Austin Live Theatre

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

2012-01-31T18:18:00.002-06:00

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

2012-01-31T16:18:00.002-06:00

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.

Reviews from Elsewhere: Jack & Coconuts by Corey Kwoka

2012-01-31T13:01:00.003-06:00

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.

Reviews from Elsewhere: Drawing A Paycheck by Annie La Ganga

2012-01-31T12:06:00.002-06:00

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.

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

2012-01-30T22:02:00.003-06:00

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

Auditions for DayBoyNightGirl company members, DA! Theatre Collective

2012-01-30T21:33:00.002-06:00

is holding open auditions for a a handful of roles in our upcoming production, DAYBOYNIGHTGIRL, which will premiere at the Rollins this June! We will be reading ladies for Nycteris (Night Girl) & Aurora. We are also looking for both men & women to join the ensemble.

Auditioners will be asked to work with movement & text. Please wear shoes & clothes that allow a full range of motion. E-mail kirk@datheatrecollective.org to sign up for an audition slot.

DA!'s original full-team collaborative adaptation DAYBOYNIGHTGIRL is based on "The Romance of Photogen and Nycteris," a magical tale written by Scottish fantasy maestro George MacDonald in 1882. You can read the original text here.

Development rehearsals are ongoing. New cast members are asked to join the rehearsal process by late April. Specifics available upon request & at the audition. Performances will be June 6th - 10th at the Rollins Theatre, Long Center.

[illustration by Elizabeth Unseelie. Click to see her gallery at www.deviantart.com]

Opportunity: Zach's $18 promotional price for under-30s, Next to Normal on Thursday, February 2

2012-01-30T16:38:00.002-06:00

From an e-mailed announcement from

Happy Hour Theatre

We're back! Happy Hour Theatre is returning for a new year, and one thing hasn't changed: We're still out to create a night geared towards twenty-somethings that's destined to be a good time!

NEXT TO NORMAL is on stage and receiving rave reviews, so now it's our turn to fill the seats for this groundbreaking new musical.

On Thursday, February 2nd, we're offering discounted $18 tickets to the show for all patrons under 30! The show starts at 8 pm, but get there at 6:45pm to take advantage of some free grub, hobnobbing and of course $2 beers and 50% off house wines! We'll be hitting The Highball for a post-show party, some karaoke, and whatever other fun comes up — perhaps a visit from the cast? It's definitely a night you won't want to miss!

We'll be checking IDs for the discounted ticket price, and, of course, you have to be 21 to drink.

This show will sell out, so reserve your seat now by calling ZACH's Box Office at 512-476-0541 x1 or stopping by during normal Box Office hours — Monday through Saturday, 12 noon - 7pm. This special ticket price is available by phone only.

[image: Johnny Newcomb, Kelli Schultz; image by Kirk R. Tuck]

Upcoming: Blood Brothers by Willy Russell, Trinity Street Players, June 1 - 24

2012-01-30T16:04:00.002-06:00

Found on-line:

present

Blood Brothers

by Willy Russell

Jun 1-3, 8-10, 15-17, 22-24

Directed by Bob Beare

We proudly present in the Summer of 2012 the Austin premiere of the London blockbuster musical Blood Brothers. For more than 25 years, this tale of two brothers separated at birth has brought audiences to tears, to laughter, and to their feet cheering for more. Don’t miss this meaningful and powerful theatrical experience.

Opportunity: Georgetown Palace Seeks Volunteers for Training in Audio Description of Theatre Performances

2012-01-30T14:33:00.003-06:00

Received from

THE PALACE THEATRE IS IN SEARCH OF people who are glib, quick, witty, articulate, like theatre, are interested in serving the blind and visually impaired community, and would like to receive free training as AUDIO DESCRIBERS.

The Palace Theatre is interested in expanding our program to include Audio Description for individuals with sight limitations. Audience members with limited vision use a special wireless headset (which the Palace would provide) tuned to a frequency specific to the headset. The headset covers one ear, which means the audience member can hear the show in one ear and the audio description in the other. At the beginning of the show, a trained Audio Describer - who can only be heard by those with the headsets - gives a general description of the stage, key set pieces, colors, and overall layout. During the show, key movements by the actors are described so that individuals with the headsets get a sense of the action.

To provide this service, we need volunteer describers, and we need to invest in the transmitters and receivers for the sound transition. We anticipate offering the service one weekend per production for two performances. Ideally, we would have two volunteers work a show. Therefore, we are looking at a minimum of 4 volunteers to provide this service, but preferably 6 or 8 to accommodate personal schedules.

Click for additional information at AustinLiveTheatre.com. . .

Upcoming: Wood Work by Hank Schwemmer, Paper Chairs at Delta Lumber, February 17 - March

2012-01-30T07:18:00.003-06:00

Announced via Twitter and Facebook, January 29:

enthusiastically announces its fourth production

Woodwork: A Collection of Hank Schwemmer Plays

February 17 - [March 3?], times and dates TBA

Delta Lumber and Millworks, 4701 E. 5th, near Springdale (click for map)

Long time favorite of Frontera Fest and Austin Script Works, local playwright Hank Schwemmer has devoted over fifteen years to crafting singular theatrical experiences that supersede most fringe theater’s penchant for experimentation.

While Schwemmer may be a veritable master of self-producing, Paper Chairs unanimously agreed a fully realized production of his work was long overdue. Over several months, the company selected a handful of Schwemmer’s unique offerings that together create a surprising world filled with peculiar characters in far-out circumstances, but consistently hit staggeringly close to home.

Paper Chairs is excited to break ground in a new performance space: Delta Millworks, on East Fifth across the street from Justine’s Brasserie. Since he's a carpenter by trade, Schemmer’s work will feel right at home in the evocatively vast and shadowy woodshop.

Paper Chairs has assembled a top-notch team to bring Woodwork to life. Collaborating directors Kelli Bland, Keri Boyd, Elizabeth Doss and Lisa Laratta (also delivering scenic design) will integrate the evening piece by piece. The sharp cast features Sonnet Blanton (Baal), Zac Crofford (Riddley Walker), Chase Crossno (Machinal), Mark Stewart (Hillcountry Underbelly), Emily Tindall (Hillcountry Underbelly), Hugo Vargas- Zesati (69 Love Scenes), and Noel Gaulin (I’ve Never Been So Happy.)

Paper Chairs promises yet again another unforgettable evening of locally crafted theatre. Don’t miss Woodwork!

The Crapstall Street Boys, Trouble Puppet Theatre Company at SVT, 1/24-2/05

2012-01-28T14:28:00.001-06:00

by Michael Meigs

Perhaps it's inherent to the art form, but I did have a moment of wondering whether we ought to be concerned about our Connor.

The Crapstall Street Boys is captivating puppetry and story telling, as is always the case with the Trouble Puppet Theatre Company, a crew of talented and devoted colleagues and acolytes who've gathered around Connor Hopkins. This time the approach is announced as "Czech puppetry" -- small articulated figures at the end of a long rigid wand. The characters are anything but stiff, for with the deft and delicate handling of that single attachment, TP members achieve convincing body English and even give those glassy little eyes a hint of emotion. Or, often, a suggestion of wonder, sometimes one of bewilderment.

The presentation of this fable imagined by our Connor takes place on a lengthy table provided with folding cut-out scenery constructed on the scale of the tiny boys. Hopkins puts a narrator into the piece to assist the puppeteers. Steve Moore sits at stage right in a comfortable chair with a large book before him, setting the scene and explaining some of the action as it occurs. Connor, Caroline Reck, Rob Jacques and Lucie Cunningham move a number of tiny folk through the story -- the protagonist, addressed only as "You, lad!" and his dull-witted and venial parents, a factory owner who buys young boys for a mysterious assembly line, a dog and a chicken, a couple of ravening monsters that sail in as hand puppets to gobble the unwary, and the boys of the factory at Crapstall Street.

The table action is quick and menacing, presenting a grim dog-eat-dog story -- almost literally -- as YouLad is cast into subhuman circumstances similar to the pitiless meat processing lines depicted so vividly by the company in their adaptaion of Upton Sinclair's The Jungle. In the miserably exploited work team YouLad makes a friend, the equally lost young fellow named Little Pig who counsels him how to survive. One by one, while struggling frantically for food, young workers disappear and the monsters are afoot.

Erin Meyer is assigned a puppetcam. She follows the action at times and grainy black-and-white images appear on a screen high behind the puppeteers. The duality between puppet action and video action is disconcerting, perhaps deliberately so. The video presentation was intermittent and somewhat erratic; whether that was deliberate or due to equipment malfunction was unclear.

Crapstall Street is a grim place, friends, and the message is one of ceaseless, animal exploitation of man by man, children by parents, humankind by lurking evil. The medium is accomplished but the message is harrowing.

Has our Connor experienced unhappinesses that must be worked out through fable? Puppeteers are necessarily manipulators of their story-telling instruments, and perhaps that shapes a world view -- elsewhere, more commonly, a Howdy Doody happy freneticism, but here the a sophisticated, emphatic conviction that the characters embodied by these puppets are either powerless or brutal.

Perhaps we should sit Connor and friends down with their opening act, Darren Petersen the juggler, patter man, dog trainer and unicyclist of Circus Chickendog, who's as breezily upbeat as the TP piece is gloomy. That would make for some very entertaining group therapy. And for this FronteraFest Long Fringe production made of roughly equal parts of Chickendog and Crapstall, it would achieve an average mood of just about, "It's all right, mate!"

by Hannah Bisewski

As part of Austin’s 2012 Fronterafest Trouble Puppet Theatre Company stages performs a haunting nd unapologetically macabre piece at their home venue the Salvage Vanguard Theatre. The Crapstall Street Boys by TP leader Connor Hopkins tells the story of a factory employing boys, located in the heart of a town overrun by monsters. YouLad’s parents sell him to the factory in exchange for the money that will buy them a “monster masher” to protect themselves, and he starts to notice something strange happening around him. Some boys in the factory disappear;, others grow bigger and bigger.

The puppets in the show are dark, nearly grotesque, but appropriately so. In keeping with that style is the technique of using a small camera inserted shakily into scenes, projecting images in eerie night-vision blur onto the projection screen above the puppet set. A brisk, deep violin piece accompanies the more frenetic action of the puppets, and when it returns at the close of the show it hints at the eerie events that will continue to haunt the small village.

Narrated by Steve Moore as a sort of demented bedtime story, The Crapstall Street Boys inevitably reminds you of the more macabre fairy tales that colored your childhood. The sheer morbidity of The Crapstall Street Boys may remind you of how dark these stories really were. Maybe this particular fairytale isn’t much of a parody after all.

All in all, the show, directed and designed by Connor Hopkins, is a fine piece of puppet theatre and an excellent showing on Trouble Puppet’s part.

Review by Cate Blouke for the Stateman's Austin360.com Seeing Things blog, January 25

Comments by Elizabeth Cobbe for the Austin Chronicle, January 26 (215 words)

EXTRA

A message from Connor Hpopkins in the program leaflet:

Director's Note: If you've ever seen a Trouble Puppet show before, it will be quite clear to you what a departure from our usual form this one represents. A different sort of puppet, a different sort of story (although our traditional themes get in there: capitalism, cannibalism, corruption ... ), and a new technological tool in the live-feed camera traveling around onstage with the puppets: these all make this show a big experiment for us. So our hope is that what the show lacks in mastery and technique it makes up for in innovation, and, well, the puppets are real cute. Plus we've got Steve Moore. So how far wrong can you go, in that situation? I know, I shouldn't ask.

Anyway, thanks for coming out, and we hope you enjoy our stab at this style. Also, we're taking a poll: I originally conceived Crapstall as a kids' show. Having seen it, do you or do you not think this show could be a kids' show? I say yes; others say that would be a prosecutable act. Tell us what you think. And if it goes well, look for a more developed version sometime in the future. If it doesn't go well, let us never speak of this again

Click to view the program leaflet for The Crapstall Street Boys:

VIdeo: KLRU Profiles Trouble Puppet's staging of Riddley Walker by Russell Hoban, adapted by Connor Hopkins

2012-01-27T16:35:00.003-06:00

Thanks to Trouble Puppet Theatre Company for the link to this video posted by KLRU at its website and on its Vimeo web page; the 28-minute program about the puppet adaptation of Russell Hoban's Riddley Walker by Connor Hopkins was first broadcast in mid-January. Additional airings on KLRU television scheduled for January 29 at 2:00 pm, February 16 at 7:30 pm, February 19 at 2:00 pm.

Trouble Puppet Theater takes Arts In Context on a journey into the art of puppetry as the company produces one of their unique plays led by creative director and master puppeteer Connor Hopkins. Trouble Puppet Theater, a small arts organization in East Austin, has been able to achieve critical success and growth, while taking their cutting edge puppetry to levels never seen before in Texas. Their unique artistry literally transcends the fourth wall and connects audience and performer. Arts In Context follows them as they put on the play Riddley Walker, based on the novel by Russell Hoban and featuring music by Austin composer Justin Sherburn.

Trouble Puppet - Full Show from KLRU-TV on Vimeo.

[Can't see the video? Click to go to Vimeo.]

Wicked, the touring company musical at Bass Hall, Unversity of Texas, January 25 - February 12

2012-01-27T13:58:00.006-06:00

by Thaïs Hinton

Everyone knows how Dorothy Gale came to Oz and killed the Wicked Witch of the West. Judy Garland and pals in the 1939 film by MGM dwell deep in American cultural consciousness, none of them more than Margaret Hamilton as the vengeful Wicked Witch of the West.

In the Oz depictied by the touring company of Wicked currently at UT's Bass Concert Hall we get hear another side of the story, adapted from the novel of the same name by Gregory Maguire. The script, lyrics, and score by Stephen Schwartz and Winnie Holzmanare clever. I have read the novel, and I liked the show. Their extreme care with their source material shows through.

Wicked runs through February 12 and was playing to well populated house on the first Thursday evening. A beautiful map of Oz covers the stage and the stage action begins as the Munchkins are celebrating the death of the Witch.

The show begins with Glinda entering via bubble, mechanically suspended from the flies. The bubble floats all the way down and Glinda steps off as she takes the audience back in time to earlier years.The Good Witch Glinda explains that she knew Elphaba, the bright green witch, from their college days.

I thought that actress Tiffany Haas was safely strapped in to that bubble, so I was shocked when she stepped off, apparently unsecured. Even though I was ardently suspending my disbelief, I was genuinely afraid for Haas, who of course made it look just like magic. The special effects were expertly done by Chic Silber.

No one-trick pony, that bubble reappears later in the show.

Read more at AustinLiveTheatre.com . . . .

The Alien Baby Play by by Nicholas Walker Herbert, Tutto Theatre for Frontera Fest, January 20 - February 5

2012-01-26T23:05:00.001-06:00

Bethany appeared first to the Austin public and to friends of Tutto Theatre in the warm and supporting setting of a private home in Westlake, last weekend. About twenty persons gathered in a living room comfortably furnished with artwork, masks and handicraft from across the world. Bethany was pleased to see all these friends at her "mom's house," hurried about, offered us cookies, disappeared momentarily and then came back, rubbing the arc of her belly from time to time and taking a moment to decorate it with a Post-It™ note: "Alien on board."

There was no fourth wall in this staging and in fact there were no walls at all, unless you count those enclosing the house. Kathleen Fletcher as the massively pregnant Bethany was hyped, self-hypnotized, eager to talk and to please. She told us that she was fifteen months pregnant with her alien baby, ready to deliver at any moment and confidently expecting the arrival of her lover at any moment. She invited questions, and one or another of us in the gathering hazarded a carefully neutral inquiry. Eventually someone asked how she knew, exactly, that the being in her womb was an alien, and Bethany eagerly shared her impressions of that late night alone when she found herself in the presence of the unknown, telepathically and corporally uniting with a being emanating an incomprehensible but perfectly understandable speech.

I thought momentarily of asking our hostess if this was an "illegal alien" but I refrained. That would have been rude, almost disbelieving, and Bethany was so eager to please us and to share her transformation. Kathleen the actress behind those owlish spectacles and beneath all that additional volume would certainly have responded with grace and probably with wit.

Click to read more at AustinLiveTheatre.com . . . .

Upcoming: Dark to Light, Chaddick Dance Theatre, March 1 - 4

2012-01-26T21:17:00.003-06:00

Received directly:

presents

Dark to Light

associated with Ballet Austin's

March 1 - 4, 8 p.m.

Austin Ventures Studio Theatre

Ballet Austin, 501 West 3rd Street (click for map)

This March, local dance company Chaddick Dance Theater will produce “Dark to Light,” a multi-dimensional performance exploring the issues of the Holocaust, genocide and spirituality through the lens of Cheryl Chaddick’s choreography and kinetic style. The Chaddick Dance Theater’s fourth annual performance is part of Ballet Austin’s three month-long Light / The Holocaust and Humanity Project.

Ballet Austin’s Light / The Holocaust and Humanity Project is a full-length contemporary ballet and Holocaust education partnership that promotes the protection of human rights through arts, education and public dialogue. Light / The Holocaust and Humanity Projectreturns to Austin in 2012 from Martin Luther King day (January 15) through Yom HaShoah or Holocaust Remembrance Day (April 19), with events and initiatives led by more than 30 community partners.

Click to view image and read more at AustinLiveTheatre.com . . . .

Austin Auditions for Bloody Bloody Andrew Jackson, Doctuh Mistuh Productions, February 12

2012-01-26T11:55:00.001-06:00

Posted at the Facebook page (though not so specified there, venue for auditions appears to be in Austin):

Bloody Bloody Andrew Jackson by Doctuh Mistuh Productions will be holding a special audition taping on Sunday, February 12 from 6 pm-10:30 pm.

Auditioners will need to have a 16-32 bar cut of a rock song or a song from a rock musical. You will also need a one-minute "political rant" to act as a monologue. An accompanist will be provided. Please have sheet music in the proper key with your cuts marked accordingly.

To make an appointment, please send your request to doctuhmistuh@gmail.com. You will be notified of your time and the location via email.

Rehearsals will run from May 18-June 6 with the show running June 7-July 1 at the Blue Theatre.

If you are unable to make this call, you may still submit a video post of your audition. For information on submitting your video post, please email doctuhmistuh@gmail.com

Arts Reporting: Penfold Theatre's Summer Youth Program Goes to Edinburgh in 2013

2012-01-26T11:36:00.003-06:00

Feature by Dawn Youngs for www.austin.culturemap.com with interview of program director Patty McMullen, January 26:

ATX TO THE WORLD

Local performance group The Penfold Theater Company set to hit the Edinburgh Fringe Festival

By Dawn Youngs

The Penfold Theater Company, a young and ambitious theater serving North Austin and Round Rock, has been making waves in the Austin community since its formation in 2008. [. . .] Now the theater is launching a new education program, Penfold Players, and it is already going global.

Penfold Players has been selected by the American High School Theater Festival (AHSTF) to present a student production at the Edinburgh Fringe Festival in Edinburgh, Scotland in August 2013. The invitation is an exciting kick-off to Penfold's “Carpe Aestatem” (Seize the Summer) program, which aims to give high school students a theater travel experience every other summer.

Click to go to Penfold's page on its summer programs for teens

Read full text at www.austin.culturemap.com

Cinderella Waltz by Don Nigro, Red Dragon Players, Austin High School, January 19 - 21

2012-01-25T20:10:00.003-06:00

The mischievous Don Nigro puts the Cinderella fairy tale into a humorous trailer-park context and sends it spinning around so unpredictably that you're never quite sure whether the sweet, mistreated Rosie Snow is going to turn up roses or not.

Shannon Tipton directed a one-act version of the story last week as her inaugural outing with the Austin High School Red Dragons with their 401st stage production. It was a "novice" production with a cast of faces mostly new to me, for I missed their Jungle Book earlier this year.

The core story is there, of course, with the sweetly downcast Louise Root as the titular character, afflicted by her garish, dim and horrible stepmother (Samantha Melomo) and stepsisters wearing names from Shakespeare's King Lear -- booted, grumpy Goth-style Goneril (Layla Gilliland) and Barbie-esque Reagan (Abby Lewis). Dull-witted Dad (Oliver Davis), sort of like Jed Clampett, spends most of his time in the trailer behind the playing area, hollering for help in finding his pants.

Nigro plants a troll in the well at center stage. Or rather, an affably confused royal flunky named "Troll," who fell in while wandering around the countryside, delivering invitations to the ball on behalf of the prince. Zach Completo makes his trollish footman (or perhaps footmanish troll) entirely likeable, abashed but eager to please, quite baffled by the determination of Mama Snow to get herself and her two favored girls into the palace.

Add McCoy Johnston as the village idiot, touseled, dirty and moaning in inarticulate frustration, prototype of the "barefoot boy with cheek of tan" and prime material for a potential makeover -- he is at turns silly and touching. Riley Ryan-Wood as Mother Maggie pops out of the wishing well when needed, an ironic fairy godmother who'd be entirely at ease in an afterhours lush life bar.

Upcoming: A Korean-Texan Tempest at UT's Lab Theatre, January 26

2012-01-25T16:48:00.003-06:00

Found on-line and hear around town:

Frontera Fest 2012, The Department of Theatre and Dance
at the University of Texas at Austin,
and The Department of Theatre at Chung Ang University (Seoul, Korea)

present

Lost/잃어버리다

A collaborative theatre project in Korean and English based loosely on Shakespeare’s The Tempest

Thursday, January 26, 7 p.m. UT Lab Theatre Free admission - Limited seating

Auditions at St. Ed's for 'Welcome to America, There's Gotta Be Something Better Than This Crap, January 28

2012-01-25T16:18:00.001-06:00

Found at the classified ads of NowPlayingAustin.com:

Auditions for Welcome to America: There's Gotta Be Something Better Than This Crap

Saturday, January 28, 1 p.m. - 4:30 p.m. St. Edward's University -- Woodward Office Building, Rm. 146, 3001 South Congress Ave., Austin, TX (click for campus map)

Welcome to America: There's Gotta Be Something Better Than This Crap is an original multimedia production about social justice and equality in the American economy. It will explore the effects that capitalism and corporate greed have on the United States from an impoverished and homeless perspective, and promote a more socialist approach as an alternative.

CALL FOR Performers 18 years of age or older. Some experience is necessary. *Dancers of all races, shapes and sizes. Do a 1-2 min. piece/routine that shows off your best dance style -- Modern, Jazz, Hip-Hop and African dance. *Singers should choose a 1-2 min. song that demonstrates their best vocal range in a Soul or R&B style. Bring your own CD or MP3 accompaniment, or musical instrument, and try to stay away from singing Acappella unless it's a popular well-known song. *Actors should do a 1-2 min. memorized monologue or personal story relating to economic hardship. *Poets should read 1-2 min. of their own original work. Looking for poets who are passionate about social issues that involve unemployment, low wages, hunger, poverty, etc. in the U.S. Additional singing, acting and dancing skills are a plus. Please, bring a resume and a headshot if you have one available.

For more information, please email Ms. D.L. Ford, or you can contact me on LinkedIn.

Website: https://www.facebook.com/pages/Theres-Gotta-Be-Something-Better-Than-This-Crap/107149672738723

Upcoming: Standardized Testing, the musical, Austin Conservatory of Theatre at the Baker Center, January 26 - 29

2012-01-25T15:45:00.002-06:00

Found on-line:

Austin Conservatory of Theater

presents

the world premiere production of

Standardized Testing – The Musical!!!!

by Sam Willmot

directed by Adam Roberts

Performance Dates:

Thursday, January 26th at 7:30 pm (Industry Night)
Friday, January 27th at 7:30 pm
Saturday, January 28th at 2:30 and 7:30 pm
Sunday, January 29th at 2:30 (Industry Matinee) and 7:30 pm

Testing will take place at the Baker Center in Hyde Park, 3908 Avenue B (click for map)

Tickets:

$10 in advance
$15 at the door
$5 Industry Night and Matinee Special Prices!

This ain’t yo mama’s SAT. Standardized Testing – The Musical!!!! is the hilarious and touching story of eight eccentric teenagers who set out to prove their self-worth on the single biggest day of their entire academic lives. In the process, they create and destroy friendships, learn to express their individuality, and sing and dance their hearts out. The award-winning score encompasses a wide range of musical idioms, from funky rock to roof-raising gospel, from sparkling show tunes to sultry rumba. Eat your balanced breakfast and get ready for a No. 2-pencil-tapping good time!

This January the advanced students of the Austin Conservatory of Theater face their fears, foes and futures in the first-ever fully staged production in Austin of Standardized Testing – The Musical!!!! New York writer Sam Willmott is the brainiac behind this hilarious and touching story of eight compulsive teenagers who, in the course of a standardized test, create and destroy friendships, learn to express their individuality, and sing and dance like maniacs.

Says Willmott, “I couldn’t be more thrilled for ACT to present the premiere production of my show. Adam’s galvanizing directorial insights and the unbridled enthusiasm of the cast are going to make this a truly not-to-be-missed production!”

(BTW, this test is totes rated PG-13 :).

Auditions: Male Actor for a month at the Edinburgh Fringe in August in Four Square by Manuel Zarate

2012-01-24T16:11:00.001-06:00

Seeking actor for role of “David” in the Long Fringe production Four Square, to be performed at The Edinburgh Festival Fringe in Scotland, August 2-30, with other potential performances earlier during spring or summer in Austin, Texas. Paid position, $207/week for Equity/Non-Equity actors. Written and directed by Manuel Zarate, Four Square features Douglas Taylor and Ann Pittman, with Andy Perry as stage manager.

This is a very physical three-person show. FronteraFest description: "What is love? It's everything and nothing. It's funny and awful. It's the "till death do us part" and the one night stand. For three strangers in Austin, Texas, one night will change their lives forever. Each will face the myth of their past and the reality of their present. Love is not what we thought it was."

To audition: please attend a performance of Four Square playing at Austin’s Frontera Fest and thenspeak with Manuel, Andy, Doug, or Ann after the performance. You may also email your resume & headshot to Manuel at mzarate@hbmginc.com. Four Square will be performed Jan 27^th at 7pm, Jan 29^th at 4:15pm, Feb. 1^st at 7pm and Feb. 4^th at 9:15pm at the Blue Theater. Tickets are $10 and may be purchased at the door or on-line. After the company gauges interest, formal auditions will start in February with rehearsals in July for the Edinburgh performances in August.

Upcoming: Rent, the live musical, Woodlawn Theatre, San Antonio, January 27 - February 26

2012-01-24T12:51:00.001-06:00

Found on-line:

presents

Rent

the live musical

book, music and lyrics by Jonathan Larson

January 27 - February 26, Fridays and Saturdays at 8 p.m., Sundays at 3 p.m.

Special Valentine's Day performance on Tuesday, February 14 at 8 p.m.

Woodlawn Theatre, 1920 Fredericksburg Road, San Antonio, 78201 (click for map)

Tickets $20 - $23 available on-line at www.woodlawntheatre.com

Set in the East Village of New York City, RENT is about falling in love, finding your voice and living for today. Winner of the Tony Award® for Best Musical and the Pulitzer Prize for Drama, RENT has become a pop cultural phenomenon with songs that rock and a story that resonates with audiences of all ages.

Based loosely on Puccini’s La Boheme, RENT follows a year in the life of a group of friends struggling to make it in the big city. They include Mark, a filmmaker and the narrator of the story; his former girlfriend, Maureen, a performance artist; Maureen’s lover, Joanne, a public interest lawyer; Mark’s roommate Roger, a musician; Mimi, an exotic dancer, with whom Roger falls in love; Tom Collins, a computer genius; Collins’ lover, Angel, a street musician and drag queen; and Benny, a former member of the group who, after marrying into a wealthy family, has become their landlord. How these young bohemians negotiate their dreams, loves, and conflicts provides the narrative thread to this groundbreaking musical.Set in the East Village of New York City, RENT is about falling in love, finding your voice and living for today. Winner of the Tony Award® for Best Musical and the Pulitzer Prize for Drama, RENT has become a pop cultural phenomenon with songs that rock and a story that resonates with audiences of all ages.

Cast: MIMI MARQUEZ-Kerissa Arrington ROGER DAVIS-Lucas Ruiz MARK COHEN-Corey Weaver MAUREEN JOHNSON-Katie Oliveira ANGEL DUMOTT SCHUNARD-Myke McAnderson TOM COLLINS-Frank Grisby JOANNE JEFERSON-Cyndi Lucas BENJAMIN COFFIN III-Dwight Robinson COVER-MIMI MARQUEZ/COMPANY-Tiffani Willis ALEXI DARLING/COMPANY-Ellen Reynolds MRS JEFFERSON,HOMELESS LADY,COAT VENDOR,SEASONS OF LOVE SOLOIST, COMPANY-Michelle Burnett MRS. COHEN, COMPANY-Natalia Skovorodiva PAUL,HOMELESS SQUEEGEE MAN,COMPANY-E.J. Crowell WAITER/COMPANY-Kevin Harris MR GREY/THE MAN-Sean Salazar COMPANY-Rachel Pena COMPANY-Katie Thompson COMPANY-Thad Payne COMPANY-Timothy Bowman

Upcoming: Playwright Will Kern Lectures at Trinity University, San Antonio, January 30

2012-01-24T12:31:00.004-06:00

Via

Trinity University Dept of Human Communication and Theatre

presents

a lecture by playwright Will Kern

Monday, January 30 at 7:30 p.m. in the Cafe Theatre located in the Ruth Taylor Theatre Building (#3 and #31 -- click for map)

Trinity University Campus, One Trinity Place, San Antonio, Texas, 78212

Admission free -- no reserved places

Internationally known and produced playwright Will Kern will present a lecture at Trinity University on The Art of Playwriting. Mr. Kern's most famous work is the play Hellcab (1992). First produced as a late-night show by Famous Door Theatre in Chicago, the play, which was originally scheduled for twelve performances, ran for over nine years and is one of the longest running shows in Chicago theatre history. Hellcab has been performed all over the U.S. and abroad, including Scotland, Israel, Singapore, and Ireland. The play was adapted for the screen by Mr. Kern in 1998 and the film starred Gillian Anderson, John Cusak, Jullianne Morre, Laurie Metcalf, Harry Lennix and John C. Reilly.

Trinity University Dept of Human Communication and Theatre
Monday, January 30, 2012 at 7:30pm in the Cafe Theatre located in the Ruth Taylor Theatre Building.

Internationally known and produced playwright Will Kern will present a lecture at Trinity University on The Art of Playwriting. Mr. Kern's most famous work is the playHellcab (1992). First produced as a late-night show by Famous Door Theatre in Chicago, the play, which was originally scheduled for twelve performances, ran for over nine years and is one of the longest running shows in Chicago theatre history. Hellcabhas been performed all over the US and worldwide, including Scotland, Israel, Singapore, and Ireland. The play was adapted for the screen by Mr. Kern in 1998 staring Gillian Anderson, John Cusak, Jullianne Morre, Laurie Metcalf, Harry Lennix and John C. Rilly.

Location:Trinity University Campus, One Trinity Place, San Antonio, Texas, 78212
Tickets:FREE
For Reservations: Limited seating and NO Reservations are being taken. Seating is on first come basis.

Opportunity: Zach's Three-Show Groupon Deal

2012-01-24T11:41:00.006-06:00

Published by Groupon on January 24. This offer for best-category tickets to Zach's Next to Normal, Dividing the Estate and Xanadu will remain posted through January 26:

Click panel above to go to the Groupon page; click here to view second panel with additional information at AustinLiveTheatre.com

Upcoming: The Village by Dr. Ramon Carver, Silver Spur Theatre, Salado, Febuary 3 and 4

2012-01-23T21:38:00.001-06:00

Received directly:

Comedy-Drama

The Village

Premieres at Silver Spur Theatre;

Three Shows Only, Feb. 3-4; Gala LRTS Retrospective, Sun. Feb. 5

108 Royal Street, Salado (click for map)

Admission for all shows is $25. For reservations, call the box office at 254-947-3456 or LRTS at 254-947-5722. Checks with order details also can be mailed to LRTS, P. O. Box 1023, Salado, TX 76571. For directions or more info, visit www.saladosilverspur.com.

Ghost story is Playwright-Director Ramon Carver’s ‘swan song’ after 17 years with the Living Room Theatre of Saldo

“The Village,” a new production premiering at the Salado Silver Spur Theatre on Friday, Feb. 3, is a full-length comedy with “a smattering of serious scenes,” according to Dr. Ramon Carver, its 79-year-old author-director and producer.

In truth, however, the play, which “takes place in a fictional village located somewhere between Heaven, Hell and Austin,” may well be Carver’s own “swan song” to Salado and a celebrated theatrical career.

The unconventional ghost story-cum-play, staged by Living Room Theatre of Salado (LRTS), will have three performances at the Salado Silver Spur Theater (108 Royal St.) -- two at 7 p.m., Friday and Saturday, Feb. 3-4, and a matinee at 2 p.m. that Saturday. The play has adult themes and language. Parental discretion is advised.

The play’s action involves ghosts who haunt a small Texas village coffee shop where they observe live persons witnessing an accidental murder. As one character observes: “Real murders and accidental murders are pretty much the same thing.”

Ongoing: The Guys You Slept With by T.J. Young, Rose Theatre Company, San Antonio, January 20 - 28

2012-01-23T21:01:00.002-06:00

Found on-line:

presents

The Guys You Slept With

by T.J. Young

Jan 20-21, 27-28, Fridays and Saturdays at 7:30 pm

Rose Theatre Company, 11838 Wurzbach and Lockhill Selma, Upstairs in The Elms Shopping Center Overlooking Pam's Patio (click for map)
tel. 210-360-0004 or therosetheatreco@yahoo.com

$10- $12 tix

Mel is dating 4 guys at one. None of them seen right for her, and she tells her roomate, Peter, about all of them. As she looks for that missing someone they push her to question herself and who exactly she is look for. With laughs and emotion, we learn about Mel and The Guys She Slept With.

[image: Kristen Hinton, Torence White, Ryan Kirby, Kyle Tolbert, Trevor Anthony - from Rose Theatre Company via mysanantonio.com)

UPDATE: From 'First Impression' by Deborah Martin of the San Antonio Express-News at her Art Beat blog at www.mysanantonio.com : "An actress friend of playwright TJ Young’s complained that he never wrote any decent roles for women, and, in response, he came up with The Guys You Slept With.”The well-structured one-act follows the romantic misadventures of a young woman (Kristen Hinton) who shares her issues with the guys with her roommate (Young), refusing to see him as boyfriend material. A few scenes could bear a little trimming, but the piece is compelling and well-acted.

Viper Vixens of 2012, Electronic Planet Ensemble at the Vortex, January 13 - 29

2012-01-23T20:07:00.003-06:00

The Electronic Planet Ensemble are magic men -- I can say that since percussionist Rachel Fuhrer apparently has disappeared this year, leaving poet David Jewell, keyboardist Chad Salvata and bassist/video artist Sergio R. Samayoa to deliver this piece assisted by drummer Doug Marcis. I had to identify Marcis from the poster legend, since there was no program available at the Vortex this year.

Their January offering for 2012, Viper Vixens, falls far short of earlier Januaries: Planet of the Mermaids in 2011, Surfin' UFO in 2010 and Spaceman Dada Robot in 2009.

Even the mail art display in the Vortex's Butterfly Bar was much smaller and less imaginative than in earlier years, hung in the semi-darkness and literally overshadowed by the Betty Boop cartoon projected on the wall by the bar.

The EPE's strength has been projecting a sci-fi universe of mythic figures before our minds' eyes, using powered rhythms and David Jewell's hallucinatory lyrics. Samayoa's imaginative video creations served as springboards into that trippy world.

Not so this year.

Their music still rocks, but Viper Vixens of 2012 pretty much abandons Jewell, even though he's still right there out front, wearing a fine voluminous shiny gray polyester suit and wearing a red tie, working his fingertips over a laptop fuzzbox. During most of the hour's adventure you can't really hear what he's saying.

Upcoming: Catalyst, Dance Repertory Theatre at the University of Texas, March 23 -25

2012-01-23T17:09:00.002-06:00

Received directly:

presents

Catalyst

performed by the acclaimed ensemble Dance Repertory Theatre
March 23 and 24 at 8 p.m., March 24 and 25 at 2 p.m.

B. Iden Payne Theatre, Winship Drama Building, near 23rd and San Jacinto (click for map)

Admission: $20 for adults, $17 for faculty/staff, $15 for students with ID

Parking is available in the San Jacinto Garage on San Jacinto near Dean Keeton.

Catalyst brings unique and compelling dance works by nationally renowned choreographers to the stage. A highlight of the concert includes Israeli choreographer Ohad Naharin’s (Artistic Director of Batsheva Dance Company) sharp and humorous Minus 16. Breaking down barriers between performers and audience, Minus 16 captivates with dynamic movement and music, including traditional Israeli music, mambo, techno and Dean Martin.

Other work in Catalyst includes the world premiere of David Justin’s Oblivion's Ink, a contemporary ballet created to the music of Jazz trumpeter and composer Dave Douglas. Yacov' Sharir's Too & For explores corporeality in the physical realm as well as the virtual domain. And, Charles O. Anderson’s Rite, inspired by the writings of the late American science fiction writer Octavia Butler, captures the shifting social, economic and ecological climates of the 21st century.

atalyst
Event Description:	Be transformed by dance. Performed by the acclaimed ensemble Dance Repertory Theatre, Catalyst brings unique and compelling dance works by nationally renowned choreographers to the stage. A highlight of the concert includes Israeli choreographer Ohad Naharin’s (Artistic Director of Batsheva Dance Company) sharp and humorous Minus 16. Breaking down barriers between performers and audience, Minus 16 captivates with dynamic movement and music, including traditional Israeli music, mambo, techno and Dean Martin. Other work in Catalyst includes the world premiere of David Justin’s Oblivion's Ink, a contemporary ballet created to the music of Jazz trumpeter and composer Dave Douglas. Yacov's Sharir's Too & For explores corporeality in the physical realm as well as the virtual domain. And, Charles O. Anderson’s Rite, inspired by the writings of the late American science fiction writer Octavia Butler, captures the shifting social, economic and ecological climates of the 21st century.
Date:	March 23 \| 8:00 PM
Other Date(s):	March 24 \| 2:00 PM March 24 \| 8:00 PM March 25 \| 2:00 PM
Contact:	Theatre and Dance Info Line inquiry@uts.cc.utexas.edu 512-471-5793
Fees/Admission:	Tickets: $20 for adults, $17 for faculty/staff, $15 for students with ID
Location:	B. Iden Payne Theatre (WIN)
Directions:	The Winship building is located on the East Mall circle near the intersection of San Jacinto and 23rd streets.
Parking:	Parking available in the San Jacinto Garage on San Jacinto near Dean Keeton.

Upcoming: The Adventures of the Story Wranglers, State Theatre, January 31

2012-01-23T12:19:00.005-06:00

UPDATE: Feature by UT Theatre and Dance profiling the program and participants, January 30

UPDATE: Feature by Michael Graupmann at www.austin.culturemap.com, January 30

Found on-line:

present

The Adventures of the Story Wranglers

Tuesday, January 31
Doors @ 6:00 pm | Show @ 7:00 pm
Stateside at the Paramount, 713 Congress Avenue (click for map and directions)

General Admission - $5

Purchase tickets($5) and a parking pass ($6) online

After teaching creative writing residencies all over Austin and working with fabulously talented young artists to create new, thrilling, hilarious, weird, poignant, you-name-it stories, Paramount Theatre’s The Story Wranglers are stepping out of the classrooms to bring their award-winning program and productions to YOU. In a musical-SNL-like production, professional actors will bring young artists’ stories to life on the historic Stateside stage. Find Monsters, Fairies and Unicorns putting aside their differences to have a traditional party and much more greatness that only a 3rd grader can create!

Regular Admission tickets also available day-of-show at the Paramount Theatre Box Office (713 Congress). Online tickets not available day of show.

You can follow the Story Wranglers on Facebook or on the Paramount Outreach blog

[Apple users: can't see the video? Click to go to YouTube]

Ongoing: Ain't Misbehavin', Off-Broadway Productions at the Josephine Theatre, San Antonio, January 20 - February 11

2012-01-22T13:00:00.005-06:00

UPDATE: Deborah Martin of the San Antonio Express-news interviews guest star Sherman Hensley, January 18

UPDATE: Deborah Martin's favorable 'First Impression' of Ain't Misbehavin, January 21

Found on-line:

presents

Ain't Misbehavin'

the Fats Waller musical review

directed by Charles Barksdale

featuring Sherman Hemsley

with LiGaya Perkins, Jackyee Carter, Brian Ridley, Delores Walker and Charles Barksdale

choreography by Valarie Miller

January 20 - February 11, Fridays and Saturdays at 7:30 p.m., Sundays at 2 p.m.

Josephine Theatre, 339 W. Josephine St., San Antonio (click for map)

Tickets $45 - $50; reserve at (210) 734-4646

Upcoming: Four Square by Manuel Zarate, FronteraFest at the Blue Theatre, January 27 - February 4

2012-01-21T17:28:00.001-06:00

Received directly:

Upcoming: Internet Casanova, the Reboot, Weird City Theatre Company at FronteraFest, January 25 - February 4

2012-01-21T16:27:00.003-06:00

Received directly:

presents as part of FronteraFest Long Fringe 2012

by Bill Bauer

Wed 1/25 at 9:15PM, Sat. 1/28 at 3PM, Fri 2/3 at 9:15PM and Sun 2/5 at 6:30PM

at the Blue Theatre, 916 Springdale Road, behind the Goodwill warehouse (click for map)

Tickets are $10 and can be purchased on-line.

What if, instead of blocking an online scammer, you tried to see how far you could string them along? Weird City Theatre presents this expansion for FronteraFest 2012 Long Fringeof Bill Bauer's 2011 Short Fringe comedy based on hilarious chat transcripts. Javier Smith, Carrie H. Stephens, and Minerva Villa return from the original show, joined by Callie Barrons, Tammy Cox, Renei Brown Sims, and Kathryn Tait.

Weird City Theatre's mission is to encourage the growth of the artist and represent the uniqueness and vitality of Austin through re-envisioned classics and original works. Keeping a child-like sense of play, we focus on the process of the actor and we are playing our part to keep Austin weird!

Weird City Theatre is a sponsored project of the Greater Austin Creative Alliance, a nonprofit performing arts service organization.

Video Promo: Precious Little Talent, Capital T Theatre, January 25 - February 11

2012-01-20T18:10:00.005-06:00

Found on-line:

presents the US premiere of

Precious Little Talent

by Ella Hickson - Directed by Scott Tipton
for FronteraFest at the Blue Theatre, 916 Springdale (click for map)

Wed January 25th 7pm; Fri January 27th 9:15pm; Sun January 29th 2pm; Fri February 3rd 7pm; Wed February 8th 8pm; Thurs February 9th 8pm; Fri February 10th 8pm; Sat February 11th 8pm

[Apple users: can't see the video? Click to go to YouTube]

Click for additional information about the production

Auditions for Patience: Gilbert & Sullivan Society of Austin, March 3 and 4

2012-01-20T17:27:00.003-06:00

Received directly:

announces auditions March 3 and 4 for Patience, or Bunthorne's Bride by W.S. Gilbert and Arthur Sullivan
Sign up Today - Auditions are by appointment only
Call Chuck Antonie at (512) 733-1006 or (512) 825-5187 or email cantonie@yahoo.com to reserve an audition time slot.

Patience will be performed June 7 - 17 in Austin. Click here to go to a full synopsis of Patience with character list and performance photos

Audition Form | Audition Notes

All roles are open for casting, including ten principal roles of various sizes and a chorus of twelve men and twelve women. There is also a small non-speaking, non-singing role for a male to be cast.

A memorized aria or art song (English language preferred) is required. An accompanist will be provided, although singers may bring their own pianist if they wish. Please note that unaccompanied (a cappella) auditions are not permitted, nor are self-accompanied auditions.

A completed Audition Form is required, and a résumé and headshot are requested.

Read Ralph MacPhail, Jr.'s Audition Notes which contain information about Patience, about each role being cast, and about the audition procedure. Also these notes include important information regarding rehearsals and the rehearsal schedule.

Auditions will be held at Genesis Presbyterian Church, 1507 Wilshire Blvd., near AIrport Rd. and the Mueller Town Center Development (click for map)

A small honorarium will be paid to all performers.

To receive timely audition information, please confirm that we have your contact information by joining our mailing list. Also, you can receive audition notifications via Facebook.

Arts Reporting: Austin Playhouse Signs Contract for Theatres at Mueller

2012-01-20T16:55:00.001-06:00

Posted by Lara Toner at the Austin Playhouse blog, January 20:

Signing The Contract

Dear Friends,

Yesterday afternoon Don Toner signed our contract to purchase our building site in the Mueller Town Center. We are the first business to have a signed contract for the Town Center portion of the Mueller development and we are incredibly proud. We have accomplished a tremendous amount already, and we're confident we're on the right path to making our dream a reality. Thank you to everyone who has helped us reach this milestone and especially to our attorney, Gary Greif and our architect, Scott Ginder.

What we've already done:
-Our site plan was submitted in November. The site plan approval process can take several months, so it was crucial that we started the process as soon as possible.
-We have raised almost $400,000 in pledges and contributions. During the first phase of our fundraising efforts we reached out to our long-time supporters. We've been very gratified by their initial outpouring of support for this project.

What will happen next:
-We anticipate closing within 60 days as soon as the remainder of our financing is in place.
-We will begin construction as soon as closing occurs and the site plan is approved. We are currently estimating construction will begin in late February. Construction will take six to seven months to complete and we will open our new theatre in Fall 2012.
-We will expand our fundraising efforts to include the greater Austin community, foundations, and corporations. [. . . ] If you would like to make a contribution or pledge, please visit our website.

Opportunity: Zach Theatre Seeks Volunteers

2012-01-20T13:08:00.003-06:00

Following a Tweet from Zach to the Zach website:

Announcing New Volunteer Training Sessions

Join the dynamic and rewarding team of Volunteer Staff at ZACH! Volunteers are essential to ZACH’s success and serve as ushers, greeters and ambassadors of goodwill to our community. Come and learn how you can be a part of Austin’s Theatre and give back to the community, make new friends, and have the opportunity to attend outstanding professional theatre in existing venues and the new Topfer Theatre opening in September of 2012!

New Volunteer Training sessions takes place in two parts on:

Part 1: Monday, Feb. 13, 6-9 pm at ZACH’s Whisenhunt Arena, 1510 Toomey Road.
Part 2: Monday, Feb. 20, 6-9 pm at ZACH’s Whisenhunt Arena, 1510 Toomey Road.

Space is limited. Reserve your space by email to Volunteer Coordinator Allison Jaynes at ajaynes@zachtheatre.org.

If you can't make the training, please click here to go to the on-line sign-up page to apply to be a ZACH volunteer.

Auditions for Murder on the Nile, Different Stages, February 13 and 14

2012-01-20T12:54:00.001-06:00

From the classifieds at NowPlayingAustin:

auditions for Murder on the Nile by Agatha Christie, Monday and Tuesday, February 13 and 14, 7 p.m. - 9 p.m., at Dougherty Arts Center, 1110 Barton Springs Rd. (click for map). Directed by Norman Blumensaadt. Production Dates April 13 - May 5 at City Theatre. The Different Stages website is http://www.main.org/diffstages/.

In one of Dame Agatha’s most popular mysteries Simon Mostyn has recently married the beautiful, wealthy Kay Ridgeway, having thrown over his former lover Jacqueline. The couple is on their honeymoon on a paddle steamer on the Nile. With them are Kay's guardian and Jacqueline, who has been dogging their footsteps all through the honeymoon. Also on the boat are a rich, ill-tempered woman and her niece, a rather direct young man, a doctor who nurses a grudge against Kay's father, and Kay's maid. During the voyage ... well, you’ll just have to see what happens. Roles for 5 women, ages 25-65 and 8 men, ages 25-65. French and Arabic speakers needed.

To make an appointment or for information call Carol Ginn at 444-3303. The script can be checked out at the office of the Austin Creative Alliance, 701 Tillery St., suite A-8 (click for map). Scripts are available fo 24 hours ($10 deposit in cash or by check). Actors are strongly urged to read the script before the auditions.

Call for performers for Fusebox Festival 2012 by NY-based company 600 Highwaymen

2012-01-20T12:18:00.001-06:00

Tweeted by UT Theatre and Dance:

NYC performance company 600 Highwaymen is seeking performers for an Austin-based project to be performed in FUSEBOX 2012. To schedule an audition or for more info please e-mail richard@600highwaymen.org. Contact us by January 31. Learn more about us at the website www.600highwaymen.org.

Upcoming: Kiss Me, Kate!, Vandegrift High School, February 2 - 4

2012-01-20T11:50:00.001-06:00

Received directly and explored on-line:

presents

Kiss Me, Kate!

by Cole Porter

directed by Aaron Stahlecker

February 2 - 4, 7 p.m.

Vandergrift High School, 9500 McNeil Drive (click for map)

Tickets $8 general admission in rear of hall, $12 reserved seats available on-line

The Vandegrift High School Theatre has added the musical Kiss Me, Kate! by Cole Porter to its third season. The production is running February 2-4 at the Vandegrift High School Performing Arts Center at 7 p.m. each night, with tickets available online from www.vhstheatre.com. The "show within a show" is based on Shakespeare's Taming of the Shrew. It is directed by Mr. Aaron Stahlecker, Theatre Arts teacher and technical director of the VHS PAC, and features almost 50 students. Support your local theatre by spending an evening at Vandegrift High School for "Kiss Me, Kate!"

Funding Appeal: Glengarry Glen Ross by David Mamet, A Chick and A Dude Productions, February 16 - March 3

2012-01-19T22:44:00.002-06:00

Melissa Livingston-Weaver and Shannon Weaver, partners also as A Chick and A Dude Productions, appeal on IndieGoGo with a goal of $5000 to support their staging at the Hyde Park Theatre of Glengarry Glen Ross by David Mamet, February 16 - March 3. Click on the IndieGoGo logo to go to the appeal page.

[Apple users: can't see the video? Click here to go to Indiegogo]

Upcoming: Little Women, EmilyAnn Studio Theatre, Wimberley, February 3 - 26

2012-01-19T17:35:00.007-06:00

Received directly:

presents

Little Women

based on the novel by Louisa May Alcott

adapted by Matt Buchanan

directed by Lara Doll Kennedy

February 3-26 -Fridays & Saturdays at 7:30 p.m., Sundays at 2 p.m.

Indoor Studio Theatre production-LIMITED SEATING!!

EmilyAnn Theatre and Gardens, 1101 FM 2325,Wimberley,TX 78676 (click for map)

$15/adults, $10/students -- Tickets available online at www.emilyann.org or by calling 512-847-6969

Join the EmilyAnn Theatre as we are welcomed into the lives of tomboy Jo, her friend Laurie, and her close and loving family in the play adaptation of the well known and beloved classic novle Little Women . Through joy, poverty, sickness, death, love, and marriage, the girls learn that no amount of wealth can bring more happiness than that of a close and loving family.

Upcoming: Zach's Red Hot and Soul Gala, April 21

2012-01-19T11:17:00.002-06:00

Received directly:

announces

RED, HOT & SOUL GALA

April 21, 2012

Annual Fundraiser Co-Chaired by Bobbi Topfer and Larry Connelly Springs to Life with ‘Xanadu’ Theme and a Fantastic Roller Skating Ride to Bliss!

Prepare to expect wonders with ZACH’s annual Red, Hot & Soul Gala in an all new, spectacular party at the Downtown Hilton’s Grand Ballroom on Saturday, April 21, 2012.

Celebrated as one of the best parties in Austin, Red, Hot & Soul promises all new wonders this season lead by event co-chairs Mrs. Bobbi Topfer, a champion of large-scale events that raise significant funds for Austin’s most beloved nonprofit organizations, and ZACH Board Member Mr. Larry Connelly, chair of several of ZACH’s most successful fundraisers.

“ZACH is such a creative force that has great momentum right now with an incredible season of high-caliber productions, increased ticket and season sales and, of course, the construction of its new theatre,” said Mrs. Topfer. “We’re producing an event that will knock Austin’s socks off…and get them into a pair of roller skates.”

This season’s gala theme is inspired by Xanadu the Musical, a hilarious production that will round out a phenomenal season this summer at ZACH. The musical is based on the famously campy 1980s film Xanadu starring Olivia Newton-John and Gene Kelly that tells the story of a beautiful muse who descends from the heavens of Mt. Olympus to Venice Beach and inspires a struggling artist to create his biggest dream — the first roller disco.

“Red, Hot & Soul is raising the bar again with a great theme for the best party in town: Xanadu ... where time stops and the magic never ends,” said Mr. Connelly. “There is no end to ZACH’s magic in transforming the space with incredible colors, dancers, skaters and costumes in this 80s roller-disco wonder. Dust off your polyester, sequined glitz and glitter and join us for an incredible evening like nothing else in Austin.”

Added Mrs. Topfer, “We promise guests are going to have an outrageously good time while helping to raise critical funds to support all the great works of this cherished Austin institution.”

Red, Hot and Soul is ZACH’s primary fundraiser, with all the proceeds from the event going to support the artistic and education programs ZACH presents to the Austin community.

To inquire about sponsorships or tickets for Red, Hot and Soul, please contact Eric Scott, Special Events Manager, at 512.476.0594 x260 or escott@zachtheatre.org.

For real-time updates on ZACH Theatre news, events and happenings, visit http://www.zachtheatre.org/blog, be a fan of ZACH Theatre on Facebook http://www.facebook.com/zachtheatre, and follow ZACH on Twitter @zachtheatre http://www.twitter.com/zachtheatre.

About ZACH Theatre ZACH Theatre is Austin’s leading professional producing theatre. Founded in 1933, ZACH is the longest running theatre company in Texas, serving more than 170,000 adults and youth annually. ZACH creates its own nationally recognized dramatic, musical and comedic productions that elevate, motivate and stimulate the human spirit under the leadership of Producing Artistic Director Dave Steakley and Managing Director Elisbeth Challener. Now in its 78th season, ZACH continues to expand and engage with Austin, adding a third theatre to its Central Austin performance campus. The 420-seat, 26,000-square-foot Topfer Theatre will nearly double ZACH’s capacity while retaining its hallmark intimate theatre-going experience upon its completion in the fall of 2012 following a $22 million campaign. Visit www.zachtheatre.org for more information.

ZACH Theatre is sponsored, in part, by Applied Materials, Austin American-Statesman, Time Warner Cable, Austin News TV 36, The Dell Foundation, The Shubert Foundation, Strong Events, OnRamp, The Mitchell Group Consulting, Kirk Tuck Photography and Holiday Inn, Lady Bird Lake. Also, by a grant from the Texas Commission on the Arts and the City of Austin through the Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future. Visit Austin at NowPlayingAustin.com.

Opinion: Robert Faires and Austin Chronicle Colleagues on the Craft of Reviewing

2012-01-19T10:23:00.008-06:00

A reflection and colloquium of practitioners on what constitutes a theatre review:

All Over Creation: Re: Views

What makes a review a review?

by Robert Faires

What's in a name? That which we call "review" by any other name would smell as ....

Well, let's not go there.

But let's do circle around the question of what makes a review a review, because it's been on my mind ever since the Chronicle ran a review for the play Men of Tortuga back in December. In it, writer Adam Roberts heaped accolades on Street Corner Arts, which staged the show, for the polished quality of what was its first production. Playwright, director, and actors were all name-checked and their respective skills praised – the program got a shout-out even – but no characters were mentioned, no plot was detailed, and no onstage action described.

Which prompted this remark in our online comments section: "And the play? These 494 words tell us almost nothing about Men of Tortuga other than the fact that Adam Roberts liked it." For commenter Michael Meigs, who runs the invaluable Austin Live Theatre website, the absence of any commentary on the production itself – the narrative, the characters, their portrayal by the actors, the flow of the action, or the drama, which is, after all, what people came to the theatre to see – made it less than satisfying as a review and perhaps less than useful, too. It clearly wasn't the review that Meigs wanted, but does that mean that it wasn't a review?

I'd argue that it was in that the writer offered a personal response to the show he'd seen. Re-viewing his experience (how easy it is to let slip that the act of looking back is the core of this process), what made the biggest impression on Adam was not really the story or how it was told but the way all the diverse elements of the show came together so beautifully for a first-time production. Given the number of new theatre companies that crop up locally every year (usually a dozen), most of them somewhat rough around the edges, a deft debut is newsworthy. So he wrote about that.

That sort of focus on the architecture of the production isn't what most of us are accustomed in a review. We've been weaned on consumer directives – Go!/Don't go! – and shorthand evaluations – thumbs up or down, letter grades, stars (I'm lookin' at you, Chronicle film reviews!) – with judgments rendered on a standard series of production components (script, direction, performances, design, et al.), so that's largely what we've come to expect from reviews. But such re-views provide only a limited view of the artwork that was seen. With, say, a play, they ignore the inspiration for the script, its intent, the reason it was chosen for production, the histories of the producing company and the artists involved, what they're trying to say with the play, and what meaning it may have for our community at this moment in time. All those aspects contribute to why a show is what it is and are worth talking about. Bringing any of them into a discussion of a production in a review expands the reader's sense of that artistic endeavor.

As Elizabeth Cobbe wrote when I invited Chronicle Arts writers to weigh in on the topic: "Certainly there is a consumer-reporting aspect to what we do, but at their best, reviews should themselves be enjoyable to read and worthwhile contributions to a publication. One could write a book report or assign a letter grade, but is that really participating in the larger conversation about arts in the community? What does it take to get a review to that level?"

Jonelle Seitz believes that it takes a lot of work: "A critic has to constantly make decisions about which of his or her experiences might have value to the reader – for example, by providing a context – that warrants taking space away from describing the work itself."

But describing the work isn't necessarily the most important function of the review, Arts Listings Editor Wayne Alan Brenner argues, because it isn't always what the reader wants: "Sometimes, y'know ... a reader – myself, frequently – prefers a general impression. Because he or she doesn't want to be told what the play is about, specifically, or what goes on in it, specifically; because spoilers aren't just spoilers of Weird Plot Twists like in Sixth Sense or The Crying Game; because spoilers are sometimes just having Too Much Goddamned Basic Information That One Would Rather Have Experienced Afresh For Oneself. Of course, if a reviewer is to avoid such a sort of spoiler, if a reviewer is going to give a worthwhile impression, that reviewer had better well do a decent and somehow informative job of it."

The thing is, there are probably as many different ideas of what readers want from reviews as there are readers. So why not make room for them all? The book report and the superlative-laden rave, the subtextual analysis and the historical/political perspective, and the review about the background of the production company. Let's have them all (well, except for the ones with spoilers) in order to place works of art in the largest context possible. That's when our re-views give us full views.

[ALT note: Comments that provided the quotes above appear on-line below Roberts' review as does a response from cast member Rommel Sulit:

I would just like to say, as a member of the cast and production team, that I speak for all of us in saying thank you to both Adam and Michael for taking time to come see the show (and you too, Robert), writing your respective reviews and supporting us. We all long for that moment when a jewel of a production comes one's way and all involved see its potential to be a great experience for everyone, on both sides of the stage. MoT has been such a show, and regardless of manner and form, the responses we've gotten from critics and audience-at-large have left us ecstatic, pushing us to raise the bar with each performance. Two more shows left at this writing, and we're grateful that the house continues to rock, in no small part to the kind words you've all bestowed on us. Such a joy when theatre happens this way, eh? ]

Click to view Robert Faires' article at www.austinchronicle.com . . . .

Opportunity: 'Wicked' Touring Company Offers Day-of-Performance Lotteries for $25 Orchestra Seats at Bass Hall

2012-01-18T19:21:00.001-06:00

UT Performing Arts announces day-of-performance lotteries for a limited number of orchestra seats in Bass Hall for performances by the touring company of Wicked, January 25 - February 12. Aspirants may fill out ticket requests at the Bass Hall box office 2 1/2 hours before the performance and deposit them in a lottery bin; the drawings will be held half an hour later. Winners can purchase two tickets at the $25 rate.

Tickets purchased via the UT Performing Arts website are priced from $43.50 to $153.50 plus service fees from $6.75 to $9.75. On-line ticket resellers are offering seats for between $97 and $190 each, generally requiring the purchase of two.

Click here to view the press announcement with additional information about the lottery and about the production.

Upcoming: Gypsy, Dripping Springs High School, January 26 - 29

2012-01-18T18:13:00.011-06:00

Received directly:

proudly present the musical fable

by Arthur Laurents, Stephen Sondheim and Jule Styne

directed by Ginger Morris

musical direction by Tom Gabrielsen

January 26 - January 29 - Thursday -Saturday at 7:30 p.m.

Matinees at 2 p.m. on Saturday and on Sunday

DSISD Theatre, Dripping Springs High School, 940 W. Highway 290 W., Dripping Springs, TX

Tickets are $10 for students and $12 for adults. Tickets (reserved seating) may be purchased in advance at www.seatyourself.biz/dsisd or at the door prior to performance. If ordered online, all tickets cost $10, Children under 3 are free!

Let the Dripping Springs High School Choral and Theatre Departments entertain you!

Gypsy is considered one of the greatest musicals of all time, with some of the most memorable tunes ever written such as Everything is Coming Up Roses and Let Me Entertain You. It is a universal story of a mother and her relationships with her daughters set in the world of vaudeville and burlesque from 1910 through the 30s. Momma Rose is the classic stage-mother who is outrageous, brash, tough and larger than life. And her dream for success is a dream she lives vicariously through her daughters.

The dream team who created the original production of Gypsy includes Arthur Laurents (Book Writer), Stephen Sondheim (Lyricist), Jule Styne (Composer), and Jerome Robbins (Director/Choreographer). The local production team includes Ginger Morris (Director/Choreographer), Rachael Koske (Production Manager/Costume Designer), Becky White (Technical Director), and Tom Gabrielsen (Music Director/Conductor).

Upcoming: If You Give A Mouse A Cookie, Zach Theatre, February 18 - March 24 (Saturdays)

2012-01-18T16:39:00.002-06:00

Found on-line:

presents Martin Burke in the title role of

If You Give a Mouse a Cookie

based on the book by Laura Joffe Numeroff and adapted for the stage by Jody Davidson.

Public performances on Saturdays at 10 a.m. and 11:30 a.m.

February 18 and 25; March 3, 10 and 24

(Schools performances 10 a.m. and 11:30 a.m., Tuesdays - Fridays, February 16 - March 30)

Whisenhut stage "theatre in the round' 1510 Toomey St. near South Lamar (click for map)

Tickets for reserved seats at public performances $14 for youth, $16 for adults plus $3 processing fee for on-line service -- purchase on-line

It all starts so simply – a day like any other. A boy stays home alone when his mom goes to visit Aunt Rose. With a few cookies and a good spot to read, everything seems so perfect. When the Mouse shows up, hungry – talkative – and not to be ignored. What can the boy do but give the Mouse a cookie? So... what do you get when an energetic mouse and an obliging boy spend the afternoon together? Cookie crumbs, spilled milk, and a whole lot of outrageous physical comedy that will have you rolling in the aisles.

Upcoming: Antarctica, the musical, Crank Collective at the City Theatre, February 3-4, 10-11

2012-01-18T12:38:00.008-06:00

Found on-line:

presents

Antarctica, the musical

February 3 & 4, 10 & 11, 8 p.m.

City Theatre, 3823 Airport Rd. (behind the Shell station) (click for map)

Tickets for Antarctica are $15 general admission/$12 for children & seniors

They can be purchased online through OvationTix here.

Questions about tickets? Please call 512-569-6155 or email antarcticashow@gmail.com.

Cruise ship passengers trapped in the Antarctic battle frostbite, pack ice and penguins in this rock musical tribute to explorer Ernest Shackleton. Featuring a live band, dancers and a full chorus, Antarctica will be performed February 3 – 11 at The City Theatre.

[Apple users: can't see the video or hear the interview? Click to go to YouTube]

Upcoming: Glengarry Glenn Ross, A Chick and a Dude Productions at the Hyde Park Theatre, February 24 - March 10

2012-01-18T11:24:00.005-06:00

Received directly:

presents

David Mamet's Pulitzer-Prize-winning play

Glengarry Glen Ross

directed by Melissa Livingston-Weaver

February 23 - March 10, Thursdays - Saturdays at 8 p.m.

Hyde Park Theatre, 511 W. 43rd St. at Guadalupe (click for map)

Tickets are "sliding scale": Thursdays $10-20, Fridays-Saturdays $15-25.

For tickets/reservations, visit www.achickandadude.com, call (512) 921-4264 or email achickandadude@gmail.com.

This production contains very mature themes and strong language.

A Chick & A Dude Productions presents David Mamet's Glengarry Glen Ross--a hard-hitting portrayal of cutthroat office politics--through sharp dialogue and strong social commentary. The 1984 Pulitzer Prize winner for drama is directed by Melissa Livingston-Weaver (2003 B. Iden Payne winner for Best Director of a Drama and 2011 B. Iden Payne nominee for Best Director of a Drama).

A dark dramatic comedy, Glengarry follows the lives of four smalltime, cutthroat real estate salesmen grinding out a living by pushing overpriced, undesirable plots of land on reluctant buyers in a never-ending scramble for their share of the American dream. Company big wigs Mitch and Murray declare a month-long 'sales contest'. The top salesman wins a new Cadillac and the bottom two men lose it all--egos, money and their jobs. The four salesmen sweet-talk, plan, and scheme for the perfect client and the hot 'Glengarry' leads, which Mitch and Murray make clear are for 'closers' only. How far will the four go to get to the leads in order to schedule a 'sit' at the perfect victim's residence?

Upcoming: The Tender Trap, Way Off Broadway Community Players, Leander, March 9 - 31

2012-01-18T08:35:00.002-06:00

Found on-line:

present

directed by Tracy Cathey

March 9 - 31, Fridays and Saturdays at 8 p.m.

Sunday matinee at 3 p.m. on March 18

Adults-$20, Seniors/Students-$15, Children-$15 - Click Here to make Reservations

Way Off Broadway Community Players, Building 4 at 11880 W. FM 2243 in Leander, TX, between US 183 and Bagdad Road, (click for map)

Charlie, a bachelor in New York, lives the ideal life. Charlie has a great apartment, a good job, and millions of beautiful ladies—all eager to bring him food, clean his apartment and fall in with his every wish. Joe, an old friend from Indianapolis, who has come to New York because he thinks he's discovered a cure for the common cold, is very much taken with Charlie’s life style and more than somewhat envious. He finds himself becoming interested in Sylvia, the nicest of the ladies, while Charlie finds himself getting more and more involved with Julie, a luscious morsel just out of college. Julie is in love with Charlie, but she's determined he's going to do things the way she wants them done. Charlie juggles the ladies till one frantic evening he finds himself engaged to both Julie and Sylvia, and one amusing scene after another results until he finally manages to get rid of the wrong young lady and marry the right one.

"…a skillfully contrived and very enjoyable farce…it has enough funny situations, and something even better—humor." —NY News.