Missionary Position—Pleasure Journeys for the Intrepid Lady Explorer, Dec. 12 - 14, 2013

Missionary Position
Pleasure Journeys for the Intrepid Lady Explorer 

ONE WEEKEND ONLY!! DECEMBER 12-14TH 8 p.m.
Salvage Vanguard Theatre, 2803 Manor Rd. - click for map
$10 tickets available for limited presale!

Salvage Vanguard presents the first in a series of faux lecture tours featuring renowned Victorian Lady Scientist Amelia Wetherbeaten (Caroline Reck) and Intrepid Lady Explorer Eleanor Dangerbottom, (Cami Alys). These daring ladies have traveled to the nether creases of the earth and run their voluminous skirt hems over the dusty bottoms of creation. They are here for a limited time to set you straight on what you thought you didn't think you needed to know.
Series One features the Acting talents of Noel Gaulin & Jay Byrd, Puppetry from Mr. Hopkins, Lighting by Natalie George, Sound by Eliot Haynes, Stage Management by Dallas Tate.

Three or the Sound of the Great Existential Nothingness by Timothy Braun, Breaking String Theatre at the Off Center, July 26 - August 17, 2013

(poster design by JennyMarie Jemison)

by Brian Paul Scipione

What Philosophers Call It

A pause button: many wish for it and none achieve it.

Many of life’s moments skyrocket past us with meteor-like frenzy. Some we miss altogether, because we were simply too wrapped up in, well, what we consider to be life. Vonnegut fantasizes about something similar in Slaughterhouse Five: the ability to stretch time out like taffy, look at each and every important moment from our past, and understand how they brought us to the present. Because, honestly, we know all along as it’s happening. One thing does lead to another,r and while nothing was actually our fault, if we could do it all over again differently-- we probably would.

Three or the Sound of Existential Nothingness is not science fiction or a playful modern fantasy. It’s a modern adaption of Chekov’s masterpiece Three Sisters. The play portrays the titular trio plus one lover and one brother. No special effects or time travel involved; yet while watching the play, the spectator is whisked back and forth, through a thousand moments: many seem insignificant but all matter.

Allow me to explain, if I can (avoiding spoilers and misdirection, of course).

Jeff Mills (photo: Will Hollis Snider)

Within the first three minutes of the evening the fourth wall is shattered. No objection to that; many people know that playwright Timothy Braun is adapting 113-year-old material for a modern audience: why not take a casual approach to the format? Alas, this is only the least of the changes to this inter-dimensional story. 

The crux of the drama lies not in what Andres the brother (Jeff Mills) says directly to the audience as the de facto narrator. Rather, it consists of every little thing the characters don’t say. Here, the five players of Three truly explode the parameters of Ia Enstera’s theatre-in-the-round set-up.

Wait, let’s pause and rewind. . . .

Read more at AustinLiveTheatre.com. . . . 

Three, or the Sound of the Great Existential Nothingness by Timothy Braun, Breaking String Theatre at the Off Center, July 26 - August 17, 2013

by Dr. David Glen Robinson


Brother Andre’s cell ringtone is Johnny Cash’s Ring of Fire, and that’s everything, right up front, for Three, or, The Sound of the Great Existential Nothingness by Timothy Braun. Each and every character on stage goes down, down, down in a burning ring of fire, seemingly without redemption.

Breaking String Theater produces the play at the Off Center, possibly the east side’s most prestigious venue. In marketing material, the play is described as a modern reworking of Anton Chekhov’s Three Sisters. After having seen the show, I’m glad I decided to drink the play neat. Put down your Chekhov and go to the show.

Andre and his three sisters have been settled in an unbelievably small and provincial town distinguished by its nothingness. The town is located by the characters by spinning a globe and jamming their fingers onto it at random. Nothing could say every-nowhere better than that. The siblings’ doctor father did this to his four children when the town pleaded for a general practitioner. The doctor took the job and then died, leaving the children to attain adulthood and stumble through the wreckage of their lives, featuring advanced alcoholism, profligacy and gambling addiction. The play makes no mention of their mother.

The action takes place on the 21st birthday of the youngest daughter, Irina, and although Brother Andre bribes several of the townspeople to come to the weekend-long bash, only two show up, but these two are straight out of the family’s past. They are The Captain, played by Chris Gibson, and Officer in Training, played by David Higgins. Under the solvent of alcohol, the layers of denial slowly wash away, and the characters and their histories lie exposed and raw. We all have a little somethin’ to hide; but these people have to deal with icebergs, strip mines, nuclear waste dumps, and Cambodian minefields of the inner landscape-- with fracking in progress.

Director Schmidt leads us deftly through the carnage with an excellent cast. Cami Alys is notable as Masha, threatening, black-garbed; a Miss Attitude who, when not running with her scissors, holsters them prominently in her boot. She also scissors pictures out of library books as her sole prerogative as the town’s English teacher. Later, Andre says she is getting worse. We believe it. Ms Alys performs with supreme physicality, matched in the cast only by the gracile Gricelda Silva as Irina.

Jeff Mills as Andre and Dawn Youngs as Olga play with greater restraint than the others, as their characters require. With Andre this is due to a profound emotional weakness that leads him to trifle with the town punch and gamble with everything from the dog to the deed to the ranch. He talks smartass, even as a frame bending narrator, but his heart is in nothing but ennui. Mills’s accomplishment in erforming with this low intensity for all but a few minutes of the play is a credit to his skills. Olga, as the oldest sister, is bound by conventionality and the imperative to do the right thing. Youngs plays her with glimpses of Olga’s bottled rage and shows her physicality in games of jump-rope late in the play. This sequence, along with the party scene, adds creative dimension and relieves the audience after an hour of sturm and drang.

Click to read more of David Glen Robinson's review at AustinLiveTheatre.com . . . .

Photos by Will Hollis Snider for Three, or the Sound of the Great Existential Nothingness by Timothy Braun, Breaking String Theatre at the Off Center, July 26 - August 17, 2013

A photo spread by Will Hollis Snider with costumes by Jamie Urban for the

presentation of

Three, or the Sound of the Great Existential Nothingness

by Timothy Braun

directed by Graham Schmidt

July 26, 27 - August 1, 2, 3, 5 - August 8, 9, 10 - August 14, 15, 16, 17 

at The Off-Center, 2211-A Hidalgo Street, near E. 7th Street and Robert Martinez (behind Joe's Bakery) - click for map

In Timothy Braun's fantastical re-interpretation, five characters from Chekhov's 1901 masterpiece live highly circumscribed lives in a small town somewhere in present-day America. Breaking String presented an early draft at Hyde Park Theatre in December of 2012, and recruited an elite creative team comprising veterans of Austin's new works community, for a development process. The result is a highly playful and theatrical piece in which Mr. Braun explores themes central to Chekhov's work: loneliness, the yearning for a better life, and the struggle to connect.

Cami Alys, Dawn Youngs, Gricelda Silva, Jeff Mills (image: Will Hollis Snider)

Gricelda Silva (image: Will Hollis Snider)

David Higgins, Chris Gibson (photo: Will Hollis Snider)

Click to view additional images at AustinLiveTheatre.com. . . .

MURDER BALLAD MURDER MYSTERY by Elizabeth Doss, Paper Chairs at Longbranch Inn, May 21 & 22, 2013

[click logo above to visit paper chairs on Facebook; click HERE for website -- www.paperchairs.com]


presents

Written by Elizabeth Doss
Directed by Keri Boyd
Designed by Lisa Laratta

May 21 & 22
8 pm start
Longbranch Inn
1133 E 11th St. Austin, TX 78702 - click for map
Pay What You Can ($5 suggested)
Tickets at the Door! Cash Only!

For two nights only, paper chairs will haunt our neighborhood bar, the Longbranch Inn, with a workshop resurrection of Murder Ballad Murder Mystery. Saddle up to the bar, sip yer whisky and watch a host of legendary killers commit crimes riddled with ghoulish slapstick, frantic line dances, and tear-jerking ballads. This romp-through-the-swamp musical takes a stab at gutting the inner animal and spills its contents at close range.


Cast:
Tom - Mark Stewart
Tom’s Wife- Cami Alys
Felicity - April Perez-Moore
Sadie- Emily Tindall Burke
Bea- Elizabeth Doss
Jay- Nigel O’Hearn
Stagger Lee- Noel Gaulin
The Sheriff- Kelli Bland


This project is funded and supported in part by the City of Austin through the Economic Growth & Redevelopment Services Office/Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future. 

(Click to go to the AustinLiveTheatre front page)

Photos by Stephen Pruitt for The Cruel Circus by Connor Hopkins, Trouble Puppet Theatre Company at the Salvage Vanguard, May 8 - 25, 2013

Performance photos by Stephen Pruitt for the








production of

The Cruel Circus
by Connor Hopkins
May 9–May 25, 2013 (8 pm Thursdays – Saturdays, 6pm Sundays.)
Salvage Vanguard Theater, 2803 Manor Road, Austin, TX 78722 - click for map
Arrive early (at least 15 min. before showtime) for preshow music by Cami Alys!

Tickets: $10-$20 at at the door or on-line via

(photo: Stephen Pruitt)

(photo: Stephen Pruitt)

 Frankenstein meets the island of misfit toys . . . and goes to the circus. A mysterious tinkerer brings to life an entire world of strange circus performers — some polished and complete, some clumsy and misshapen — then disappears, leaving them to make sense of who they are and what they are made for.

A new work of dark whimsy from the company who brought Austin award-winning productions of The Jungle, Frankenstein, Riddley Walker, and most recently, Toil & Trouble. Trouble Puppet deploys bunraku-style tabletop puppets to create graceful, lifelike, compelling drama for adults. This production features beautiful, complex puppets of remarkable design, by Connor Hopkins. Come see the handwalker, unicyclist, lion-tamer, acrobats, human cannonball, and fuselier!


Click to view additional performance photos by Stephen Pruitt at AustinLiveTheatre.com . . . .

Vodka, Fucking and Television by Maksym Kurochkin, Breaking String Theatre, November 29 - December 15

by Dr. David Glen Robinson

This play, written in 2003, may reach an apex in the new generation of Russian plays. Breaking String Theater Company is getting used to this Russian art explosion, having produced a number of Russian plays in translation, and producing this extremely well written comedy with an exceptional ensemble of some of Austin’s most talented actors. Liz Fisher directs Vodka, Fucking and Television for Breaking String.

The only speed bump in the raceway to success for this sparkling vehicle is the obscenity in the title, which seems to have inhibited some of the more conventional marketing modes. No problem. Judging from the enthusiastic audience on opening night, word of mouth alone will counteract the dearth of posters in grocery stores.

The story behind VF+T is that of Russian theatrical creativity since the fall of the Soviet Union. The conduit for funneling the best new plays into English translations and on into the English-speaking world has been John Freedman, theatre writer for the Moscow Times. Graham Schmidt, Breaking String’s producing artistic director, describes Freedman as the rare man in the right place at the right time: he was visiting Moscow on a Fulbright to write his doctoral dissertation on Russian playwright Erdman when the Iron Curtain fell. Freedman moved to Russia, and the rest is ongoing cultural arts history. Freedman has been instrumental in bringing Maksym Kurochkin to the attention of the West. For more on this story, read Michael Meigs’ profile of VF+T and Liz Fisher for AustinLiveTheatre.com.

VF+T takes its title from the three vices that beset a 33-year-old writer and Red Army veteran variously referred to as Hero, Poet or Writer. His name is just as symbolic as are those of the other characters. He is Everyman (artist variant), portrayed by Noel Gaulin. In one of the most effective play openings that I have seen in the curtainless postmodern era, the house opens with Gaulin already onstage in pajamas and robe in the midst of his small but serviceable Moscow flat. The interior design is definitely post-Soviet Union; the room has central heating. 

Gaulin spins and contorts in apparent writer’s block, his grimacing face lit mostly by the laptop screen mocking him with its emptiness. The vices have a peculiar presence in the apartment, too: the flat-screen TV blares, and, pity Russia, its daytime TV is worse than ours (unfortunately, a good third of the audience misses the flat screen amusements because a table and pile of blankets block them). The kitchen sink if full of dirty dishes and used drinking glasses and bottles of vodka and wine are everywhere. The bed clothing and scattered blankets and comforters convey the tumbled look of recent sex, hinting perhaps at more to come.

Hero struggles and eventually declines into a a giant hallucinatory spasm. The personified vices materialize and swirl around him. The vices loudly claim triumph over the writer, backing him into every corner in the flat. Clutching for control, Hero declares that he will reclaim mastery if he can banish at least one of the vices from his life.

The rest of the play is a kind of reverse Judgment of Paris. Hero insists that each vice must make its best case for staying in his life, and he says he will expel the vice with the least compelling argument. Of course, aided by addictive denial, all the vices make great cases for themselves. The ensuing speeches are a showcase of Kurochkin’s writing skill, and they all jab and torture Hero’s weakening psyche.

Read more at AustinLiveTheatre.com . . . .

Upcoming: Mystery Show party fundraiser for Hidden Room, December 20

Hidden Room Theatre presents


Mystery Show party and fundraiser
for Invisible, Inc.

York Rite Masonic Hall 311 W 7th Street, Austin 78701

What Show Awaits You? It's a Mystery... Get out of the cold and into one hot night in a Hidden Room somewhere inside 311 W. 7th Street, downtown Austin. Look for a shadowy figure at the door and give them the password "Invisible." Inside you'll be transported into a section of the world just outside of Invisible Inc.

Our annual Mystery Show fundraiser supports our ability to open the Hidden Room doors to more theatrical curiosities such as the award-winning Rose Rage, Taming of the Shrew Original Practices, and You Wouldn't Know Her. Enjoy hooch and hoofing, as you wonder at what entertainment may arise. Depression-era clothing is encouraged. Look for hints as to the Mystery Show's secrets. They are everywhere.

Starring the talents of Stephanie Delk, Djahari, Amara, Jack Darling, Toby Minor, Cami Alys, Shoulders, members of the cast from Invisible Inc, and more!

Running time approximately 90 minutes plus hot jazz into the night.

TICKETS ON SALE SHORTLY...

(Click to go to the AustinLiveTheatre front page)