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| Bastion Carboni (photo: John Anderson) |

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| Bastion Carboni (photo: John Anderson) |

Poison Apple Initiative in conjunction with the Vestige Group, is making a play. We want you to audition for it. It's got allegorical zombies and weaponized weedwackers and blood. Auditions are June 3 from 2:00am [sic -- see more below!] until June 4 at 9:30pm at Wardenclyffe, 1101 Springdae Road (click for map)In an unnamed suburban housing division the kids of the neighborhood become fixated on an online horror video game. As things go missing and sirens get closer, their parents begin to realize that the game might not just be confined behind the computer screen. BRASS TACKS: 1. We need 4 actors comfortable with playing multiple nuanced characters: a male and female in their late 30s-mid 40s and a male and female in their late teens-early 20s. These are Westlake-type people. 2. AUDITIONS will be held Sun, June 3rd from 1-4 with additional auditions/ callbacks on Mon, June 4th. Sides will be provided. A dialog sample can be found on Google Books. 3. REHEARSALS begin June 9th and will be held Mon-Thurs evenings with some Saturdays. PERFORMANCES are Weds-Sat, July 12-28th. 4. Actors will be paid a stipend. If you've any questions or would like to schedule an appointment, email bastion@poisonappleinitiat ive.com In radness, PAI |
Received directly, a video by Will Hollis Snider for the Vestige Group:
presents
di[verge]: an original play with songs
by Suzy Gidseg
July 15-31, Fridays and Saturdays at 8 p.m., Sundays at 5pm.
Dougherty Arts Center, 1110 Barton Springs Road (click for map)
Tickets $15 - $25 (pick your price); all Sunday shows are Pay-What-You-Can.
Opening night: Free drinks and bites!
Puchase tickets at www.nowplayingaustin.com/page/austix
WEB: thevestigegroup.tumblr.com www.vestigegroup.org
One woman, two paths. When our lives di[verge] do we ever really accept our present, or do we continue to dream about our past and what might have been? What hold do our choices have on our future. Do they define us, or do we define them? One woman is making her choice. What happens next will change her life forever.
Received directly:

presents

di[verge]: an original play with songs
by Suzy Gidseg
July 15-31, Fridays and Saturdays at 8 p.m., Sundays at 5pm.
Dougherty Arts Center, 1110 Barton Springs Road (click for map)
Tickets $15 - $25 (pick your price); all Sunday shows are Pay-What-You-Can. Opening night: Free drinks and bites!
Puchase tickets at www.nowplayingaustin.com/page/austix
WEB: thevestigegroup.tumblr.com www.vestigegroup.org
The Vestige Group, known for its continued ability to create new work, ends their season with "di[verge]: an original play with songs," a new production written and directed by vestige group's co-artistic director, Susie Gidseg.
One woman, two paths. When our lives di[verge] do we ever really accept our present, or do we continue to dream about our past and what might have been? What hold do our choices have on our future. Do they define us, or do we define them? One woman is making her choice. What happens next will change her life forever.
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The Vestige Group's annual Muses performance in a private residence is a fun evening outing. It's a bit like supervised trick or treating, except that the ten encounters for your group of fewer than a dozen take place on the same property. And you're not in disguise; the actors are.
The experience is designed for about 30 persons each night. We gathered on that big old porch for check-in as the evening shadows were gathering. Refreshments were available for a donation and mosquito spray was available for free. Susie Gidseg and companions divided us into three groups and accompanied to us to different starting points on the circuit. The webmaster of TheatreAustin at Yahoo groups decided that ours with Susie would be the "banshees" (cf. Siouxsie and the same, the British rock group, fl. 1976-1988).
In previous years the collection of scriptwriters absorbed the vibes of the chosen house and let their imaginations run free. This year, experimenting with more structure, Vestige organizers gave the eight writers a family, ready-made, and asked for ten scenes to illustrate their lives. As in previous years, the scenes were sharp, well acted and complete in themselves.
What you don't know as you're going into the experience is that you are going to see some of the same characters embodied by different actors. The banshees went through the scenes in the order listed in the program. Not until a ten-minute break after scene four, necessary for traffic flow, did we study out the fact that in the first three vignettes we had viewed Denise the tippling therapist portrayed in turn, over the lapse of more than a year and in reverse chronological order, by Cathie Sheridan, Jen Brown and Kimberley Mead -- actresses of different shapes, styles and appearances.


The Vestige Group is a small band of purists in an unpure world. They believe that theatre, up close and personal, has something to teach about the human condition. Something that you won't get from video or even from books. They like extremes. Celebration, as in the goofily outrageous Gorilla Man or in Lonestar, A Popcorn Throwing Musical or examinations of the lost and extreme, as in Marisol, in Touch and in this grim trio of plays by Neil LaBute.
When presented off-Broadway in 2000, LaBute's Bash carried the title Bash, Latter-Day Plays, a transparent reference to the Mormon world of Utah and Brigham Young University, where he had studied and taught theatre for years. That was a cheap shot, I think, perhaps even a New York marketing ploy, for LaBute has drawn characters whose twisted lives could play out anywhere. He stresses his intent of universaility that with two of the titles: "Iphigenia in Orem" (Utah) and "Medea Redux." The middle piece, "A Gaggle of Saints," describes a high spirited overnight trip to New York, and none of the happenings have much to do with saints, sainthood or the Church of the Latter Day Saints (LDS).
He sets these events pretty solidly in the early 1980's, with passing references to flashbulbs, to the BeeGees and to daily viewing of Hogan's Heroes. That is, indeed, the period when he attended BYU as an undergraduate and accepted the Mormon faith. Bash put paid to that, however, for after the show played in New York, the LDS Church formally excluded him from fellowship, presumably because the play's portrait of dark, murderous individuals offended the elders of the church.
Read more at AustinLiveTheatre.com . . . .

UPDATE: Review by Javier Sanchez at the Daily Texan online, November 12 

The evening reminded me very strongly of those odd national day receptions we attended in central Africa. For one thing, the proprietors have acquired an eclectic houseful of handicrafts, art, masks, textiles and textures from across the world. We strangers carefully tramped through the house, settled on sofas as directed, slipped along the corridors and lingered out by the pool. As in a diplomatic reception, our mission was to get to get acquainted -- in this case, not with one another but with this odd collection of characters dreamed up by the writers.
Read more at AustinLiveTheatre.com . . . .
UPDATE: Click for ALT review, August 22



"I haven’t had a chance to write about about TOUCH, with all the madness associated with Faster! and its consequent demands on my time, but I so grateful to be in this production. We are already deep into the rehearsal process, and as we’re getting off-book, the achingly raw moments between the characters are taking my breath away. This is a beautiful, sad play."

For ALT review, Click HERE!
Received October 31, 2008: 

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