Showing posts with label Halena Kays. Show all posts
Showing posts with label Halena Kays. Show all posts

Sunday, February 27, 2011

The Threepenny Opera by Brecht & Weill, University of Texas, February 18 - 27


The Threepenny Opera, University of Texas


UT's The Threepenny Opera is an astonishing production, of such quality and depth that it deserved to run for months. But the Oscar Brockett Theatre seats only about 200 and there were only seven performances.


I organized a group of 16 to attend the first Saturday performance, and they walked away bedazzled. You can pity that one prospective group member who decided not to take up the offer because, he said, he's "allergic to opera."

Rachel Haney Butler, Sarah Konkel (image:Brenda O'Brian)A parenthetical rant: You can't buy this kind of performance on the open market, because it would have to go into a far larger hall to have even the remotest possibility of contributing to the overhead.

Never mind that this cast of 22 and musical ensemble of 7 are almost all students, performing for free and working with UT grad students and faculty. Instead, admire the fact that they're paying tuition so they can get up there and amaze you.

Given the size of the university and the theatre department, you can explain some of the quality by simple Darwinian selection. Plus the fact that UT, in fashion similar to Texas State, has ploughed resources into a new musical theatre program.

The back page of the program lists 180 names -- 180! -- of secondary-level crew members, in 70 specialties.

Read more at AustinLiveTheatre.com . . . .

Friday, February 18, 2011

Images by Brenda O'Brian: The Threepenny Opera, University of Texas


Images by Brenda O'Brian provided by the University of Texas Department of Theatre and Dance:

Dan Lendzian as Tiger Brown, Kyle Schnack as Mack the Knife (photo: Brenda O'Brian)

The Threepenny Opera

a play with music after John Gay's The Beggar Opera, in Three Acts
Music by Kurt Weill adaptation and lyrics by Bertolt Brecht
Directed by Halena Kays
Music Directed by Lyn Koenning
February 18,19, 24, 25, 26 at 8:00 p.m. - February 20, 27 at 2:00 p.m.
Oscar G. Brockett Theatre, Winship Drama bldg, near 23rd & San Jacinto
Tickets from UT performing arts: $20/$17/$15

German translation by Elisabeth Hauptmann
English translation of the dialog by Robert MacDonlad
English translation of the lyrics by Jeremy Sams


Threepenny Opera UT



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


Wednesday, January 26, 2011

Upcoming: The Threepenny Opera by Brecht and Weill, University of Texas, February 18 - 27

Found on-line:


The University of Texas Department of Drama and Dance presentsThree Penny Opera University of Texas






a play with music after John Gay's The Beggar Opera, in Three Acts
Music by Kurt Weill German translation by Elisabeth Hauptmann; adaptation and lyrics by Bertolt Brecht
English translation of the dialog by Robert MacDonlad
English translation of the lyrics by Jeremy Sams
Directed by Halena Kays
Music Directed by Lyn Koenning

February 18,19, 24, 25, 26 at 8:00 p.m. - February 20, 27 at 2:00 p.m.

Oscar G. Brockett Theatre, Winship Drama bldg, near 23rd & San Jacinto
Tickets from UT performing arts: $20/$17/$15

A milestone of 20th century musical theater, The Threepenny Opera (Die Dreigroschenoper) rolls on unstoppably into the 21st. In their opera “by and for beggars,“ composer Kurt Weill (1900–1950) and playwright Bertolt Brecht (1898–1956) transformed saccharine, old-fashioned opera and operetta forms, incorporating a sharp political perspective and the sound of 1920s Berlin dance bands and cabaret. Weill's acid harmonies and Brecht's biting texts created a revolutionary new musical theater that inspired such subsequent hits as Cabaret, Chicago, and Urinetown. The show's opening number, “Mack the Knife,” became one of the top popular songs of the century.

Tuesday, January 18, 2011

Upcoming: The Threepenny Opera by Brecht and Weill, University of Texas, February 18 - 27



Found on-line:


The University of Texas Department of Drama and Dance presents


a play with music after John Gay's The Beggar Opera, in Three Acts
Music by Kurt Weill German translation by Elisabeth Hauptmann; adaptation and lyrics by Bertolt Brecht
English translation of the dialog by Robert MacDonlad
English translation of the lyrics by Jeremy Sams
Directed by Halena Kays
Music Directed by Lyn Koenning

February 18,19, 24, 25, 26 at 8:00 p.m. - February 20, 27 at 2:00 p.m.

Oscar G. Brockett Theatre, Winship Drama bldg, near 23rd & San Jacinto
Tickets from UT performing arts: $20/$17/$15


A milestone of 20th century musical theater, The Threepenny Opera (Die Dreigroschenoper) rolls on unstoppably into the 21st. In their opera “by and for beggars,“ composer Kurt Weill (1900–1950) and playwright Bertolt Brecht (1898–1956) transformed saccharine, old-fashioned opera and operetta forms, incorporating a sharp political perspective and the sound of 1920s Berlin dance bands and cabaret. Weill's acid harmonies and Brecht's biting texts created a revolutionary new musical theater that inspired such subsequent hits as Cabaret, Chicago, and Urinetown. The show's opening number, “Mack the Knife,” became one of the top popular songs of the century.

Read more at AustinLiveTheatre.com . . . .

Wednesday, December 15, 2010

Upcoming: Self Doubt, the musical, workshop production, Salvage Vanguard Theatre, January 7

Received directly from Jenny Larson at the Salvage Vanguard Theatre:


Self Doubt: The Musical (working title)
interrobang (facsimilemagazine.com/2007/06)











a workshop production, one night only

Written by Andy Bayiates, Chicago-based Neo-Futurist alumnus
Music and Lyrics by Jonathan Mastro, New York playwright and Neo-Futurist
alumnus
Directed by Halena Kays, UT MFA directing student and former artistic
director of Chicago’s Barrel of Monkeys

January 7th @ 8pm on the Mainstage, $5 admission

Charlie is a 32-year-old copywriter who never really "went for it" as a musician. Now he's married with a mortgage, feeling lost and not quite sure what he wants out of life. His advertising job is troubled, and he's at a career crossroads in the middle of a down economy. Were he just dealing with this career crisis, that would be enough to keep him awake at night; however, he's visited by a mysterious ghost who warns him that he'sabout to lose everything: his job, his house and his super awesome wife.


Self Doubt: The Musical is funny, twisted and full of angst. Also, there are rock songs.

Followed at 10pm on the Mainstage, free
--A beer blast!
Come and mingle with the WPA collaborators over a beverage or two.


Works Progress Austin (WPA), an annual development project, gives artists a playground to develop new works. Over the course of one week actors,
writers, directors, filmmakers, dramaturges, comedians, and musicians are given the opportunity to incubate and experiment. Come to the WPA and witness the construction of the future of American art!


Tuesday, November 3, 2009

The Trojan Women, University of Texas, October 30 - November 8







I
have puzzled and puzzled about this production. Meghan Kennedy and Kimber Lee preserve the approximate shape of Euripides' great tragedy. Their text rarely echoes his lines directly, but it includes scenes of sharp, cadenced prose or blank verse that evoke the terror and hopelessness of brutally widowed women left in tattered clothing, dirt and desperation.

In particular, Kate DeBuys as Hecuba is magnificent. She projects a stunned concentration in which only the steel of her aristocratic upbringing keeps her functioning.

Almost as good is Lesley Gurule as Andromache, widow to Paris and mother of the doomed infant Astyanax, even though the adapters have turned her into a stumbling drunk with bottle in hand, so blinded that she pays no attention to the child in the perambulator she is pushing. Was it a stage glitch that during her entering maneuver up and across a low platform she managed to dump the kid entirely? Little matter, because Kennedy and Lee have imagined a woman so insensible to motherhood that she and all the women in the huddled group don't hold the child but leave him bundled in the pram.

When you adapt a piece of this power, authority and antiquity, you are presumed to have a concept. What's going on here? Is the company trying to make The Trojan Women more relevant to today? To challenge the traditional relation by altering characters or relationships? Do those burned-out television sets hint at some psychological apocalypse? We really don't know.

Read more and view images at AustinLiveTheatre.com . . . .

Tuesday, October 6, 2009

Upcoming: The Trojan Women, University of Texas, October 30 - November 8


Found on-line:

The Trojan Women

A New Adaptation

by Meghan Kennedy & Kimber Lee
Directed by Halena Kays
University of Texas Department of Theatre and Dance,
Oscar G. Brockett Theatre
October 30, 31 & November 3, 4, 5, 6 at 8:00 PM
October 31 & November 1, 8 at 2:00 PM

The war is over. A great city has fallen.

Among the rubble, women wait to hear their fate at the hands of the victorious army, struggling to survive, refusing to give in, and somehow finding hope in the most unexpected places.

Tickets: $20 adults, $17 UT faculty & staff, $15 students. Available online at www.utpac.org or by phone at 477-6060. Opening night reception immediately following the October 30 performance.

Read more at AustinLiveTheatre.com . . . .