Yearly Archives: 2017

Young Voices Needed for THE KING AND I at Voices of Indiana

VOI_logoThe actors who came today for YV’s summer production of THE KING AND I were AWESOME!!

We need some more to fill out this HUGE cast, however!! We need young children, and teenage girls and guys!!

Please come to the LHS Choir classroom tomorrow between 10am-2pm, or visit www.voicesofindiana.org to sign up for a time. You do NOT have to be in Young Voices to audition for this show! Join us!! Let me know if you have questions. This show is open to the whole community!

Performance dates are Aug. 11-12

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CFF17: IS THAT ALL THERE IS? Review

IS THAT ALL THERE IS? presented by Cincinnati LAB Theatre as part of the 2017 Cincinnati Fringe Festival. You can read the show description here

CFF_Is That All There Is“I have not plans to stop singing. What are you going to do when you love music? It’s a terrible disease. You can’t stop.” -Peggy Lee

Jaren Doren handles the role of Ronald/Rita well, but I think he could safely go bigger in personality without becoming a caricature. I would also encourage more stage drinking to better establish his issues with alcohol.

As Ronald’s sister Tess, Danielle Muething strikes a nice emotional balance between sibling and in a way, rival. Her relationship with childhood friend Chad also felt genuine and she handles his original song very well.

Sean Michael Flowers is fun as Chad, but he seemed more comfortable behind the piano. I thought his original song was a good fit for the show.

I did enjoy how the visit from his sister happened mid-transformation from Ronald to “Rita.” The half completed make-up added a surreal quality and really emphasized his/her facial expressions.

While I understand that the playwright was being purposefully vague, there were several instances where few more tidbits of information could have made the dialogue seem less repetitive. Overall though, a strong first effort from Sara Mackie.

Three performances remain through June 10.

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CFF17: GOD OF OBSIDIAN Review

GOD OF OBSIDIAN presented by Gideon Productions as part of the 2017 Cincinnati Fringe Festival. You can read the show description here

Gaslighting is a form of manipulation that seeks to sow seeds of doubt in a targeted individual or members of a group, hoping to make targets question their own memory, perception, and sanity. Using persistent denial, misdirection, contradiction, and lying, it attempts to destabilize the target and delegitimize the target’s belief. –Wikipedia

CFF_God of Obsidian

Mac Rogers as Nathan & Rebecca Comtois as Alice.

Gideon Productions ups the creep factor with a strong, engaging script from playwright Mac Rogers. I enjoyed the Brothers Grimm undertones to the story.

As Alice, Rebecca Comtois is fascinating to watch as her new and happy relationship descends into one of mental abuse and manipulation. Emotionally, her performance rings true and believable as she struggles to remember who she is and reassert her independence.

Mac Rogers is equally strong as congenial and earnest Nathan. Even though the character doesn’t change much superficially, the machinations under the surface are there and fascinating to watch. He pretty much embodies that “he was quiet and kept to himself, but always seemed so nice” serial killer quality.

Director Jordana Williams keeps the pacing strong and uses the play space effectively. The upstage use of the bridge worked very well. There was one point near the middle of the performance where I felt it was starting to lose momentum but the show quickly rebounded.

At the performance I attended, part of the “fun” of the performance was the audience’s physical and verbal reactions as the story unfolded. Very interesting, well-written and strongly performed, but I felt like I needed a shower after it was over. The final performance is tonight, June 5th.

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Technical Director Sought by Human Race Theatre Company

hrtc_red-logoTechnical Director

Job purpose
The Technical Director is responsible for overseeing all aspects of set construction along with the coordination of the load-in/strike schedule with other departments. A high level of interaction with designers is required in this position. The Technical Director also becomes the de facto representative for the venue when other organizations rent or use the facility.

Duties and responsibilities

  • Act as liaison with Scenic, Lighting and Sound Designers and determine with the Associate Artistic Director, the technical and budgetary feasibility of scene, prop and lighting designs.
  • Supply technical information and budget estimate for each design.
  • Determine construction methods, schedules, materials and mechanics for the building and painting of each set
  • Recommend and work with designers to adjust the design, if necessary, due to budgetary concerns
  • Supervise and assist in the construction of the set
  • Assist in the painting of the set
  • Produce construction drawings as needed
  • Supervise the installation and striking of each set, including all rigging and mechanical devices. Insure proper functioning and safety of all moving scenic elements
  • Maintain and enforce schedules for all builds, load-ins and strikes
  • Operate, maintain and safeguard all the technical aspects of the theatre and shop, including shop tools.
  • Attend technical week rehearsals, in order to supervise and assist in the technical aspects of mounting the show
  • Maintain Creativity Center (light bulbs, stage floor etc.)
  • In the absence of a master electrician, coordinate with the lighting designer on all electrical needs for the show having to do with scenery.
  • Assist as necessary when any other organization is present in the Loft Theatre
  • Be on call during all performances in case of technical emergencies
  • Inventory and order all supplies needed in scene shop
  • Work with Stage Manager to make sure all drawings are supplied and explained
  • Track and approve all scenic receipts for expenditures for shows and supplies
  • Read and analyze scripts for future possible shows
  • Attend weekly staff meetings, Production Meetings, Meet & Greets, Opening Nights and staff functions
  • Hire and supervise any over-hire labor needed for production
  • Serve as contact person for groups wanting to rent or purchase scenery
  • Maintain relationships with community partners exchange of goods and services
  • Monitor Performance Reports and address any technical issues before next performance
  • Educate and instruct stage management, run crew and actors to use specialized scenic elements
  • Move and set up offsite shop, as needed, for construction

In addition to the duties listed above, The Human Race Theatre Company expects the following of each employee: adheres to theatre’s policies and procedures; works in a safe manner; performs duties as workload necessitates; maintains a positive and respectful attitude; communicates regularly with supervisor about department issues; demonstrates efficient time management and prioritizes workload; demonstrates regular and consistent attendance and punctuality; meets department productivity standards; participates in HRTC events as needed or required; and completes other duties as assigned.

Qualifications

  • Five years’ theatrical construction experience working in a professional theatre and a bachelors degree in technical theatre or a related field
  • Minimum of two years technical supervisory experience
  • Proven ability as a carpenter, draftsman, welder and theatre technician with experience in rigging and utilizing standard mechanical devices (electric winches, turntables, pneumatic cylinders, etc.) is required
  • Ability to communicate effectively with guest artists and colleagues
  • Ability to bid accurately and execute designs within a specific budget and schedule
  • Good communication skills and the ability to organize and direct crews
  • Proven skills and aptitude with Microsoft Office programs
  • Understanding of basic budgeting and bookkeeping practices
  • Ability to work at the conceptual level as well as the implementation phase
  • A genuine interest in and knowledge of the theatre
  • Proven organizational skills and ability to multi-task

Working conditions
• Proven ability to work independently and collaboratively in a fast paced, rapidly changing environment
• Ability to work long hours and to manage an irregular schedule including weekends and holidays
• Able to work successfully under pressure and meet deadlines and goals

Physical requirements

  • A high degree of physical ability is associated with the Technical Director position. S/he must be able to:
  • Stand throughout the work day with walking, bending, stooping and kneeling.
  • Heavy lifting (at least 75 pounds)
  • Work on a lift or ladder from heights up to 30 feet
  • Ability to work in an environment with a moderate to loud noise level
  • Sit for 2 or more hours at a time
  • Climb 3 flights of stairs

Reports to
President & Artistic Director

Direct reports
Head Carpenter/Charge Artist, Prop Master & Costume Shop Manager and various independent contractors

Full Time/Exempt Position.
Salary negotiable based upon experience.
Benefits package includes: Medical & Dental coverage (employee pays 50%).

Send letter of interest, resume and at least three references by June 16 to:
Tara Lail, Associate Artistic Director
The Human Race Theatre Company
126 N. Main Street, Suite 300
Dayton, Ohio 45402-1766

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Actor Needed for LOST IN YONKERS at Middletown Lyric Theatre

MLT_logoCharacter: Louis – Jay’s flamboyant, jovial uncle, in his late 30s, who comes to live with the family when he is hiding from the local mob. He is considered by Grandma Kurnitz to be the “survivor” of the family. He has a strong, mercurial nature, and a certain underlying dark side, which the kids uncover in the second act of the play. He works as a “bag-man” for the mob.

Production is in September.

Rehearsals begin mid-August.

Email Charley Shafor for audition: cshafor@middletownlyric.org.

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