The Beatles Would Pay to See the McGuigans

This is the story of three boys who were bestowed the great gift of love for the Beatles by their father.  When their father died tragically young, playing the music of their father’s favorite band helped bring closure and healing.  Now these three boys have taken this great gift and pay tribute to both their father and the greatest band in the history of rock with Yesterday and Today, an interactive Beatles experience currently playing at the Omaha Community Playhouse.

Let’s get one thing straight right now.  Though Billy McGuigan and his brothers, Ryan and Matthew, pay tribute to the Beatles with this all request show, they are not a Beatles tribute band.  They don’t wear wigs or adopt Liverpudlian accents.  What they do is present the music of a legendary group that sounds distinctly familiar yet is enhanced by an original feel and energy that is uniquely the McGuigans.

I am a Beatles nut and I make no bones about it.  I own all of their albums, am well versed in their history, and am chock full of obscure knowledge that makes me a devastating Beatles Trivial Pursuit player.  Needless to say, I hold those who cover Beatles songs to exceedingly high standards and the McGuigans and their band shattered those standards and then some in a high energy two plus hour concert that literally had us dancing in the aisles.  If you love the Beatles, you will love this show.

What makes this show so enjoyable is not only the great music, but the incredible camaraderie between the three brothers.  Like the Beatles, the McGuigans have a natural banter with each other and the audience that is full of fun and wit.  These guys can also play.  All three men are multi-instrumentalists with precise musicianship and a minute and exact understanding of all, and I stress ALL, of the Beatles’ work.  They play the well known numbers at your request, but they also know the lesser known numbers as demonstrated with performances of Maxwell’s Silver Hammer and, for the first time in their 8 year history, Baby, You’re a Rich Man which blew the roof off.

Billy McGuigan is the emcee of the show.  He’s also a natural showman and raconteur who revels in the energy of a live crowd and is able to take it and redirect it into the music and back to the audience with something more.  He’s also got a mighty rock tenor voice that shone in numbers such as Ob-La-Di Ob-La-Da and I Saw Her Standing There.  Billy is equally as strong on the slower numbers, especially with his haunting performance of Yesterday.

Matthew McGuigan got quite a vocal workout in this evening’s performance as he sang lead on a large number of the night’s tunes in addition to his nimble and flawless bass playing.  Matthew started the night off hot with the ferocious Revolution, had a superb turn with Hey Jude, and nailed the falsetto line in Baby, You’re a Rich Man.  But his capstone number was his pudding sweet solo performance of Blackbird which sent chills down spines.

John Lennon would be proud of Ryan McGuigan’s voice.  Like Lennon, Ryan has a unique vinegar sour singing voice that lends itself beautifully to subtle nuance and emotion.  That incredible instrument was put to excellent use in Come Together, I Am the Walrus (with a little theatricality thrown in for good measure), I Feel Fine, and especially with his solo sequence in This Boy.

The McGuigans are also supported by a band that loves this music every bit as much as they do and even got their own turns in the spotlight.

Jay Hanson was phenomenal on lead guitar and fired off some sensational licks on While My Guitar Gently Weeps and had a remarkable vocal similarity to George Harrison on his rendition of Do You Want to Know a Secret?  Tara Vaughan’s fingers flew across the keyboard and she glowed in a solo during Oh, Darling.  Rich Miller’s drumming fueled the performances with a rock solid backbeat and Aaron Slagle’s cowbell had the crowd roaring for more in A Hard Day’s Night.

As I stated at the beginning of this review, Yesterday and Today is far more than a tribute to the Beatles.  It’s also a tribute to the McGuigans’ father, Bill, who died too soon from leukemia at the age of 42.  Bill can be proud of the legacy he’s left in his sons who do him proud by sharing their father’s love of a band that was simply the best with an act that is nothing but the best.  If tonight’s crowd was any indication, this show is going to be a long series of sellouts.  Do not delay.  Buy a ticket to see this city’s best musical act before the tickets fly out the window.

Yesterday and Today runs at the Omaha Community Playhouse through December 31.  Performances are Thursday-Saturday at 7:30pm and Sundays at 6:30pm.  There will be a 2pm performance on Sunday, November 29 and a special double performance on New Year’s Eve at 7pm and 10pm.  Tickets cost $40 except for the New Year’s performances which will be $50 for the 7pm show and $75 for the 10pm show.  For tickets, contact the box office at 402-553-0800 or visit the Playhouse’s web site at www.omahaplayhouse.com.  The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.

Rock in the Holidays with the McGuigan Brothers in Yesterday and Today: An Interactive Beatles Experience

Yesterday and Today
©2007 By Rave On Productions

Date: Nov. 27-Dec. 31, 2015

Location:  Omaha Community Playhouse (6915 Cass St, Omaha, NE)

Theatre: Howard Drew Theatre

Curtain times: Thursdays-Saturdays – 7:30 p.m. and Sundays – 6:30 p.m.

Ticket cost: $40

Special Performances:  New Year’s Eve – $50 at 7 p.m. | $75 at 10 p.m.
Contact info: Box Office – (402) 553-0800
Show summary: Billy McGuigan and his brothers (Ryan and Matthew) are back! This all-request Beatles tribute show will have you dancing in the aisles and singing along to every song. Share your stories and relive your memories with your favorite Beatles songs. No two shows are the same, and every show is a guaranteed exhilarating time!

“A Christmas Carol” is Sleeker, But Chipped Around the Edges

Greedy miser, Ebenezer Scrooge, is given one chance to redeem his soul.  Will a visit by the three spirits of Christmas be enough to gain salvation?  This is the story of A Christmas Carol adapted by Charles Jones from the classic novel by Charles Dickens and celebrating its 40^th anniversary at the Omaha Community Playhouse.

Question:  How do you breathe new life into a 40 year old tradition?

Answer:  You put Hilary Adams at the helm.

Ms Adams’ direction gives A Christmas Carol a new lease on life.  More importantly, her direction went a long way in giving me the A Christmas Carol that I’ve long wanted to see.  Ms Adams accomplished this task by trimming a lot of unnecessary fat from the play, cutting a whiplash pace, and, for the most part, guiding her actors to natural, realistic performances.  I applaud Ms Adams for her staging of the story and she and the stage crew deserve especially high praise for the seamless and effortless scene changes.  The only critiques of her direction are that she needed to rein in some of the more cartoony performances that weakened this incredibly realistic production and to slow down the pace just a little bit.  Some of the actors were talking so fast that diction suffered and some important beats got glossed over.

I was extraordinarily pleased with Jerry Longe’s performance as Scrooge.  This was actually my third go-around in watching this play and the two previous times I thought Scrooge was missing something crucial.  This time I got a pitch-perfect Scrooge.  Longe’s Scrooge is cold-hearted, mean, greedy, selfish, and those are his better points.  This is a man that needs redemption.  I thought Longe was especially effective in making Scrooge’s salvation a drawn out process.  He fights changing tooth and nail and changes just a little with each interaction with the spirits until he finally sees the error of his ways.  That slow process makes the light-hearted, giddy Scrooge utterly believable when he is, at long last, redeemed.

Longe does need to slow down his delivery.  I lost some of his dialogue in Act I because he was speaking so quickly, though his speed was much more controlled in Act II.

David Krenkel was a wonderful surprise as he made his Playhouse debut as Bob Cratchit, Scrooge’s long-suffering clerk.  Krenkel was utterly natural as Cratchit.  He imbued a wonderful fatherliness and goodness into his role which had me believing him from start to finish.

I was underwhelmed by Don Keelan-White’s portrayal of Jacob Marley.  Keelan-White’s rushed line delivery resulted in the loss of character and made it feel like he was simply going through the motions.  Marley should exude a sense of otherworldliness and he seemed all too human to me.  Instead of speaking faster, Keelan-White just needs to close up the spaces between his words.  This will allow him to retain nuance without sacrificing pace.

Bridget Robbins strikes all the right notes as the Ghost of Christmas Present.  Ms Robbins found quite a few nice character moments in her role.  I was especially impressed with how her Spirit was concerned about Scrooge’s welfare, yet had no qualms about giving him a metaphorical shot to the mouth by using his own cruel words against him.

I am not quite certain what Michael Farrell was trying to accomplish with his interpretation of the Ghost of Christmas Present.  His phrasing was rather odd which made it difficult for me to understand what he was saying.  Farrell’s vocal quality also made it seem like he was trying to be jolly (which did come through) and magisterial (which did not quite hit the mark).

The ensemble was always engaged in the action, but there were several notable performances in smaller roles.  Don Harris impressed as Jake, especially in a scene where he tries to stand up to the usurious Scrooge before caving into him.  Emily Mokrycki is splendid as Mrs. Cratchit and strikes the perfect balance between love for her family and disdain for Scrooge.  Megan Friend excels with a sweet turn as Belle Fezziwig, the one-time fiancée of Scrooge, and a hilarious turn as the thieving Mrs. Dilber.

Jim Boggess and his orchestra add to the feeling of Christmas with bright and spritely renditions of Christmas carols.  Georgiann Regan’s costumes perfectly fit the Victorian tale.  Jim Othuse’s sets, lighting, and special effects are absolutely marvelous.

I understand that over 70% of the cast was appearing in this play for the first time.  That much new blood combined with opening night jitters may account for some of the bumps I saw tonight with diction, volume, and interpretation, especially in Act I.  The cast seemed to find their groove in Act II which is a good sign that they will reach their full potential for this 40^th anniversary run.  All quibbles aside, I still consider this to be the best version of A Christmas Carol that I’ve seen at the Playhouse in the nearly 19 years I’ve lived in Omaha.  Even if you have seen the play before, I promise you surprises that will make it new all over again.

A Christmas Carol plays at the Omaha Playhouse through December 23.  Performances are Wednesdays at 7pm, Thurs-Sat at 7:30pm, and Sundays at 2pm and 6:30pm.  There are no performances on Nov 25 or 26, but two additional performances will be held on Dec 22 and 23 at 7:30pm.  Before Dec 15, tickets are $36 for adults and $25 for students.  Tickets for the Dec 15-23 performances are $40 for adults and $29 for students.  For reservations contact the OCP box office at 402-553-0800 or visit www.omahaplayhouse.com or www.TicketOmaha.com.  The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.

Auditions Aplenty at Blue Barn Theatre

AUDITION DATES for the regional premiere of The Christians by Lucas Hnath

Auditions will be held  at the Blue Barn Theatre on Tuesday, December 8 from 6 p.m. – 8 p.m. and Saturday, December 12th from 10 a.m. – 1 p.m.  in their new home at 1106 S. 10th St.  (10th & Pacific) in Omaha, NE.

Auditions will consist of cold readings from the script. Callbacks (if necessary) will be determined at the auditions. The Christians will be directed by Susan Clement-Toberer.

Performances for The Christians run March 24 – April 17, 2016 with rehearsals scheduled to begin in mid-February, 2016.

Needed for The Christians:  3 male (ages 20s-70s), 2 female (ages 20s-50s) All ethnicities are encouraged to audition.  All roles are available.

 

AUDITION DATES for Porchyard Reading Series

* Rapture, Blister, Burn by Gina Gionfriddo

* Mr. Burns: a Post-Electric Play by Anne Washburn

Monday, Dec. 15 and Tuesday, Dec. 16 from 6 p.m. – 8 p.m.

Performance of Rapture, Blister, Burn is Monday, February 15th.

Performance of Mr. Burns: a Post-Electric Play is Monday, April 4th.

Both shows will be directed by Amy Lane

Needed for Rapture, Blister, Burn:  4 women (Ages 20-70) and 1 male (age 30-40)

Needed for Mr. Burns: a Post-Electric Play:  3 male and 5 female roles (20s to 40s)

All ethnicities are encouraged to audition.  Auditions to be held at Blue Barn Theatre at 1106 S 10 St (10th and Pacific) in Omaha, NE.

 

BLUEBARN Theatre announces auditions for HEATHERS – THE MUSICAL

AUDITION DATES for the regional premiere of Heathers – the Musical by Laurence O’Keefe and Kevin Murphy.

Auditions will be held on Saturday, January 16th from 10 a.m. – 1 p.m. and Sunday, January 17th from 6 p.m.  – 8:30 p.m.  in their new home at 1106 S. 10th St.  (10th & Pacific) in Omaha, NE.

Those auditioning are asked to prepare 16-32 bars of a pop/rock song, showcasing belt/mix range and use of language to tell the story. Readings and movement will be done at callbacks which will be held on Saturday, January 23rd.

Heathers – the Musical will be directed by Randall T. Stevens with music direction by Doran Schmidt and choreography by Nichol Mason Lazenby.

Performances for Heathers – the Musical run May 19 – June 19, 2016 with rehearsals scheduled to begin in the beginning of April, 2016.Needed for Heathers – the Musical:  Large cast of young actors who can believably portray high school students. Also needed are 3 mature character actors (2 male; 1 female).

All roles in Heathers must possess strong vocal ability in the new contemporary, pop Broadway style.  All ethnicities are encouraged to audition.  All roles are available.

For More Information and character breakdown, Contact Randall at rstevens@bluebarn.org

Blue Barn Theatre Revives Campy Holiday Classic

 The BLUEBARN Theatre is proud to present the revival of the popular holiday hit, Little Nelly’s Naughty Noël by Tim Siragusa with songs by Jill Anderson. The show is a retro flashback to 2002 when BLUEBARN first produced the show written by local playwrights, Siragusa and Anderson.

BLUEBARN Producing Artistic Director Susan Clement-Toberer co-directs with Ms. Anderson. Both were involved with the original production 13 years ago.

Shows run Nov. 27 – Dec. 20; Thursday-Saturday at 7:30 p.m., Sunday Nov. 29, Dec. 6, 13, and 20 at 6 p.m. Nov. 28, Dec. 3. Dec. 5 and Dec. 13 are currently sold out. Added performances are Wednesday, Dec. 16 at 7:30 p.m.; Sunday, Dec. 20 at 2 p.m.; and Saturday, Dec. 12 and 19th at 10 p.m. Single tickets for Little Nelly’s Naughty Noël are $30 for adults; and $25 for students, seniors 65+, TAG members, and groups of 10 or more.

About Little Nelly’s Naughty Noel

Back by popular demand!! Little Nelly’s Naughty Noël is a Blue Barn perversion of all we hold dear, at that holliest, jolliest time of the year! With a mad gang of varmints both bawdy and bold, the play takes a wild, woolly romp through Nebraskee of old in an evening that can be described as “Willa Cather on crack” or “The Gift of the Magi” laid out on a rack!

About the stars of Little Nelly’s Naughty Noel

Little Nelly’s Naughty Noel features some of Omaha’s funniest veterans and newcomers. BLUEBARN Theatre founding company member Nils Haaland (The Grown-Up, Our Town, 33 Variations, BLUEBARN Theatre) returns alongside Theresa Sindelar (Reefer Madness, God of Carnage, Every Christmas Story Ever Told…and then Some!, BLUEBARN Theatre), Martin Magnuson, Nik Whitcomb, John Ryan, Spencer Williams (Young Frankenstein, Omaha Playhouse), Paul Hanson (Reefer Madness, BLUEBARN Theatre), Adam Lambert, Regina Palmer, and Amy Schweid.

ABOUT THE BLUEBARN THEATRE

The BLUEBARN Theatre has been bringing professionally-produced plays to area audiences since 1989. Since its inception, BLUEBARN has produced over 100 plays and has established itself as Omaha’s professional contemporary theatre company. Striving to bring artistically significant scripts and professional production values to Omaha and the surrounding region, BLUEBARN is known for high-quality entertainment and the fearless pursuit of stories that challenge both theatre artists and patrons.

 

“Cock” Auditions at SNAP Productions

Cock
written by Mike Bartlett

SNAP! Productions
3225 California Street
Omaha, NE 68108

Auditions: Monday, November 16 @ 7PM; Tuesday, November 17 @ 7PM

Production Dates: March 3 – March 27, 2016

Rehearsal Dates: Start February 1, 2016

Audition Requirements: Cold readings from the script

Cast Needs: 3 Men, 1 Woman: 4 Total

Genre: Comedy

Show Summary: John has been in a stable relationship with his boyfriend for a number of years. But when he takes a break, he accidentally falls in love with a woman. Torn between the two, filled with guilt and conflicting emotions, he doesn’t know which way to turn. His boyfriend is willing to wait for him to make a decision, but so is his girlfriend. And both are prepared to fight to keep him. As the pressure mounts, a dinner with both parties is arranged, and everyone wants to know. Who is John? What is he? And what will his decision be?

Director: Joshua Mullady

Contact Information: Joshua Mullady (Director) – thespi96@gmail.com OR Michal Simpson (Producer) – msimpson6@cox.net

Auditions for “City of Angels” at Omaha Community Playhouse

CITY OF ANGELS
Production Dates: March 4-April 3, 2016
Performs in: Hawks Mainstage Theatre
Director: Jeff Horger
Synopsis: Sexy, sizzling and smart, City of Angels is a film noir-style musical that pays homage to glamorous 1940s Hollywood. Winner of six Tony Awards including Best Musical, this clever show has two plots running simultaneously as a man writes a screen play that mirrors his life. Stunning staging separates the real world and “reel” world. Intrigue, mystery and incredible music make City of Angels a must-see production.

Audition Dates: Monday, December 14 at 7:00 PM and Tuesday, December 15 at 7:00 PM

Location:  Omaha Community Playhouse (6915 Cass St in Omaha, NE)

Production Notes: CITY OF ANGELS is two shows in one, with the interweaving of two plots, one dealing with the writing of a screenplay in the legendary Hollywood of the 1940’s; the other, the enactment of that screenplay. The movie scenes appear in shades of black and white, and the real life scenes are in color. Although some actors will play multiple roles in the typical fashion of a large ensemble musical, there are certain pairs of characters that are reflections of each other in the two worlds and the roles were specifically designed to be played by the same performer. This show contains mild language and stylized violence. Although there is no nudity in the show, there are several lustful characters who appear in various states of undress.

Please note:  Although there will be singers in the ensemble, none of these roles require singing and may be played by non-singing actors. However, everyone must sing at the auditions.

Character Descriptions:

The following roles are singing roles:

STINE (Mid 20s to mid 40s) A novelist who is hired to adapt his own book into a screenplay. It pays a lot more, but it might not be worth all his trouble. He is a bad husband who loves his wife.

STONE (Late 20s to mid 40s) The main character in the screenplay. An ex-cop and current private investigator with a rough past and an even rougher present. He attracts trouble…and
a constant barrage of beautiful and dangerous women.

ANGEL CITY FOUR (Ages 18+) The “greek chorus” of the show; a soprano, alto, tenor, and baritone who exist in both worlds and help navigate the audience through the stories. Lots of 4 part harmony. The most difficult singing in the show.

BUDDY FIDDLER/IRWIN S. IRVING (Mid 30s to mid 60s)
– A sleazy and perverted movie producer who you can’t help but almost like. / The sleazy and perverted movie producer Stine creates as a character for his screenplay.

GABBY/BOBBI (Mid 20s to mid 40s) Stine’s wife. She is a supportive spouse whose life would be easier if she didn’t love her husband. She forgives him for cheating more quickly than she
forgives him for sacrificing his artistic integrity. / Stone’s ex-lover. She blames herself for what happened between them. Regardless of who’s to blame, she has been suffering the
consequences ever since.

DONNA/OOLIE (early 20s to late 30s) Buddy’s intelligent but weary assistant. She puts up with Buddy’s antics because it’s a good job, but the less than glamorous side of Hollywood has taken a toll on her. She often finds herself operating in survival mode, making poor choices if they bring her pleasure in the moment. / Stone’s loyal assistant. It’s a thankless job, but until she finds Mr. Right, somebody’s gotta do it.

CARLA/ALAURA (Late 20s to mid 40s) Buddy’s combative and manipulative wife, who didn’t have time for acting classes because they slowed down her rise to Hollywood stardom. / A
femme fatale if ever there was one. She seduces men with just a look, and keeps secrets from everyone.

AVRIL/MALLORY (Late teens to late 20s) A starlet on the rise. She’ll do what and who it takes to make it onto the silver screen. / Alaura’s step-daughter who likes to cause trouble and makes
questionable life choices.

PANCHO/MUNOZ (Late 20s to mid 50s) A Hollywood actor famous for playing Latino roles (not necessarily well) who is good friends with Buddy Fiddler. / L.A. police officer and ex-partner of Stone. He has an axe to grind with Stone and would love nothing more than to see him executed, as long as it’s legal.

JIMMY POWERS (Early 20s to late 50s) Popular singer of the 1940s. He exists in the real world, although he is recording a few hits for the soundtrack of the film. Occasionally sings with the Angel City Four.

The following roles are ensemble roles:

PETER (Late teens to early 30s) Alaura’s step-son. There is something “off” about him.

WERNER/LUTHER (Early 40s to late 60s) An actor and friend of Buddy who will be playing Luther in the movie. / The rich husband of Alaura and father of Mallory and Peter who is confined to an iron lung for life support.

DR. MANDRIL (Early 20s to late 50s) Luther’s personal physician and astrologist.

ADDITIONAL ROLES – thugs, party guests, police officers, office workers, morgue workers, studio workers, sex workers

All members of the ensemble will play multiple roles. There are roles available for actors of any gender and race. There are 2 roles that could be played by either male or female actors ages 13+. All other roles will be played by actors ages 18+.

What to Bring:
• Please come prepared with 16 bars of music prepared to sing. An accompanist will be provided.

• There will be a dance audition, please come dressed ready to move. No boots, sandals, flip-flops, slick shoes, etc.

• You will be asked to fill out an audition form, please have all necessary contact information and personal schedules handy in order to complete the form.

• A recent photo if you have one available. Please note, photos will not be returned.

“A Steady Rain” is an Emotional Storm

How far would you go to protect your best friend?  Would you lie for him?  Would you cover for him?  Would you betray him?  These are the themes explored in Keith Huff’s heavy drama A Steady Rain to be presented at the Omaha Community Playhouse on November 9 as part of their Alternative Programming Series.

Huff’s script is one of the most inventive pieces of drama I’ve come across.  It’s designed as a duologue with its two actors sometimes talking to the audience and sometimes to each other.  It’s also one of the mightiest pieces of drama I have ever seen.  Huff starts this story in a pretty rough spot and proceeds to drag it into darker and bleaker places using the metaphor of rain that gets heavier and harder as the tribulations pile on the two characters.

Christina Rohling’s direction is pluperfect.  This show has a large number of beats and Ms Rohling fully understands each and every one intimately.  She has mined this show and discovered a treasure trove of emotion and storytelling to share with the audience through the 2 dynamite performances she has shaped with her two actors.

Out of the many characters Nick Zadina has created for the Omaha public, I truly believe his portrayal of Denny eclipses them all.  Zadina has all of Denny’s complexities firmly in the palm of his hand and presents them in a piece of acting majesty.  When the play begins, Zadina’s Denny appears to be a jokey, lighthearted police officer who is helping his best friend and partner, Joey, beat the bottle.  A noble act, to be sure, but Denny is not a good man.  Yes, he does love his family and friend, but he is abusive, corrupt, a philanderer, and arrogant.

Zadina’s mastery of the beats is jaw dropping as his delivery just drips nuance from moment to moment.  Zadina remains engaged in the performance for the duration and some of his best moments occur when he isn’t speaking and is simply reacting to the things Joey says.  Zadina paints a masterpiece of a man on top of the world who slowly devolves into a shadow of his former self due to 2 tragic events.

Aaron Sailors is equally up to the challenge as Denny’s partner, Joey.  When the play begins, Joey is at rock bottom due to alcohol addiction.  Thanks to Denny “adopting” him, he’s been able to overcome the addiction and begin building a better life for himself.  Sailors brings a fierce loyalty to Joey which is rather surprising considering that Denny roughed up Joey quite a bit as a child.  But he has remained staunchly loyal to Denny.

At first, Joey seems a bit similar to Denny as both seem slightly racist and are frustrated with their inability to get promoted to detectives.  After attending a race seminar, Joey proves he was always a better man than Denny.  Sailors gives Joey an inherent decency which is sometimes misguided as he covers Denny’s more sordid doings, but he also proves himself a better father and companion to Denny’s wife and children than Denny himself.

What I found most intriguing about the show was that, whether by design or coincidence, Zadina and Sailors bear a very strong resemblance to each other.  This aids the story as it shows how remarkably similar they are and makes the parallel roads they travel more marked when Joey rises as Denny falls.  I wish this could be a full scale production as this show is truly something special.  Do not miss out on your chance to see this production as it will be a highlight of the season.

A Steady Rain plays at the Omaha Playhouse for one night on November 9.  Showtime is at 7:30pm and admission is free.  This show contains extremely strong language and mature subject matter and is not recommended for children.  The Omaha Playhouse is located at 6915 Cass Street in Omaha, NE.

BLT’s “Mockingbird” is Powerful & Profound

Let me tell you what real strength is.  Real strength is fighting for a hopeless cause without a chance of victory simply because it is the right thing to do.  Atticus Finch is the epitome of this type of strength when he defends a black man accused of beating and raping a white woman in To Kill a Mockingbird adapted by Christopher Sergel from Harper Lee’s novel and currently playing at the Bellevue Little Theatre.

The difficulty in adapting Harper Lee’s classic novel to the stage is that it is so perfectly written that it is practically impossible to edit or alter anything without losing something vital to the story.  Sergel does what he can with the script, but the end result is a bit of a mixed bag.  Many important moments from the story are edited out or glossed over through exposition from the children or the play’s narrator, Maudie Atkinson.  Instead, Sergel focuses the bulk of the attention on the play’s crucial climax:  the trial of Tom Robinson and its aftermath.

Director Lorie Obradovich makes the most out of this story as she presents a solidly staged production with gripping performances from the primary cast.  Most impressive was the wonderful sense of tension she creates with the play’s climactic trial, especially with the testimony of Tom Robinson.

A T.A.G. nomination for Best Actor may be knocking on John Carlson’s door with his beautifully simple and quietly strong performance as Atticus Finch.  Harper Lee would be proud of Carlson’s take on her iconic character as he perfectly grasps Finch’s decency, integrity, intelligence, and character.  As Finch, Carlson is utterly unflappable even when facing the derision and insults of most of the citizenry of his hometown for defending Robinson.  Without question, he always knows what is right and he will compromise his principles for no-one.

Zoey Dittmer and Aidan Schmidtke give performances that belie their youth as Finch’s two children, Scout and Jem.  Schmidtke was especially impressive as he has a deceptively strong presence and projection abilities many experienced and older actors lack.  Schmidtke did a tremendous job of showing a young man riding the line between childhood and maturity.  At one moment, he could be the son of Atticus Finch, staunchly standing by his father with their shared principles.  In the next, he could be very much the child such as when he destroys the plants of a rude neighbor for insulting Atticus.

Ms Dittmer imbues Scout with a delightful playfulness.  I just utterly enjoyed watching her when she wasn’t speaking just to see the “kid” things she would do such as swinging from the porch railing.  Ms Dittmer nailed Scout’s tomboyish nature as she wouldn’t hesitate getting into a fistfight to defend Finch’s honor and I also liked her zest for adventure as she readily joined Jem in following Atticus to the courthouse and county jail.  Her understanding of what it meant to kill a mockingbird also provided a very tender and sweet moment at the play’s end.

As good as the performances from the two children were, they do need to watch their accents.  During Act I their accents were flawless.  But the accents weakened and vanished during Act II.

Tym Livers gets a lot of things right with his portrayal of Bob Ewell, the white trash father of the alleged rape victim.  He is coarse, vulgar, and not overly bright.  However, Livers’ performance was missing the vital element of danger.  Ewell is a mean man with a brutal temper who does not hesitate to resort to violence.  Without the danger element, Livers’ Ewell actually came off a bit humorous which is not good since he needs to pose a genuine threat to the Finch family.

Jarell Roach’s portrayal of Tom Robinson will make you cry.  He is a haunted and tragic soul.  Roach’s body language is absolutely beautiful as he tries to hide within himself at the trial.  He also does an excellent job of bringing the audience’s attention to his useless left arm, subtly demonstrating his character’s innocence.  Despite the fact that Robinson is at the mercy of a society that will gleefully convict him based on his skin color, he still possesses a great strength exemplified by his testimony at the trial.  Roach expertly shows this strength with a shy, but determined delivery as Robinson does have the truth on his side.  I also admired the decency Roach gave to Robinson as he was reluctant to share the full truth to protect his accuser who crossed the ultimate barrier in the eyes of this society.

There were also some strong performances in the supporting cast.  Standouts included Wes Clowers’ take on Heck Tate, the moral and decent sheriff of Maycomb County.  Deb Kelly keeps the energy going as the show’s narrator, Maudie Atkinson.  Larry Wroten is kindly and just as Judge Taylor.  Phyllis Mitchell-Butler makes for a wonderful surrogate mother in the role of Finch’s cook and housekeeper, Calpurnia.

Wes Clowers’ simple set will transport you to a 1930s Southern neighborhood and Tom Reardon’s lighting was truly exceptional as it shifted with the story as it weaved its way from narration to action and back again.  The only missteps in the evening’s performance was a little uneven acting in the supporting cast and some of the actors needed to be louder, especially since it seemed as if the floor mikes were either turned off or turned very low.  A scene of violence also needs some fixing up to be more believable and cues and pace needed to be picked up.

The message of Harper Lee’s novel is still as powerful and profound as when it was originally written.  It is a story of strength, character, and dignity.  It also proves that, as Atticus Finch said, you can’t really understand another person until you consider things from his viewpoint.  And in doing so, we often find  we’re really not all that different from one another.

To Kill a Mockingbird runs through Nov 22 at the Bellevue Little Theatre.  Performances are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $18 for adults, $16 for seniors, and $10 for students with proper ID.  Reservations can be made by calling 402-291-1554 between the hours of 10am-4:30pm Mon-Sat.  A little discretion is advised as the show does include racial epithets.  Bellevue Little Theatre is located at 203 E Mission Ave in Bellevue, NE.

OCP Celebrates 40 Years of “A Christmas Carol”

40th Annual A Christmas Carol

Omaha’s Holiday Tradition Opens Nov. 20, 2015 at the Omaha Community Playhouse

Omaha, Neb.— A Christmas Carol will run at the Omaha Community Playhouse Nov. 20-Dec. 23, 2015. This year marks the 40th year for the production on the Main Stage of OCP. In celebration of 40 years, the Omaha Community Playhouse will hold a special “alumni reunion” party for all former and current cast and crew members on Thursday, December 17.

It just isn’t Christmas without A Christmas Carol. Experience Omaha’s favorite holiday tradition as Ebenezer Scrooge takes us on a life-changing journey filled with beautiful costumes, exquisite music, perfectly crafted sets, and special effects second to none. Perfect for the whole family!

Production: A Christmas Carol

Credits: By Charles Dickens, Adapted by Charles Jones, Musical orchestration by John J. Bennett Director: Hilary Adams Music Director: Jim Boggess Choreographer: Michelle Garrity

Cast:

Jerry Longe–Ebenezer Scrooge

Lauren Anderson–Millie

Marcus Benzel–Young Scrooge

Heidi Carpenter–Mrs. Fezziwig, Baker’s Wife

Michael Farrell–Ghost of Christmas Present, Baker, 1st Charity Man, Ball Musician

Megan Friend–Belle, Mrs. Dilber

Adam Fulbright–Beggar

Adam Hogston–Dead Scrooge, Male Ensemble

Jenna Hager–Chestnut Vendor

Don Harris –Jake

Sean Hill–Topper

Don Keelan-White–Jacob Marley, Ball Musician, Man at Cart

David Krenkel–Bob Cratchit

Gregg Learned–Mr. Fezziwig, Toyshop Keeper, 2nd Charity Man, Man at Cart

Emily Mokrycki–Mrs. Cratchit

Joseph Mokrycki–Poulterer, Dick Wilkins

Sydney Readman–Lucy

Bridget Robbins–Ghost of Christmas Past, Myrtle Crow

Emily Smith–Female Ensemble

James Allen Spain–Organ Grinder

Julia Ervin–Nell

Scott Van Den Top–Fred

Keithen Cudl– School boy, Shepherd, Ensemble

Liliana Cudly–Ensemble, Angel

Daniel Davis–Ensemble, Shepherd

Sasha Belle Denenberg–Ensemble, Angel

Emma Gould–Fan

Jamie Gould–Ensemble, Mary

Evelyn Hill–Martha Cratchit

Cora Rose Johnson–Ensemble, Angel

Ryan Laughlin–School boy, Wise Man, Ensemble

Grayson Longe–School boy, Wise Man, Ensemble

Nikolas Loontjer–Ebby, Wise Man

Taylor Morrison–Francis Cratchit, Angel

Samuel Ortner–Ensemble, Shepherd

Alexis Reynolds–Little Bo Peep, Angel

Natalie Reynolds–Little Boy Blue, Angel

Kole Rowan–Peter Cratchit, Joseph

Maddie Smith–Boy with Sled, Angel

Ava Sturdy–Belinda Cratchit, Angel

Amina Teri–Ensemble, Angel

Henry Wisneski–Greenery Vendor, Innkeeper, Ensemble

William Wisneski–Tim Cratchit, Shepherd

Show dates: Nov. 20-Dec. 23, 2015; Wednesdays, 7 p.m., Thursdays–Saturdays, 7:30 p.m. and Sundays, 2 p.m. & 6:30 p.m. (No performances on Nov. 25 and 26; added performances on Dec. 22 and 23 at 7:30 p.m.) Tickets: At the OCP Box Office, by calling (402) 553-0800 or online at http://www.OmahaPlayhouse.org or http://www.TicketOmaha.com. Before Dec. 15, tickets are $36 (adults) and $25 (students). Dec. 15-23, tickets are $40 (adults) and $29 (students). For groups of 12 or more, tickets are $32 (adults) and $18 (students) for all dates.

Location: Omaha Community Playhouse (6915 Cass St, Omaha, NE), Howard and Rhonda Hawks Main Stage Theatre

Performance note: A shadow interpreted performance for the hearing impaired is scheduled for Sunday, Dec. 13 at 6:30 p.m.

Sponsored by: First National Bank, KPMG (orchestra sponsor), Children’s Hospital and Medical Center (snow and special effects sponsor) and Cox (media sponsor)

Food drive: Audience members are encouraged to bring nonperishable food items to OCP to benefit the Food Bank for the Heartland as part of ConAgra Foods’ Shine the Light on Hunger campaign.