Early Auditions to Find Buddy Holly and His Crickets, Georgetown Palace Theatre, February 18 and 19

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The Georgetown Palace Theatre is holding EARLY AUDITIONS for Buddy! The Buddy Holly Story on Saturday, Feb 18th from 12-5pm and Sunday Feb 19th from 6-9pm. These early auditions are for the characters of Buddy Holly & the Crickets ONLY. All other roles will be auditioning on Feb 25th from 12-6pm. (more information will follow shortly) The production is directed by Mary Ellen Butler with musical direction by Lannie Hilboldt.

In this musical all singers/actors will double as musicians. Please note the instruments we are looking for in the character breakdown (click 'Read more' below). More specific info will be given at the auditions. AUDITIONS for Buddy Holly & the Crickets audition songs (please learn the entire song):

1) "That'll be the Day" (with background vocals)

2) Buddy plays "True Love Ways" on acoustic guitar

3) "Not Fade Away" (with background vocals)

You can download mp3 and pdf files of the music on our website at www.georgetownpalace.com under the audition link.

The Buddy Holly Story is a jukebox musical in two acts with a book written by Alan Janes and music and lyrics by a variety of songwriters. Based on the life and career of early rock and roller Buddy Holly, the musical hews closer to Holly's actual life story than the 1978 film version. One of the first so-called "jukebox musicals," the show consists mostly of the songs of Holly and other early rockers.

With the support of local radio DJ, Hipockets Duncan, Buddy and his two friends form a country & sestern band-Buddy Holly & the Crickets- and begin to carve out a career in music. After a difficult start at Decca in Nashville, they sign a contract with up-and-coming, innovative record producer Norman Petty. Within hours, Buddy Holly & the Crickets start to churn out hits from the recording studio built in Norman's backyard, amount them "That'll be the Day", which will rocket up the charts to number one in a matter of weeks. Buddy Holly and the Crickets are suddenly the hottest act in the country and out on national tour.

Click to view image and character descriptions at AustinLiveTheatre.com . . . .

Auditions Poster: Patience, Gilbert and Sullivan Society, March 3 and 4

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Click image to go to www.gilbertsullivan.org

Ongoing: Same Time, Next Year, Cameo Theatre, San Antonio, January 28 - February 26

Found on-line:

presents

Same Time, Next Year

by Bernard Slade

directed by Vivienne Elborne

featuring Catherine Babbitt and Phil Kazen

Cameo Theatre
Jan Feb Fri 3 10 17 24 Sat 28 4 11 18 25 Sun 29 5 12 19 26

1123 East Commerce St., San Antonio , Texas, 78205
Fri, Sat @8, Sun @3:30 (Note new matinee time)

Tickets: Adult $29,Senior $25, Stu/Mil $20, Child $12 - Tickets sales 212-5454

For Reservations: for Group Sales cal Jim @ 210 325 8702

Purchase online

One of the most popular romantic comedies of the century, Same Time, Next Year ran four years on Broadway, winning a Tony Award for lead actress Ellen Burstyn, who later recreated her role in the successful motion picture. It remains one of the world's most widely produced plays. The plot follows a love affair between two people, Doris and George, married to others, who rendezvous once a year. Twenty-five years of manners and morals are hilariously and touchingly played out by the lovers.

"Delicious wit, compassion, a sense of humor and a feel for nostalgia."-The New York Times

"Genuinely funny and genuinely romantic."-The New York Post

Somewhere in Utopia (A Travesty), Out of Context Productions for FronteraFest at Salvage Vanguard Theatre, January 25 - February 4

by Michael Meigs

Face it: there's no use getting annoyed with the theatre of the absurd, no matter how confusing it may seen. Or even with the neo-theatre of the absurd such as this piece by Jared J. Stein, produced a good 50 years after the audacious thumbing-its-nose-at-the-bourgeois art style hit the European stages.

In Somewhere in Utopia Stein portrays a dystopia: two principal characters are fixed unthinkingly before a television screen as the audience files into the black box of the Salvage Vanguard Theatre. One slim, nervous androgynous white-skinned creature is wearing a black Harlequin-style mask; the other, a stolid, angry African-American glaring at the television, is wearing a white mask. There's a lengthy, subtle silent play between them as we wait for the action to begin. With almost no movement other than Bobby's apprehensive trembling and occasional changing of the channel and the sustained glare of Marcus, they are establishing a full story even before the house lights go down. I was fixed in my seat by the vibrating tension between them, made even more painful by the callow undergraduate talk in the seats behind me, a couple of rambling conversations about weekend activity and plans to study abroad. Couldn't those spectators see that there was a full-blown silent catastrophe occurring right in front of us?

Director Becca Plunkett leaves no character unturned. There are four in the piece and actors' sexes are transformed. Bobby and Marcus are certainly women but seem to be representing men locked in some sort of mutually destructive relationship; the narrator when s/he appears is a self-confident prancing and sneering actress carefully painted to have five o'clock shadow. The fourth, emerging from a heavy, mattress-sized vinyl bodybag, is Cassady, a fast-talking pseudo-American-Indian girl portrayed by a man with the lean figure of a runner,wearing a skirt and an impossible headdress.

Read more at AustinLiveTheatre.com . . . .

Reviews from Elsewhere: Jack & Coconuts by Corey Kwoka

Published today in

FRONTERA FEST

Jack & Coconuts, a tasty concoction served up just right

By Dawn Youngs 31.1.12

One of the offerings in the Frontera Festival’s Long Fringe this season is Corey Kwoka’s new play Jack & Coconuts, directed by Charlie Diblasi. This madcap romp around paradise is a pleasing contemporary farce, which is always a recipe for an enjoyable evening at the theater.

The show is running in Salvage Vanguard Theater’s open black box space. Set Designer Jeremy White established the world, a destination wedding facility in the tropics, using modular set pieces; the room transforms from hotel lobby to beachside bar to a cheesy wedding gazebo with ease. The work was performed in choreographed vignettes that keeps the pace of the play moving rapidly as the audience sits in rapt disbelief.

As the show begins, we discover that, this weekend at the island oasis, a second marriage ceremony is scheduled. Children, grandchildren, friends and relatives all arrive for the event. The construction of the guests’ arrivals is deftly done — think of the opening sequences of that star-studded classic film Clue, by director Jonathan Lynn.

Each hotel guest arrives, tumbles of suitcases and personal baggage in tow, to reveal a tidbit of secret sure to add to the tasty stew of insanity the playwright is cooking up.

Read more at www.austin.culturemap.com

Reviews from Elsewhere: Drawing A Paycheck by Annie La Ganga

Found on-line at

ORGANIC THEATER

Drawing a Paycheck might not pay the artist's bills but does ask questions common to Austin's creative scene

By Katherine Craft

01.30.12

Dr. Scott Walters, an associate drama professor at the University of North Carolina, recently put forth the idea of an “organic theater.” In his words, this theater would be “a small community of people who sometimes perform, sometimes listen — a sort of ensemble who share their talents with each other in informal spaces... [it] wouldn't create a 'product' to be sold, but rather members would come together to share gifts, alternately giving an receiving.”

Solo performer Annie La Ganga's latest improvised show, Drawing a Paycheck, felt very close to Walters' vision. Two kitchen chairs, which we soon learned were from her kitchen, rested on stage with some drawing tools and a large pad of paper. The lights were basic and the stage was empty, even in comparison to other Frontera shows. There was no fanfare, music or dimming of the stage lights to welcome Annie; she just popped her head around the corner and said, “Hello!”

“Hi!” audience members enthusiastically called back. When La Ganga asked how people were doing, she genuinely meant it, peering past the stage lights to name friends and smile at those she hadn't yet met. The crowd was small but enthusiastic. Many knew each other and La Ganga. From the start, the experience felt more like an informal gathering than Theater with a capital T.

Read more at www.austin.culturemap.com . . . .

Auditions at the Vortex for Elizabeth - Heart of a King, February 2

Announced by

Auditions for Elizabeth: Heart of a King

A new play by Lorella Loftus

Saturday, February 4, 2012 1:15-3:30 Open Call

Vortex Repertory, 2703 Manor Rd. (click for map)

Elizabeth I was one of the most luminous, fascinating, and formidable women in history. Experience her as she has never been seen before in Elizabeth: Heart of a King, a new play by Lorella Loftus. This VORTEX workshop production explores the formative times in her life as a young woman and the main events of her life as a queen and as an icon. A woman of contradictions, Elizabeth was brave and vulnerable, intelligent and ambivalent, flirtatious and icy, and fundamentally, very human. Three different women play Elizabeth at different stages of her life-- a lone woman struggling to retain her political and personal power in a male-dominated world. Henry VIII, Thomas Seymour, Robert Dudley, and William Cecil are just some of the men who had a major influence on her life who are featured in the play.

Elizabeth: Heart of a King will be performed March 16-24, 2012 in modern attire, combining contemporary and historical in a thought-provoking experimental piece of theatre. Seeking 5-6 women and 8-9 men. English/European accents preferred.

Auditions will take place on February 4 at The VORTEX. Auditions are open - 1:15pm-3:30pm. Please prepare a 1-minute classical monologue and resume. Headshot optional. Callbacks will take place on Sunday, February 5. For further information contact Lorella Loftus at 512-771-3447 or lorellaloftus@gmail.com.

www.vortexrep.org