Dare to Walk the Night

The BLUEBARN Theatre is seeking actors, ensemble and interactive crew for its 5th annual, immersive theatre experienceWalk the Night: Spirits to Enforce, based on William Shakespeare’s The Tempest.

Auditions will be held at the BLUEBARN located at 1106 S. 10th St.  (10th & Pacific Streets)

Saturday, August 4th from 11a.m-2p.m.

Sunday, August 5th from 12-2 p.m.

Walk the Night will run October 4th – October 31st, 2018 at Fontenelle Forest’s Neale Woods Center.

Preparatory Meetings Begin in August. Rehearsals begin in September.

The Walk the Night company is open to performers and crew 16 and older.

We prize diverse, counter-intuitive casting, and will adjust roles to suit the ensemble.

Please prepare any combination of the following:

A 90 second monologue of your choice, classic or modern

A 90 second retelling of a unique experience you’ve had, in your own words

A demonstration of a particular skill, hobby, or talent

Audition may include movement and the reading of sides.

Walk the Night is an interactive, continuous 75-90 min event. Those auditioning should have the required stamina and willingness to engage the audience as scene partners. Movement and puppetry experience, dance and music skills, singing ability and other skillsets are most welcome, though not required.

For more information, to request a character breakdown, or to sign up for an audition session, please contact Barry at bcarman@bluebarn.org.

ABOUT Spirits to Enforce

Prospero escaped an attempt on his life–by his own family. He and his child took refuge in an abandoned estate in the woods north of the city, letting the rest of the world think they were dead.  In the years since, Prospero discovered an ancient tome that seems to have granted him arcane abilities. Now, by a twist of fate, Prospero’s usurpers have found their way into his trap.

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.

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Blue Barn Announces First Auditions for “America in Pieces” Season

The BLUEBARN Theatre is pleased to announce open auditions for Circle Mirror Transformation.

Auditions will be held at the BLUEBARN located at 1106 S. 10th St.  (10th & Pacific Streets.)

Sunday, August 5th from 4-6 p.m. & Monday, August 6th from 6:30 p.m. – 8:30 p.m.  Callbacks will be scheduled if necessary

Circle Mirror Transformation runs September 27th through October 21st, 2018.  Rehearsals begin August 27th, 2018

Company members needed:

LAUREN (16)Open Ethnicity, Female. The youngest in the class. Wants to play Maria in West Side Story. Takes things seriously. Chronically dissatisfied. A bit endearing.  

THERESA (35) – Open Ethnicity, Female. Recently moved from NYC to Vermont after ending a toxic relationship. An actor who is also studying acupressure. Energetic, genuine. At a bit of a crossroads.

SCHULTZ  (48) –  Open Ethnicity, Male. A carpenter. Schultz finds himself unhappily alone after his recent divorce from his wife of many years. A bit eager.

MARTY (55) – Open Ethnicity, Female. Co-executive director of the community center. Teaches the drama class, and others in jewelry and pottery. Longs to move to Mexico. Nearly confident. A bit lost.

JAMES (60) Open Ethnicity, Male. Married to Marty, with an estranged daughter from a previous marriage. A good sport. A bit ineffectual.  

Auditions will consist of prepared sides, and cold readings from the script. Maybe some games.

Prepared monologues under 2 minutes are welcome, though not required.

To request a copy of the script, sides, or to schedule an audition contact Barry at: bcarman@bluebarn.org 

About Circle Mirror Transformation

Students in a community-center acting class find their lives transformed, their souls reflected, and the patterns of their lives revealed in this extraordinary celebration of ordinary life. As they discover each other through storytelling and deceptively simple games, hearts are won and lost, destinies shaped, and tiny triumphs and tragedies take on epic proportions.

 

The BLUEBARN Theatre is pleased to announce open auditions for I and You.

Auditions will be held at the BLUEBARN located at 1106 S. 10th St.  (10th & Pacific Streets.)

Sunday, August 5th from 2-4 p.m.  Monday, August 6th from 5 p.m. – 6:30 p.m.  Callbacks will be scheduled if necessary

I and You runs January 31st through February 24th, 2019.  Rehearsals begin January 7th, 2019

Company members needed:

Two actors (15-25), Open Ethnicity* to play

ANTHONY (17) – He is neat, poised, mature for his age. African-American. He’s an “a” student, a team player, a nice guy. He’s not really great around girls. He takes his homework very seriously. When he likes something (jazz music) he is all in. Throughout the whole play he looks at Caroline like he’s trying to figure her out. Like he really needs to know who she is.

CAROLINE (17) She is in comfy clothing, she does not expect company, she is sick but mainly just looks a little weak and frumpy. She doesn’t go out. She is cynical, over it, does not let a stray “feeling” near the surface. White.

*Casting Note

The race of each character can be altered. The only essentiality is that the characters not be the same race.

Auditions will consist of prepared sides, and cold readings from the script.

A prepared excerpt from Walt Whitman’s Song of Myself is most welcome, though not required.

To request a copy of the script, sides, or to schedule an audition contact Barry at: bcarman@bluebarn.org

ABOUT I and You:

One afternoon, Anthony arrives unexpectedly at classmate Caroline’s door bearing a beat-up copy of Walt Whitman’s Leaves of Grass, and an urgent assignment from their English teacher. As these two let down their guards and share their secrets, they unlock a much deeper mystery that has brought them together. I and You is an ode to youth, life, love, and the strange beauty of human connectedness.

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.

Shelterbelt & SNAP! Seeking New Home

SHELTERBELT THEATRE AND SNAP! PRODUCTIONS ANNOUNCE CLOSING OF CURRENT LOCATION IN AUGUST
Shelterbelt Theatre and SNAP! Productions are sad to announce that our home of 25 years (18 years for SNAP!) has sold. THE DAIRY MAID-RIGHT by Ellen Struve (July 13-August 5) will be the final production in the 3225 California St. location, ending our tenure in August.
Both theatres are actively looking at options for continuing performances, but no seasons have been announced at this time. The search for a dedicated theatre space to house both theatre companies will continue.
Both theatre companies are hoping a new location will include:
• *5000-10,000 total square feet – which includes a large open space with no poles (approx. 50’ x 30’)
• We’d like to accommodate a stage with flexible seating, a rehearsal space (approx. 25’ x 25’), a lobby/bar/gallery area with ADA restrooms, on-site storage area, a scenic shop, dressing rooms with restroom
• HVAC installed
• ADA compliant bathrooms and entrance
• 12-14’ ceilings
• *Off-street parking
*Square footage and parking are negotiable.
As entirely artist-driven entities, the theatres have survived through the passion and commitment of this community.  A vital part of the theatre ecology, Shelterbelt and SNAP! are often the first non-academic theatre experience for actors, directors, designers, writers and crew members. The opportunity to gain stage experience and develop skills is vital to the health of all Omaha theatres. Experienced, professional theatre artists continue to work at these theatres, as the intimacy of storefront theater inspires risk-taking, creative work.
If you have any leads on locations, please contact Roxanne Wach at executive@shelterbelt.org.

Thank You for the Music. . .and the Singing. . .and the Dancing. . .and the Fun

Sophie is getting married and she wants her father to give her away.  The problem is she doesn’t know who he is, but has it narrowed down to 3 candidates.  She could ask her mom, but she doesn’t know which of the 3 it is either.  Which dad gets the honor?  Find out in Mamma Mia!, currently playing at Maples Repertory Theatre.

I’ve always thought there was a certain genius to this script.  Catherine Johnson managed to create a musical that is almost devoid of plot (the mystery of the fathers is introduced at the top of the show and then almost forgotten about until Act II), but is so packed with fun that nobody really gives a hoot. The play’s appeal lies in the classic ABBA numbers whose lyrics are used to move the play along.

Brandon McShaffrey provides a remarkable piece of direction to this musical.  He adds a lot of little touches and flourishes that make the show far more than a jukebox musical.  He manages to make the show feel realistic by adding dramatic moments, sweet moments, and funny moments.  In short, he has transformed it into a slice of life production.  He’s also guided his actors to strong, vital performances and they are characters as opposed to caricatures.

Nothing warms the cockles of my heart more than seeing a supporting musical cast that gives their all to a show.  It adds such a crucial dimension to a musical.  Without it, a show will collapse.  This cast not only fueled the show with a vibrant energy, but they were obviously having fun and a particularly infectious kind as it spread throughout the audience as the night progressed.

Some standout members of the supporting cast include Maria Konstantinidis and Megan Opalinski as Tanya and Rosie, the best friends of Sophie’s mother, Donna.  Ms Konstantinidis is delightfully vain as the snobbish Tanya while Ms Opalinski had the crowd roaring as the fiercely liberated, yet man-hungry Rosie.  Both women have beautiful singing voices and harmonize well, providing memorable moments in harmony with “Dancing Queen” and in solos such as Ms Konstantinidis’ turn in “Does Your Mother Know” and Ms Opalinski’s take on “Take a Chance on Me”.

Other strong performances come from Trevor Berger who is sweet and sincere as Sophie’s fiancée, Sky, and Danny Vaccaro as Harry Bright, a former headbanger (at least in his mind) now turned wealthy stuffed shirt with a heart of gold.

Megan Arrington is splendid in the role of Sophie.  She does an excellent job presenting Sophie’s search for that missing part of her identity, but she also manages to bring a, oh, let’s call it duplicitous mischief to the role.  Sophie is a bit underhanded as she lies to her fathers to get them to come to her wedding, keeps almost everyone in the dark as to their inclusion, and the wedding may actually be a scheme to discover the identity of her dad.  But there is nothing diabolical about her actions.  Sophie just wants to understand herself completely.

Miss Arrington possesses a gorgeous upper alto/lower soprano and she shines in numbers such as “I Have a Dream” and “The Name of the Game”.

Faith Sandberg sizzles as Donna.  She definitely embodies 70s flower power as she boldly and unapologetically lives life as a single, entrepreneurial mother.  She lives life on her terms and anyone who disagrees with it can get to stepping.  But she also brings a deep sensitivity to the character and has a tangible love for her daughter.  Ms Sandberg turns her songs into performance pieces as she acts through them as opposed to simply singing.  Some of her shining moments come with her renditions of “Mamma Mia!”, “The Winner Takes it All”, and “Our Last Summer”.

Alan Gillespie gets the character with the most arc as Sam Carmichael.  Sam actually has a genuine story and Gillespie plays it for all its worth as he adds lovely emotional beats and even adds a touch of haunting sadness to Sam.  Gillespie also has a powerful tenor voice and has one of the night’s most memorable numbers in “S.O.S.”.

David Foster provides an impeccable piece of choreography.  Not only are his dancers silky smooth, but the choreography is also original, fun, and even funny, especially with the male ensemble’s work in “Lay All Your Love on Me”.  Shon Causer’s lights really enhance the scenes, especially the use of light and shadows when characters give private monologues.  Star Turner has designed a nice little villa which evokes a feeling of age and dilapidation.  Kevin Casey and his orchestra provide a tuneful night of entertainment.

This show is exactly what it presents itself as:  a pure unadulterated fun fest.  You’ll feel good by the time the night is through and if you’re not having fun, well, I suspect you probably don’t have a pulse.

Mamma Mia! plays at Maples Repertory Theatre through July 8.  Showtimes are at 7:30pm on June 24, July 3, 7 and 2pm on June 24, 26-27, 30, July 6, 8.  Tickets cost $31 for the main floor and $24 for the balcony.  For tickets, contact the box office at 660-385-2924 or visit www.maplesrep.com.  Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.

Familial Follies

Today should be the greatest day of Tom Kerwood’s life.  He and his wife, Linda, are a step away from adopting a baby.  Then Tom’s two brothers, Dick and Harry, decide to help.  Dick wants to share the proceeds of smuggled cigarettes to help support the child while Harry plots to get them a killer deal on a house by planting cadaver bits in the backyard.  Then the illegal immigrants show up.  Oh, and the police are expressing an interest in the goings-on at Tom’s house.  And time inexorably ticks forward to the appointment with the social worker, Mrs. Potter.  How will it all work out?  Find out in Tom, Dick, and Harry by Ray & Michael Cooney and playing at Maples Repertory Theatre.

This is, without question, one of the funniest scripts I have ever had the privilege of watching.  The Cooneys’ script is a bit of comedic genius as it manages to fuse two very disparate types of comedy:  the farce and the traditional English comedy.  These seem like two styles that wouldn’t gel as one depends on action and hijinks while the other is driven by dialogue, but it works incredibly well.  The dialogue is so sharp and witty and carefully builds into the manic comedy and action.  The play is further enhanced by a director and cast who are clearly masters at the craft of comedy.

Trevor Belt’s direction is absolutely pluperfect.  The staging of the show is magnificent as it makes use of the entire stage with especially clever use of any and all types of orifices:  doors, windows, even hide a beds.  He knows how to find the funny in each and every line and dreamed up some incredibly funny bits as well.  He’s also led his thespians to grand performances.  Belt’s pacing is spot-on as it starts out careful and methodical and picks up speed as the insanity unfolds.  Cue pickups were also done on the turn of a dime.

The play is a wonderful little ensemble piece and some stellar performances come from Kat Walker-Hill who plays Tom’s very proper wife, Linda, who is capable of unleashing an extraordinarily violent temperament when pushed to the limit; Michael Davis as the persistent, if not overly bright, Constable Downs; and Alex Vinh who gives a scene stealing performance done mostly through pantomime as Andreas, an illegal immigrant searching for his daughter.

Luke Bridges nails the role of Tom Kerwood.  Bridges’ work is exemplary as he plays Tom as the reformed con artist turned happy family man thrown into the most bizarre of situations.  The role is unique as it requires someone who can play a straight man, but also be a good physical comic as well.  Bridges handles the straight man with ease with precise and potent facial and physical reactions to the lunacy swirling around him.  He’s also an impressive physical comic culminating in the most epic meltdown I’ve ever seen on the stage.  Bridges also has a good grip on the nuances of language as he often has to say the same phrases over and over, but alters his inflection each and every time to change the meaning and tone of the phrases.

Troy Bruchwalski is the epitome of a con artist as the middle brother, Dick Kerwood.  Bruchwalski’s Dick is always looking for the next score, but gives the sense that he is rarely, if ever, successful.  He is a charmer and he is likable, essential tools in the arsenal of a con artist.  However, his charm and likability are clearly part of Dick’s personality.  He’s not out to hurt people, just earn a little illicit money.

Bruchwalski is also a tremendous physical comic, best displayed when he tells his brother the story of the illegal immigrants by deciphering their sign language in one of the show’s best moments.  He also possesses a mighty operatic tenor used during a “rehearsal” for a fake reality TV show.

Kyle McCaffrey does some skillful work in his portrayal of the youngest brother, Harry Kerwood.  I was particularly impressed by the fact that he lifts personality traits from his “brothers” to form his own character.  McCaffrey’s Harry has the kindliness of Tom, but the scamming instincts of Dick.  Regrettably, his scamming instincts are less honed than Dick’s as he never thinks his cons completely through.  McCaffrey is also a good physical comic especially a prolonged bit with a hide a bed and his ability to be repeatedly shoved out of a window.

Star Turner provides a dandy less is more set with a simple, but comfortable house full of the doors needed for farce.  Jimmy O’Donnell’s costumes suit the play’s characters from the suburban wear of Tom and Linda to the cheap clothing of the immigrants.  Mariah Yantz’s props really add to the play, especially a wall clock that runs in real time which is crucial to the play’s time element.

This is what a comedy should be.  There’s no moral.  There aren’t any deep thoughts.  It’s just pure unmitigated fun from start to finish and is guaranteed to chase the blues away with a night of deep and hearty belly laughs.

Tom, Dick, and Harry plays at Maples Repertory Theatre through July 27.  Showtimes are 7:30pm on June 27, 30 and July 6, 11, 13, 21 and 2pm on June 23 and July 1, 3, 11, 13-15, 17, 22, 24-25, 27.  Tickets cost $31 for the main floor and $24 for the balcony.  For tickets, contact the box office at 660-385-2924 or visit www.maplesrep.com.  Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.

Let’s Rock Twist Again

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Omaha Community Playhouse Summer Show
Billy McGuigan’s Rock Twist On Sale Now

Omaha, Neb.— The Omaha Community Playhouse will present Billy McGuigan’s Rock Twist August 1 – 12, 2018 in the Hawks Mainstage Theatre. Tickets are on sale now.

Omaha favorite Billy McGuigan brings his big band sound back to OCP after its world premiere here last year. He is joined by the Omaha-based Steve Gomez Band to present rock hits with a big band sound and big band standards with a rock and roll sound. This year’s show has all-new songs.

Billy McGuigan’s big band sound is back! Classic rock tunes with a big band twist; big band standards with a rock and roll twist. Rock Twist features Billy McGuigan with an all‐star lineup of the country’s finest musicians, backed by a 4-piece horn section. With an ever-changing set list, you will hear Frank Sinatra next to The Doors, Billy Joel, Harry Connick Jr., The McCoys, The Turtles, Petula Clark, Duke Ellington… all enhanced with fresh rearrangements that will have audiences screaming for more!

Production:      Billy McGuigan’s Rock Twist 

Show dates:     August 1 – 12, 2018; Wednesdays–Saturdays, 7:30 p.m. and Sundays, 2 p.m.

Tickets:            At the OCP Box Office, by calling (402) 553-0800 or online at www.OmahaPlayhouse.com or http://www.TicketOmaha.com. Single tickets start at $42. Tickets are $35 for groups of 12 or more.

Location:          Omaha Community Playhouse, Hawks Mainstage Theatre (6915 Cass St, Omaha, NE  68132

OCP Announces 2018-19 Alternative Programming Season

Omaha, Neb.—The Omaha Community Playhouse is announcing its Alternative Programming series for the 2018-19 season. Alternative Programming includes a series of staged readings, special events and play development collaborations. All events are held at OCP.

The 2018-19 Alternative Programming schedule includes:

EDGES

by Benj Pasek and Justin Paul
July 9, 2018
Staged reading of a musical, Howard Drew Theatre
Directed by Kevin Goshorn and Caitlin Mabon, Music directed by Zachary Kloppenborg

This is the first show written by the creative minds behind Dear Evan Hansen, The Greatest Showman, and La La Land. It is a song-cycle about adults asking classic coming-of-age questions. The songs cover the universal issues of love, commitment, identity and meaning. The characters deal with confronting emotions, escaping expectations and deciphering complicated relationships.

LASSO OF TRUTH
by Carson Kreitzer
August 27, 2018
Staged reading, Howard Drew Theatre
Directed by Breanna Carodine

William Marston is a truly improbable character in American history – psychologist, author and inventor of both the lie detector and Wonder Woman. He was also a bondage enthusiast, a passion he shared with the two women he lived with in a large blended family: his wife Elizabeth and Olive Richards, his research assistant. This play tells the origin story of Wonder Woman, not only as an amazon princess and warrior, but as a comic book character and our preeminent female superhero.

DISASTER!
by Seth Rudetsky, Jack Plotnick, and Drew Geraci
September 24, 2018
Staged reading of a musical, Hawks Mainstage Theatre
Directed by Mackenzie Dehmer, Music directed by Liz Stinman

Earthquakes, tidal waves, infernos and the unforgettable songs of the ‘70s take center stage in Broadway’s side-splitting homage to classic disaster films. It’s 1979 and New York’s hottest A-listers are lining up for the opening of a floating casino and discotheque. What begins as a night of boogie fever turns to panic as the ship succumbs to multiple disasters. Featuring songs from Michael Jackson, Lionel Richie, Chicago, Orleans and more, this absurd sendup of ‘70s disaster flicks is as funny as it is ridiculous.

 
FROM THE GROUND UP
Collaboration with Great Plains Theatre Conference
October 15, 2018
Special Event, Howard Drew Theatre
Directed by Kevin Lawler

Come share in the experience of seeing a workshopped performance of a brand new script. An official collaboration with the Great Plains Theatre Conference, From the Ground Up is a workshop that provides a safe and nurturing playground for artists to develop new work for the theatre. The playwright’s material will be shared with an audience while still in the developmental phase then will continue to be developed to be included in the next Great Plains Theatre Conference.

NIGHT OF THE LIVING DEAD
by George A. Romero and John A. Russo
October 29, 2018
Staged reading of a play, Howard Drew Theatre
Directed by Kaitlyn McClincy

Witness a theatrical adaptation of the classic horror film. Fall out from a satellite probe shot to Venus returns to Earth carrying a mysterious radiation that transforms the unburied dead into flesh-eating zombies. Seven people trapped in an isolated farmhouse, held hostage by the ravenous ghouls, begin to turn on each other as the dead encroach.

BOOK OF WILL
by Lauren Gunderson
February 25, 2019
Staged reading of a play, Howard Drew Theatre
Directed by Marie Amthor Schuett

Without William Shakespeare, we wouldn’t have literary masterpieces like Romeo and Juliet or Hamlet, but without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg and band together to get it done.

DRAGON
by Jessica Austgen
April 29, 2019
Special Event, Hawks Mainstage Theatre
Director TBD

In this unique comedy, a fledgling drag queen must go through the tests and trials of legendary cosplay divas to find her swagger. An ode to both geek and drag cultures, this refreshingly original piece gives the audience a front row seat to what happens when you combine equal parts fantasy adventure, comic book convention, and drag show.

Alternative Programming events are free and open to the public with an opportunity for donations. No tickets or reservations are necessary. Some events may be intended for mature audiences. For more information on Alternative Programming, visit www.omahaplayhouse.com.