nice comedic energy to the work. And though long, the piece never lagged; Scott Lewis' direction kept things moving, flowly briskly through a number of different scenes and set changes that in less-skilled hands might have tested the audience's patience.

The evening closed with Pop Tart Hero, a Walter-Mittyesque story written and directed by Matt Falduto. Easily the most heartfelt and emotional piece of the evening, Pop Tart Hero tells the story of Stan, a young man whose interior life is far more exciting and fulfilling than his actual life. Thomas Heinrich is perfectly cast as Stan, and he quickly captures our sympathies, making us root for him to break out of his shell and live the life he wants to live. Falduto's script is funny, thought-provoking, and ultimately heart-breaking. Pop Tart Hero also features the most imaginative use of fight choreography of the evening, as Nate Kula and Nika Niehaus act out a video game fight as Stan and his roommate play a console game. It's the perfect piece to end an extremely enjoyable evening of theatre.

It's interesting to note that in the two best pieces of the evening, The Legends of Robin Hood and Little John and Pop Tart Hero, the fight choreography exists to service the story. In the other pieces, the story exists to service the fight choreography. (Except for Fine Men of Ostermark, where the fight choreography and story both exist solely to service the jokes.) I think that's why those two pieces work the best - the action flows organically out of the stories instead of having the story be a supplement to the fight scenes. In those two works the stories are the goal, rather than a framework for a fight scene. That leads to a work that, like Hero Stories itself, is greater than the sum of its parts. Despite one misfire, Hero Stories as a whole is a production that should not be missed.

--David Pierce

David Pierce is a four-time past president of the Iowa City Community Theatre. He has acted, sung, directed, and worked backstage for far too many local productions to mention. He is a writer both by trade and inclination, with law and journalism as an educational background.

(The top picture shows Brad Cary, Mollie Laylin, and Adam Turner in Robin Hood. Bottom picture shows Thomas Heinrich, Matthew Falduto and Emily Dokken in Pop Tart Hero. Both photos taken byShuva Rahim.)

Hero Stories Podcast

Rage - Check out this KCCK Culture Crawl podcast for an inside look at Rage Theatric's Hero Stories production, opening tomorrow night.

As a side note, if there are other local theatre podcasts out there, please send us an email. We'd be happy to link to them.

Backstage with Hero Stories

Rage - Last year, Rage Theatrics presented Love and Rage, an evening of action theatre centered around the theme of love. They're back at it again this year with Hero Stories. This evening of swordplay and stage combat features original plays and new adaptations of classic works based around the theme of heroism. As the press release states... from Dracula to D’Artagnan, this wild and humorous collection offers something for everyone. Or as Rage's publicity director Nancy Mayfield said last night, "Hero Stories: A higher body count than last year."

What follows is a conversation with Nancy, who is also co-directing one of the shows, and Scott Lewis, who is a sort of uber-director for the whole project. A few additional voices popped in as we talked.

Can you talk a little bit about the types of shows you've chosen. I know they all have a hero theme - are they funny, serious, some of each?

Nancy: Definitely some of each. Like so much great theatre, I think the audience will notice a theme of the unlikely hero - the noble pirate, the courageous nobody. There is also a fair share of the not-so-heroic icons who don't quite live up to the hype, often with very humorous results.

Scott: It was a very conscious decision for us to not narrow the theme too much in selecting work. I'm very happy with the variety we got, both in terms of funny/serious and in terms of setting, cast size, tone, etc.

Let's get into the specifics of the shows . Tell me about the pirate piece Captain Blood. What makes that show unique and interesting?

Scott: In some ways, Captain Blood represents the traditional swashbuckling roots of action theatre. Rapiers and witty reparte. Sabatini's work in general lends itself well to what we do. Also, we felt it was important to have a purely serious piece with a clear cut hero and villain.

The Robin Hood piece sounds like a Rashomon experience, where everyone remembers the same experience differently. What can you tell me about that show?

Nancy: After the success of 2007's Your Swash is Unbuckled: Three Pirate Plays by Jeff Goode, we knew that Jeff's work lends itself perfectly to the style of combative-comedy that Rage has been developing for years through our touring group, Shattock Schoole of Defence. Therefore it was only natural that we took a look to see what other plays Jeff had written that might work with the "heroes" theme. By breaking down the legendary first meeting of Robin Hood and Little John into three different viewpoints, this play not only embodies a couple of very enjoyable versions, but one that is completely new to our audience by adding the voice of Little John's wife, Fanny.

Scott: The piece was written originally for the Kansas City Ren Faire. It lets us take a break and appreciate the important things in life, namely exaggeration and blunt trauma.

Nothing like a little blunt trauma to start the day. The Fine Men of Ostermark is the Dracula piece. What makes this vampire story stand out from others?

Scott: The protagonists make the big difference. They are a step removed from the rough and tumble vampire hunters of yore with their roguish good looks and wizened companions. They champion a more material ethos, bent on profit as well as ridding the world of evil. Maybe Andrew, the director, can give a little more insight.

Andrew, what do you want people to know about this show?

Andrew Juhl: That it's funny. That it doesn't take itself too seriously. It's a Mel Brooks-like take on the tradtional vampire story.

Can you tell me a little bit about the rehearsals?

Andrew: It was my first piece I've directed in a decade so it was interesting to get back into it. Also, I wrote it but I didn't write physical comedy into it. I let the actors write the physical comedy through the rehearsals. We had conversations like, "Can I fall on my butt here? Let's try it. It's funny, let's keep it."

Moving on to Pop Tart Hero, the story of Stan the everyman. Of all of them, it is the most contemporary. Could you tell us why you chose to include it?

Scott: That it was a contemporary piece was part of the appeal, as it provides a contrast to the historical (or ahistorical) settings of the other pieces. Also, it shows off some of the depth of action theatre, by using physicality in ways beyond just two people fighting. Also, pop tarts.

My favorite are the cherry frosted ones. But moving forward... The 8th Century Kid seems to have a comic book feel. What decisions did you make during the production to bring out the style you want to convey?

Scott: The 8th Century Kid was consciously Anime. We limited ourselves to the aspects of Anime that can be reasonably brought out. The characters are strongly one-dimensional, but changing. The loveable con-man, the heroic swordsman, the mad scientist. It takes place in a world of strong statements and little defenition. During production, we took out things that would lead the audience to question parts of the world they couldn't immediately see. Our goal was to present strong characters and big interactions. We also struggled a lot with the idea of being after an unspecified apocalypse. The characters have access to different levels of technology and that shows through in their interactions with one another.

Finally, The Siege of La Rochelle is the Three Musketeers piece. I understand this was an adapted work from the book by Alexandre Dumas. Are the fights in this piece taken directly from the text or were they created in the spirit of the story but without the specifics?

Scott: I'll let Jason, our fight choreographer and the director of La Rochelle, answer that question.

Jason Tipsword: The fights were created to fit the piece and the early hollywood feel that we have attempted to recreate. The choreography was written collaboratively. I came in with the grand scheme of it, but many of the individual parts were written by the ensemble.

Let's talk more generally now about the entire production. This is Rage's second production of this nature, after Love and Rage last year. Why do short plays or scenes like this instead of one full length production?

Nancy: We really enjoy productions like Hero Stories or last year's Love and Rage because they give several directors the opportunity to really develop a style of theatre they may not have been able to fully explore before. It's a great feeling to have so many directors and actors come from all over to try doing something new or different. Whether extremely serious or extremely silly, every scene in this shows gives the audience a look into different ways stage combat comes to life on stage. That's not to say we have ruled out doing a full-length production in the future, though.

Scott: To me, the primary advantage is in the number of people we get to work with and the ability it gives us to take chances with new (or new to us) directors and performers. Since we're asking people to work on 20 minutes instead of a full show, the time commitment for individuals is lessened, while the number of people who get to be involved to any given degree is increased when compared to a more traditional production. Originally, we also looked at this sort of project because the production demands were more distributed and overall somewhat lower. With where Rage is right now, I would feel much more comfortable taking on a full length show during our next season than I would have two years ago when we were planning for Love and Rage.

Why did you choose to perform in Old Creamery?

Nancy: This is a brand new partnership that we are thrilled about developing. We were looking for a venue at the same time that David Kilpatrick of the Old Creamery Theatre was looking for some fresh, exciting shows to offer during the winter months. What can I say? A match made in heaven. Hopefully this will pave the way for future collaborations between our organizations.

Scott: This really was incredibly serendipitous for both organizations. When we sat down for the initial what do we both need out of this meeting it was rapidly apparent that what we were having was a we're both really excited meeting instead. We're always looking for ways to put ourselves in front of new faces and working with an established venue like this is a great opportunity. At the same time, we represent a way for the Old Creamery to reach out.

Don't miss Rage's Hero Stories, opening this Saturday at the Old Creamery Theatre in Amana. Go here for more information.

Happy New Year!

We're a little bit late with our Happy New Year greeting, but the fact is we've been taking a much needed holiday break here at the Iowa City Theatre blog. We've had a great beginning and we're really looking forward to expanding as we move into 2008. Here's what's coming up in the next few weeks.

Behind the scenes looks into:

ICCT's She Loves Me and Rage's Hero Stories

Reviews of:

Riverside's Doubt, Rage's Hero Stories, City Circle's Shorts, ICCT's She Loves Me, and Catalyst's Time Flies.

There's a lot of great theatre coming your way in January and February. Check back for all of the inside scoop.

Auditions for Hero Stories

Rage - Rage Theatrics will hold auditions for Hero Stories, which is a collection of short works by local and classical playwrights performed in one evening. The theme is heroism and each work contains stage combat. The following works will be presented:

• Captain Blood, Chapter XIV: The Ransom, from Rafael Sabatini's novel Captain Blood, adaptation by Scott Lewis
• Pop Tart Hero by Matthew Falduto
• The Legends of Robin Hood and Little John by Jeff Goode
• The Post Apocalyptic Adventures of Charley Punter and the 8th Century Kid by Scott Lewis
• The Siege of La Rochelle, from Alexandre Dumas' The Three Musketeers, adaptation by Nate Mims.
• Vampire Story by Andrew Juhl

Auditions are November 4 and 5 at 7 pm in Halsey Hall. There are over 30 roles available and a knowledge of stage combat is not required. Go here for more information.

Deadline extended

Rage Theatrics - Rage has extended its deadline for submissions to Hero Stories. They will accept scripts until Friday, October 5th, 2007. Initial post here.

Hero Theatre

Rage Theatrics - Are you a playwright who can write a heroic scene with some stage combat thrown in? Are you a director who has always wanted to direct a particular scene or short play, but were waiting until you could work with a choreographer and cast who could handle the action theatre elements? Rage Theatrics is accepting submissions. Check out some pictures from Love and Rage, last year's version of this event.