Monthly Archives: October 2018

October 8, 2018 · 10:26 am

Auditions Announced for VANYA AND SONIA AND MASHA AND SPIKE at CenterStage Players

CSPOH_logoCenterStage Players announces auditions for VANYA AND SONIA AND MASHA AND SPIKE

Tuesday, November 13th
6:30-9:00 PM; please plan to arrive no later than 7:00 PM

Lockland High School
249 W. Forrer Ave.
Rehearsals begin Feb 4th – 3 weeknights/week TBD up to tech week

6 Performances: March 15-24 (Friday-Sunday)

Directed by Richard Zenk
Produced by Fred Hunt

Contact the director for the parts of the script to be used for auditions at richardjoseph@gmail.com.

Synopsis:
Chekhov is alive and well in Bucks County, Pennsylvania, where adult siblings Vanya and Sonia reside in their old family home, mourning their lost dreams and missed opportunities. When their often-wrong, fortune-telling maid warns of impending dangers, and their movie star sister, Masha, arrives unexpectedly with young, sexy, boy toy, Spike, the family is launched into a rollicking weekend of one-upmanship, exposed nerves, and a lot of broken mugs. With wit and absurdity, Christopher Durang’s Vanya and Sonia and Masha and Spike blends Chekhov’s famous ennui with the modern-day toils and troubles of celebrity, social networking, and age into a laugh-out-loud comedy that will tickle your funny bone and stimulate your mind.

Characters:

  • Vanya (male, 50s-60s; the elder brother). Wry, retiring, frustrated, resigned fellow.
    Vanya et al is an ensemble piece, but the closest to a lead role is Vanya, who acts as the peacemaker in the family and has the most stage time. He also has a pages-long eruption of a monologue at the conclusion of the play. He is gay and lives with his adopted sister (‘together alone’) in the house of their childhood, having cared for their parents until they passed, supported financially by their sister. He never had to work and was complicit in letting his life slip by without making much of it at all. An observer, holds a lot back, until he absolutely cannot anymore. Needs to have good comedic timing.
  • Sonia (female, 50s; the adopted sister). Melancholic, capricious, definitely regretful, possibly desperate.
    A mirror image of Vanya except less resigned and more prone to manic outbursts and accusations for her state of being. She also maybe has/had a clearer image of what she wanted from life. Sonia and Masha have a raw, contentious hostility toward one another that comes out as the play progresses. May be the one worth the most sympathy. Must be able to do a “Maggie Smith” impersonation.
  • Masha (female, 50s; the famous sister). Expansive, glamorous, haughty, frenetic.
    A successful and well-traveled actress, often married, Masha returns home to her siblings having found herself on the edge of “once beautiful.” Wishes she had been a “classical actress.”  Her self-deceptions are worn more on her sleeve than either of her siblings – see the flirtatious, empty-headed young companion she brings home with her. She returns to the homestead with intentions to sell it out from under her siblings, but really, she might not have had anywhere else to go.
  • Spike (male, 20s or early 30s; Masha’s ‘companion’). Chiseled, flippant, devil-may-care boy toy.
    A preening millennial, Spike is a young actor who pays just enough attention to Masha to keep her satisfied. He does not seem to have any urgency for anything, despite the fact that he has little to show for his career thus far. But he’s got his looks, a captive audience, and believes the rest will be laid out all on a plate for him when the time comes. As fair warning, Spike does disrobe down to his underwear in the play, and maintains that status for several pages on stage.
  • Nina (female, 20s-30s; aspiring actress). Earnest, bouncy, a guileless admirer..
    An accidental arrival on the scene, Nina is the neighbor’s niece who has dreams of becoming an actress and has the (mis)fortune to stumble into her idol Masha. Starstruck, energetic, hopeful for what the future holds for her and everyone else. Her appearance though provokes lust in Spike and, unsurprisingly, envy in Masha.
  • Cassandra (female, flexible age; soothsayer housekeeper). Obtrusive, kooky, dramatic. A true wildcard, gem of a comedic role, Cassandra is aptly and unambiguously named: she is a psychic prognosticator that no one believes but speaks the truth (mostly). Sometimes surprised by her own ability to predict the future. Must have a strong command of language, as she has Greek Tragedy-style monologues. She is also the housekeeper and somewhat of a caregiver to Sonia and Vanya.. Her sudden, wild pronouncements for the future offer a lot to play around with for the adventuresome actress.

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October 8, 2018 · 10:12 am

Auditions Announced for FATHER OF THE BRIDE at Beechmont Players

BPI_logoBeechmont Players and director Jim Waldfogle will be holding auditions for Caroline Francke’s FATHER OF THE BRIDE, based on the novel that was the inspiration for the classic Spencer Tracy/Elizabeth Taylor movie of the 1950s, as well as the later Steve Martin/Diane Keaton film. When a father discovers that his daughter is no longer the pig-tailed kid in dungarees, hilarity ensures as what starts out as a “simple” wedding spirals out of control.

Auditions will be held at Cherry Grove United Methodist Church, 1428 Eight Mile Rd., on the evenings of November 12 and 14 from 7:00-9:00 pm.

Cold readings will be done from the script.

Cast requirements include 7 adult males. 4 adult females, 3 young men and 2 young women (mid-teens to early 20s).

Performances will be held at the Anderson Center, 7850 Five Mile Rd, Cincinnati, OH 45230, from February 15-23, 2019.

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October 8, 2018 · 10:08 am

Actors Needed for MIRACLE ON 34TH STREET: A Live Radio Play at Middletown Lyric Theatre

MLT_logoMiddletown Lyric Theatre
middletownlyric.org

  • Wallace Ainsley as Male Character Actor :Various. Versatile. Baritone – B3-E4
  • Alex Mialdo as Foley Artist and serves as Announcer. Bass/baritone – F2-E4 

ABOUT THE SHOW:
MIRACLE ON 34th STREET: A Live Musical Radio Play
Adapted from the original 1947 LUX Radio Broadcast this “live radio play” complete with Foley effects and a score of holiday carols, Miracle on 34th Street  is a beloved musical that will melt even the most cynical of hearts. Our story begins as Doris Walker frantically recruits a last minute replacement for a drunken Santa for Macy’s Christmas parade. The man proves ideal for the job and for good reason – he says his name is Kris Kringle and that he’s the real Santa Claus. This tale takes us all the way to the Supreme Court where one little girl’s belief makes all the difference in this “Miracle.”

Contact: Charley at  cshafor@middletownlyric.org for more information or audition

Rehearsals begin November 10

Performances: December 14, 15, 21 & 22

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October 5, 2018 · 4:29 pm

NEXT TO NORMAL Review

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Photo by Tammy Cassesa.

NEXT TO NORMAL presented by the Warsaw Federal Incline Theatre through Oct. 21. Click here for a synopsis and more information on the production. I attended the opening night performance.

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Leslie Kelly as Natalie. Photo by Tammy Cassesa.

The Warsaw Federal Incline Theatre kicks off its 2018-19 District Season with NEXT TO NORMAL, “an unflinching look at a suburban family struggling with the effects of mental illness” – Music Theatre International

Director Matthew Wilson has assembled a vocally strong, talented ensemble. Tanner Gleeson and Leslie Kelly as siblings Gabe and Natalie have some of my favorite songs in the show and handled them beautifully. Brian Anderson as father Dan and Lesley Hitch in the very demanding role of wife and mother Diana are up to the vocal requirements of the show. Both Elliot Handkins as Henry and Derek Harper as the Doctors do well in their supporting roles.

I think I understand what Brett Bowling was going for with the set design and it probably looked more functional on paper or as a model, but the reality of the set had several problems. The first level play areas seemed a bit small and confining, causing some awkward blocking as the actors tried to cross past each other. An extra couple of feet added to the front of the set would have helped. Actors also had to break stride to keep from hitting their heads when they used the upstage exit from the living room. The central narrow staircase, without handrails, had actors tentatively crossing down them, and two different actors tripped going up them opening night. Performers had to duck under a railing to cross from the staircase to the second level platform upstage left. I did like the askew roof and second level, and would have like to have seen that motif carried to the first floor.

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Tanner Gleeson as Gabe. Photo by Tammy Cassesa.

The balance between the band and vocals was good throughout most of the production. There were a few times when the band comes in hot and briefly drowns out the vocalist(s). Also near the end of the opening number, during the individual lyrics, things got muddy.

My main complaint for the show can be summed up in one sentence. “I can’t see your faces.” There are several reasons for this:

Lighting – Several times actor’s faces would disappear due to gaps in the lighting or in the instrument’s location. The best example I can give for this is when someone is sitting in the living room chair and is lit in blue. The light seems to be coming mostly from above causing actors faces to disappear in shadow, especially Diana. I almost feel the theater needs additional/stronger instruments low in the back of the house. The angle for the lights closer to the stage seem too steep for some lighting needs.

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Elliot Handkins as Henry & Leslie Kelly as Natalie. Brian Anderson as Dan & Lesley Hitch as Diana. Photo by Tammy Cassesa.

Blocking – Several times with only one actor seated at the kitchen table, they sat in the downstage right chair. This placed the actor’s back to most of the audience, putting them immediately at a visual disadvantage. Simply shifting them to the upstage side of the table eliminates the problem. There was a similar issue in the scenes played stage left. If Diana is moved to the stronger position of the other chair, she is immediately open to the entire audience. Also, across the cast, actors were standing completely in profile to each other. If your shoulders are pointing upstage and to the booth, odds are good you are upstaging yourself.

Performance – Some of this goes in hand with the blocking. Some of this is due to the contemporary nature of the show. Don’t be so concerned with making constant eye contact with your scene partners. Every song is not a ballad. In fact you might be better served to think of your lyrics as lines. Some words need emotion and emphasis behind them. Don’t be a total slave to the music. Break the traditional musical theater habits (this note is mainly for the more experienced musical theatre performers). If you are on stage during someone else’s number, actively listen and react to their words. Many times the person not singing would just “freeze” on stage. Remember at the Incline, much of the audience is below you. If you are singing to a point above the sound booth, you are aiming too high, so keep those chins down.

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Lesley Hitch as Diana, Derek Harper as Dr. Fine & cast. Photo by Tammy Cassesa.

Bottom line: remember this is a story you are telling to the audience, not to each other on stage. I hope these points don’t come across as harsh because they are not meant to be and I think they are easily addressable. It is simply the frequency of these issues that kept me from being pulled into the story. The elements are there, but I feel you just need to connect emotionally with the songs, each other, and the audience to bring the show to its full potential. I expect the show to only get stronger over the course of the run.

My rating: 4.0 out of 5.

I would enjoy hearing what you think about the show or my review. All I ask is that you express your opinion without attacking someone else’s opinion. You can post your comments below.

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October 5, 2018 · 11:26 am

CCM Celebrates 50 years of Excellence in Musical Theatre with Lavish Production of GUYS AND DOLLS and Gala Afterparty

CCM-MT50-Saints-and-Sinners-Bash

Arts lovers are invited to get ‘all dolled up’ for a performance of the Broadway classic ‘Guys and Dolls’ followed by the ‘Saints and Sinners Bash’ gala on Oct. 20, 2018!

Cincinnati, OH — The University of Cincinnati College-Conservatory of Music (CCM) celebrates the 50th anniversary of its legendary BFA program in Musical Theatre with a special gala event on Saturday, Oct. 20, 2018. Arts lovers are invited to show their saintly support and have a sinfully good time during an evening that includes a lavish production of the classic Broadway musical Guys and Dolls followed by CCM’s Saints and Sinners Bash after party. Ticket proceeds support scholarships, student travel funds and master class opportunities.

The Musical Theatre program at CCM is the oldest in the country and was the first of its kind. A four-year bachelor of fine arts (BFA) program, it was used by the National Association of Schools of Theatre in formulating the guidelines for the accreditation of Musical Theatre programs nationwide. CCM Musical Theatre is widely recognized for its “triple-threat” approach to training and many of its graduates are following careers as performers and creative artists in every facet of the entertainment industry.

About The Show
CCM is celebrating the golden anniversary of its Musical Theatre program with a cherished musical comedy from Broadway’s golden age. Guys and Dolls tells the story of Nathan Detroit, a gambler trying to find the cash to set up the biggest craps game in town while eluding the authorities. Detroit turns to fellow gambler Sky Masterson for the dough, who ends up chasing straight-laced missionary Sister Sarah Brown as a result. Featuring iconic musical numbers like “Luck Be a Lady,” “A Bushel and a Peck,” “Sit Down, You’re Rockin’ the Boat” and more, this Tony Award-winning show takes audiences from the heart of Times Square to the cafés of Havana in a tale of saints and sinners and the lengths they will go for love.

Directed and choreographed by Professor Diane Lala, with musical direction by Professor Roger Grodsky, Guys and Dolls features the unbelievable on-stage talent of CCM’s musical theatre majors with live accompaniment by CCM’s world-class student orchestra. The performance takes place in CCM’s newly-renovated Corbett Auditorium.

About The After Party
After the performance of Guys and Dolls, attendees will be escorted to the Great Hall of UC’s Tangeman University Center for the Guys and Dolls-themed Saints and Sinners Bash. Guests can unwind in the Sinners Lounge, dance to music provided by the CCM Jazz Band and enjoy specialty drinks. Jeff Thomas Catering will provide themed food stations at the event, which also features a Graeter’s Ice Cream “Saints and Sinners” sundae bar.

The Saints and Sinners Bash will also celebrate the incredible history of CCM’s Musical Theatre program. CCM conferred the United States’ first BFA in Musical Theatre to Pamela Myers in 1969. Shortly after graduating, Myers received a Tony nomination in the category of Best Featured Actress in a Musical for her breakout role as Marta in Stephen Sondheim’s Broadway musical Company. Fifty years later, CCM Musical Theatre graduates continue to work on Broadway and throughout the nation in such productions as Anastasia, Hamilton, Waitress, The Book of Mormon, Pippin, Wicked, Jersey Boys, Les Misérables, Kinky Boots, Big Fish, Newsies and The Lion King. During the 2017-18 season, CCM again took the #2 spot in Playbill Magazine’s list of “10 Most Represented Colleges on Broadway,” coming behind only New York University. Graduates also represent CCM in national and international touring productions, in dinner theatres and theme parks, on cruise ships, on television, in talent agencies, as producers and in many of the related entertainment fields.

Attendees are invited to get “all dolled up” in 1940s attire for a fun-filled night out benefiting CCM’s student “stars of tomorrow.” The entire evening is hosted by CCMpower, a dedicated volunteer group comprised of fans, advocates and alumni. The funds raised by this event enable CCMpower to “fuel the future of the arts” by awarding student scholarships and grants. CCMpower is presenting Guys and Dolls and the Saints and Sinners Bash in lieu of CCM’s popular Moveable Feast gala fundraiser. Moveable Feast will return to CCM in January 2020.

The Saints and Sinners Bash is chaired by Heather Vecellio, with Dianne Dunkelman serving as honorary chair. The fundraiser will be the first event held during the tenure of new CCMpower President Arlene Katz. The gala fundraiser also celebrates the arrival of new CCM Dean Stanley Romanstein, whose tenure officially began on July 1, 2018.

CCM’s Mainstage Series will also present performances of Guys and Dolls on Oct. 19, 21, 26 and 27. Learn more about these performances at https://www.uc.edu/news/articles/2018/08/n201024.html. 

GUYS AND DOLLS AND THE SAINTS AND SINNERS BASH
A Musical Fable of Broadway
Based on a Story and Characters of Damon Runyon
Music and Lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Diane Lala, director and choreographer
Roger Grodsky, musical director

Date
Saturday, Oct. 20, 2018

Schedule of Events:

  • Sponsor Reception at CCM’s Patricia Corbett Theater: 6 p.m. (only available for sponsors)
  • Performance of Guys and Dolls at CCM’s Corbett Auditorium: 7 p.m.
  • Saints and Sinners Bash at the Great Hall in UC’s Tangeman University Center: 9:30-11:30 p.m.

Location
University of Cincinnati

Dress
All Dolled Up (1940s attire encouraged)

Purchasing Tickets
Tickets are on sale now for general admission, young professional and CCM alumni. Order tickets over the phone at 513-556-2100 or online at  ccm.weshareonline.org/ws/opportunities/SaintsandSinnersBash2018.

Seating is limited. Event proceeds raised by CCMpower support student scholarships for CCM’s “stars of tomorrow” and also help fund student and ensemble travel, master class opportunities and collaborative projects.

Sponsorship and Host tickets to Guys and Dolls and the Saints and Sinners Bash are also available and can be purchased over the telephone at 513-556-2100. Sponsorship levels begin at $600, visit ccm.uc.edu/support/events for more details.

Host Options: 

  • Saint $250 – price includes one ticket to Guys and Dolls performance, one ticket to Saints and Sinners Bash, one ticket to CCM Musical Theatre’s “Not Famous Yet” Showcase on March 15, 2019, valet parking and program recognition
  • Sinner $175 – price includes one ticket to Guys and Dolls performance, one ticket to Saints and Sinners Bash, valet parking and program recognition
  • General Public Tickets: $125 – price includes one ticket to Guys and Dolls performance, one ticket to Saints and Sinners Bash and membership to CCMpower
  • CCM Alumni and Young Professional (40 and under) Tickets: $75 – price includes one ticket to Guys and Dolls performance, one ticket to Saints and Sinners Bash and membership to CCMpower

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the campus of the University of Cincinnati. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

About CCMpower
The result of a merger of the Friends of CCM and the CCM Alumni Governing Board, CCMpower is a volunteer group of fans, advocates and alumni dedicated to empowering students and fueling the future of the arts through scholarship opportunities and more. This new organization is a combination of people who love and support the arts along with graduates of CCM investing back in their school. To learn more, visit ccm.uc.edu/ccmpower.

Declared “one of the nation’s leading conservatories” by The New York Times, CCM is a preeminent institution for the performing and media arts. The school’s educational roots date back to 1867, and a solid, visionary instruction has been at its core since that time.

CCM offers nine degree types (BA, BM, BFA, MFA, MM, MA, AD, DMA, PhD) in nearly 120 possible majors. The synergy created by housing CCM within a comprehensive public university gives the college its unique character and defines its objective: to educate and inspire the whole artist and scholar for positions on the world’s stage.

CCM is the largest single source of performing arts presentations in the state of Ohio. All event dates and programs are subject to change. For a complete calendar of events, please visit us online at ccm.uc.edu.

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