A STREETCAR STRAIGHT TO HELL, The Exchange Artists at the Blackheart, October 31, 2013

by Dr. David Glen Robinson

For this Halloween edition of The Exchange Artists’ Hot Nights series, they changed the name to Hot Bloody Nights. Other key elements remained the same, including the typically high performing skills exhibited on-stage, teaming up with a musical group, location in an upscale watering hole, a one-night-only run, and creativity unbounded. The Exchange Artists haven’t missed a beat with this series since they started it more than a year ago.

The show was based loosely, repeat loosely, on A Streetcar Named Desire. The opening scenes introduced characters familiar to some, and this is where the good acting and clever stage-play were found. But this was all set up and prologue to the finale of charnal horror worthy of the best horror movies of the 40s and 50s--and of a good Austin Halloween night downtown.

Aaron Alexander choreographed the fight scenes and enacted most of them with athletic skill and superb timing. Rachel Wiese played the disturbed visiting relative who lit the fuse to the conflagration. All the actors showed great skill in operating the set, the props, their costumes, and themselves. When actors make the difficult look easy, then the outcomes of their actions are surprising rather than predictable.

Rachel Wiese (photo: The Exchange Artists)

Some of the credit for this particular success goes to the directors Lindsey Sikes and Rachel Wiese. The producers, who put it all in motion, were Bridget Farr and Rachel Wiese, who each add another winning feather to a producer cap.

Even reviewers acknowledge the essential uselessness of reviews written after a performance run has finished, but in the case of Exchange Artists’ Hot Nights series, a posted review serves as a memory marker in time and space. The marker says that we found them; they were here in such-and-such a place, and they made the core transaction of theatre art with an audience.

This is the deep artistic satisfaction a theatre enthusiast seeks and deserves. The audience at the Exchange Artists’ Halloween show did their work in finding this brief, satisfying show. The call now is for the like-minded community to remain alert for the next Hot Nights show. And then please seek it out, wherever it may play (Hint: the Blackheart Bar is a favored venue). The rewards are great.

Auditions for Two New Plays, Poison Apple Initiative, October 14 - 16, 2013

 

POISON APPLE INITIATIVE is holding auditions for two new plays by two emerging theatre artists. For more information or to schedule an-audition, email poisonappleinitiative@gmail.com with your headshot and resume, and indicate which play you would like to audition for (you may audition for both). Auditions and callbacks will be held on October 14^th-16^th from 6:30-9PM at the Dougherty Arts Center (click for map ). Sides will be provided.

Our 2014 season begins with:


WE WERE NOTHING! by Will Arbery, directed by Bastion Carboni, December 2013

A play about how absence makes the heart grow inarticulate. Rehearsals begin in November with performances on Wednesday-Saturday December 4^th-14^th. We’re looking for 2 women between the ages of 18 and 25.

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PEOPLE WILL TALK ABOUT YOU SOMETIMES by Sarah Matusek, directed by Lindsey Sikes, January – February 2014

Inspired by Sarah Kane’s 4.48 Psychosis, PEOPLE WILL TALK ABOUT YOU SOMETIMES tracks a supportive network of otherwise strangers who respond to a mutual friend’s suicide attempt. PEOPLE WILL TALK will premiere at Salvage Vanguard Theatre as part of FronteraFest Long Fringe in January 2014. The play will be extended 1-2 weeks beyond the initial run in an alternative space. Cast must be available through mid February.

In addition to staging rehearsals in January, the cast will be asked to aid in the development process of this new play during November and December for approximately 1 reh/week (no holiday rehearsals). Actors interested in devised work strongly (SO STRONGLY) encouraged to audition!

IZZY – recently hospitalized for a suicide attempt; 18-20s

AUDRE – Izzy’s professor; anxious about her maternal instincts towards her student, compensates with baking and letter writing campaigns; 30s

EZRA/ELIZA – Izzy’s coworker; insecurity fueled adoration bordering on jealousy for his/her coworker; 20s (this role can be male or female)

KILLIAN – Izzy’s brother; emotionally unstable to the point of maniacal at times; deeply effected and in much deeper denial; 18-20s

NICK – Izzy’s boyfriend; deeply in love with Izzy, or the idea of her, and struggles with his identity apart from her; 20s

MAEV – Izzy’s nurse in the psych ward; an observer; any age

Auditions for A Shining Attribute for FronteraFest Short Fringe, November 11

Announcing auditions for A Shining Attribute by Candyce Rusk. 

Set in Boston’s Combat Zone in the 1960s, A Shining Attribute focuses on the life and loves of BIJOU, a strip tease artist heading towards middle age. Originally staged as a solo piece in 2010 and winner of FronteraFest Best of the Week, the play has been expanded to include three characters, including club owner BLACK JACK and one actor playing the role of BIJOU’s two lovers, ROYAL and JULA. 

The play will be performed during FronteraFest Short Fringe in January/February 2013. Specific dates will be available soon.

Please see character breakdowns below. To schedule an audition or for more information please email director Lindsey Sikes at lindseygsikes@gmail.com. 

Auditions to be held Thursday, 11/16 from 6:30-8:30PM. Location will be disclosed upon confirmation of appointment.

BIJOU: Strip tease artist, plenty of intelligence and sensual energy. 30s-50s

BLACK JACK/THE JOHN: Club owner, a bastard with a slightly tender heart. 40s-60s. Bostonian accent required.

ROYAL/JULA: BIJOU’s lovers (M/F). Small-time Combat Zone hustlers, 30s-50s