‘Marjorie Prime’ Opening Soon at BlueBarn Theatre

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Ruth Rath and Ben Beck star in BlueBarn Theatre’s production of ‘Marjorie Prime’

BLUEBARN THEATRE presents:

 Pulitzer Prize Finalist

Marjorie Prime

By Jordan Harrison

March 19th – April 12th, 2020

Thursdays-Saturdays at 7:30pm*

Sundays at 2pm 

Memories are not the key to the past, but the future.

About the play:

Marjorie’s daughter and son-in-law have purchased Walter Prime (a holographic projection of her husband as he looked in his 30s) to keep her company.  In the near future, ‘Primes’ are available from the good people at Senior Serenity, the latest devices for helping people with their fading memories and loss of companionship. As the Prime is fed memories and conversation, the shape of their lives are revealed, more and more years are covered and recovered, and the nature of memories, the legacy of the past, and the promise of the future are all called into question.

About the production:

Marjorie Prime features performances by Ruth Rath, Julie Huff, Ablan Roblin, and Ben Beck. Directed by Susan Baer Collins. Assistant Direction by Bob Fishbach.  Set Design by Brendan Greene-Walsh.  Costume Design by Denise Ervin.  Sound Design by Bill Kirby. Lighting Design by Steven Williams.  Properties by Amy Reiner.  Stage Management by Christopher Hernandez.

Tickets:

General Admission ($35) and Senior ($30) tickets are available at bluebarn.org. Educator, Military, and BLUCrew tickets are available through the box office (402) 345-1576.

*ASL interpreted performance Friday, March 27th at 7:30pm

Photo provided by BlueBarn Theatre

Lofte Community Theatre Holding Auditions for ‘Life With Father’

The Lofte Community Theatre presents:


Life With Father Auditions

Auditions: March 23 & 24 at 7:00 PM

Performances: May 29-31 & June 4-7
Thursday – Saturday 7:00 pm
Sunday 2:00 pm

Whether you’re new to the stage or an experienced performer, the Lofte Community Theatre welcomes everyone to audition for our productions! Please come a few minutes early to auditions with possible rehearsal and performance conflicts and be prepared to read lines.

Life With Father is the tale of an epic struggle to have Father baptized. The story involves Father and wife, Vinnie, along with their young sons, relatives and friends. The 1939 product on Broadway ran for over seven years and still holds the record of longest-running non-musical play. (The play contains mild adult themes. We suggest PG 13.)

Written by Howard Lindsay and Russel Crouse

For questions regarding auditions contact the Lofte Community Theatre at 402-234-2553, email the Artistic Director Kevin Colbert at loftedirector@lofte.com or visit The Lofte Community Theatre’s website at www.Lofte.org and click on “Get Involved”.

Lofte Community Theatre is located at 15841 Manley Rd in Manley, NE.

Bellevue Little Theatre Holding Auditions for ‘Temporary Insanity’

Bellevue Little Theatre presents
Temporary Insanity Auditions

Sunday, March 15 @ 7:00 pm
Monday, March 16 @ 7:00 pm

Bellevue Little Theatre will hold auditions for Temporary Insanity at the theatre, 203 W. Mission in Bellevue, at 7 pm on Sunday March 15 and Monday March 16.  This world premiere farce was written by Des Moines Playwright Karen Scheaffer, and the BLT is proud to present it as a close to our 51st season.

Jon Flower will direct the production which will run the week-ends of May 1, 8, and 15. An adult cast of ten, ranging in age from 17–65, is needed for this farce. For additional information please contact the director at jon.david.flower@gmail.com

More information can be found on the BLT web site at www.bellevuelittletheatre.weebly.com.

Character breakdown:
* COLLYN (pronounced Colin) 45ish. Female. Married to Mike, Emerson’s business partner and best friend.
* EMERSON 45ish. Female. Married to Ted, Collyn’s business partner and best friend.
* MARIE FORRESTER 65ish. Female. Emerson’s mother.
* ROSE Appears to be about 17. Female. Emerson’s daughter.
* WILL BRANCH 35 – 40. Male. Actor.
* TED 45ish. Male. Married to Emerson. Real Estate Agent. Accidentally hypnotized to experience an entire gestation every 24 hours.
* SAMUEL BRIARWOOD 65ish. Male. Owner of Briarwood Hotels and Collyn and Emerson’s potential client.
* PHILOMENA (PHIL) BRIARWOOD 33ish. Female. Sam’s niece. Sam is training her to take over Briarwood Hotels.
* HEGLUND Appears to be about 17. Male. He is a pizza delivery person and goes to high school with Rose.
* MIKE 45ish. Male. Married to Collyn. CPA.

Synopsis: In this fast-paced farce, Collyn and Emerson run a marketing firm but haven’t landed a major account. A dinner invitation is extended to a potentially lucrative client who’s in town for one night. However, Emerson’s husband, Ted, has been mistakenly hypnotized and now goes through an entire gestation period every 24 hours. To ensure a smooth evening, Collyn’s husband, Mike, takes Ted out for drinks. Emerson sequesters her daughter, Rose, in her room and enlists her mother, Marie, to serve dinner. She hires an actor, Will Branch, to play her husband. Everything goes according to plan until Ted shows up with an intoxicated Mike just before the clients arrive. Will Branch discovers he’s now Collyn’s fake husband, while Rose’s admirer desperately tries to ask her out with a message pizza and the client turns out to be Marie’s old flame. Then Ted goes into labor. Will they still get the account?

PLEASE NOTE:  ‘Bellevue Little Theatre does not discriminate, and auditions are open to all.

Something More Than Love

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Girl (Melissa King) encourages Guy (Jay Hanson) to sing in “Once” at Omaha Community Playhouse.

Girl finds Guy singing on the street and is impressed with his talent.  An instant friendship blossoms between them and Girl decides to help Guy record a demo and go to New York to fulfill his potential and possibly to avoid the love that is beginning to bloom between them.  This is Once with book by Enda Walsh and music and lyrics by Glen Hansard and Marketa Irglova.  It is based off the film of the same name and is playing at the Omaha Community Playhouse.

This is definitely an original musical.  It’s a shockingly simple tale that does have a bit of a twist on the usual love story.  There’s no sense of history to the two unnamed characters.  It’s as if the play knows it’s a play and the existence of these 2 people is limited solely to the duration of the show.  The music is the real centerpiece of the show as the songs often tell the story and reveal the emotions of the characters in lieu of dialogue which is surprisingly scant.  The music also has a power of its own as it brings the characters in this show closer together and breaks down barriers between them.  I thought not naming the two leads was a clever touch as it can either transmit a universal message or simply allow the audience to place himself or herself in the roles.

Kimberly Faith Hickman’s directing is quite lovely.  There’s a purity to the staging as it takes place in a bare bones stage designed by Jim Othuse.  It’s literally bare, dilapidated walls with a window looking out at a building.  Hickman makes good use of the performance space, well placing the actors so all can be seen even when the focus is on particular characters.  I also liked how she used placement to further the story.  For example, at one point when a wedge is driven between the two leads, they are literally separated as they take positions on opposite sides of the stage with the rest of the cast standing between them.  I also thought she charmed some sweet performances out of her leads and strong supporting performances from the ensemble.

The cast for this show is unique as they are also the orchestra.  This leads to an interesting casting challenge as one needs to find performers who can act, sing and play musical instruments.  That challenge is met fairly well in this production.  Under Jim Boggess’ direction, the orchestra provides a very moving score which is absolutely critical for this show as nearly every song carries a somber, emotional tone that needs to grab the viewer by the throat.  Boggess also has a very fine cameo performance as Eamo who runs the local recording studio.  Other strong supporting performances come from Joey Hartshorn, who has the most drawn out wishing of good luck imaginable in “Baruska’s Story”, and Thomas Gjere as an overly serious bank manager who secretly wishes to be a singer and gets his chance in the terrifically awful “Abandoned in Bandon”.

Melissa King is truly a triple threat in this show.  Her piano playing is heavenly.  Her alto is superb.  Her acting is spot on.  Heck, she even throws in a little impressive hoofing in “Ej Pada Pada”.  King’s performance as the serious Czech (because Czechs are always serious) Girl is simply a triumph and will assuredly make her a contender for some awards.  She’s got a vital spark of humor and playfulness about her as well as a very nurturing nature as she encourages Guy’s music.  This is a character who understands the meaning of sacrifice as she’s willing to give up a blossoming love with Guy to repair her own fractured family unit.  King will also melt the coldest of hearts with her singing, especially with her rendering of “Falling Slowly” and “The Hill”.

Jay Hanson acquits himself rather admirably in the role of Guy.  For a performer with no prior stage credits, Hanson has some excellent instincts.  He reacts very well and knows how to be in the moment.  Musically, he’s unbeatable.  Hanson is a top flight guitar player and singer who effortlessly picks apart the emotional beats of a song.  Whether he’s singing about a failed relationship in “Leave”, providing a bit of humor in “Broken Hearted Hoover Fixer Sucker Guy” or just dazzling you with “Gold” and “Sleeping”, Hanson provides an Epicurean delight for the ears.

Hanson did need to tighten his cues up and rushed his dialogue on some occasions.  You also felt his grip on the role tightening over the course of the play and he was finding some real gems in the words by the end.

Jim Othuse’s lights were simple, but effective as he used a spotlight to highlight the featured characters of a scene.  Amanda Fehlner’s costumes suited the characters from the inexpensive clothing of most of the poorer characters to the snazzy suit of the well to do bank manager.  Tim Burkhart and John Gibilisco provide some nice ambient sounds.  My personal favorite was a moment when Guy and Girl are at the docks and you hear the rolling waves and the call of seagulls.

Ultimately this is a story about pure love.  The love that is principle over passion.  The love that is unbreakable and forever.  The love that can say, “I let you go.”

Once plays at Omaha Community Playhouse through March 22.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.  Tickets start at $24 and can be purchased at the OCP Box Office, by phone at 402-553-0800 or online at www.omahaplayhouse.com.  Due to the use of strong language, parental discretion is advised.  The Omaha Community Playhouse is located at 6915 Cass Street in Omaha, NE.

Photo provided by Robertson Photography

‘Once’ Set to Open at Omaha Community Playhouse

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Melissa King and Jay Hanson star as Girl and Guy in “Once”

Omaha, Neb.–Once will open Friday, Feb. 28, 2020 at the Omaha Community Playhouse (OCP). The show will run in the Hawks Mainstage Theatre from Feb. 28 through March 22. Performances will be held Wednesdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m.

Tickets are on sale now starting at $24 for adults and $18 for students, with ticket prices varying by performance. Tickets may be purchased at the OCP Box Office, located at 6915 Cass Street, by phone at (402) 553-0800 or online at OmahaPlayhouse.com.

SHOW SYNOPSIS

Winner of eight Tony Awards® and based on the Oscar®-winning film, Once is the achingly beautiful tale of unexpected love between Guy, an Irish musician, and Girl, a Czech immigrant. The uplifting score—featuring the Academy Award®-winning single, “Falling Slowly,”—is performed entirely on stage, with the actors doubling as orchestra musicians. Equal parts touching and inspiring, Once reminds us of music’s unique ability to forge deep, unspoken connections in our lives.

Directed by:  Kimberly Faith Hickman

Cast

Nathaniel Belshan as Emcee

Jonathan Berger as Andrej

Jim Boggess as Eamon

Thomas Gjere as Bank Manager

Jay Hanson as Guy

Joey Hartshorn as Baruska

Ejanae Hume as Reza

Sean Johnson as Billy

Don Keelan-White as D.A.

Melissa King as Girl

Hannah McQuay-Ramsgard as Ex-Girlfriend

Jesse White as Svec

Anina Frey, Holly Hirsch and Brinlee Roeder as Ivonka

Photo provided by Colin Conces Photography

 

 

Rebel’s Heart

Rebel Randle P. McMurphy accepts a commitment to a mental ward to avoid a sentence to a work farm.  The charming ne’er-do-well quickly comes into conflict with Nurse Ratched, the dominating ruler of the ward.  His victories over the cold-hearted nurse begin to breathe new life into the ward, but when he learns his stay in the institution can be extended indefinitely, his personal war with Ratched takes on dire stakes where it becomes clear only one of them will be left standing.  This is One Flew Over the Cuckoo’s Nest by Dale Wasserman and based off Ken Kesey’s novel of the same name.  It is currently playing at Florence Community Theater.

I’ve always been a big admirer of this show, not only for the strong story and compelling characters, but for its themes of societal views on mental illness, what it means to really live life, the triumph of the underdog and the corruption of power, just to name a few.  The themes and characters of this show are brought to vibrant life by a colorful, energetic and mighty cast that came out with all guns a blazing with some storytelling that does extreme justice to this tale.

Neal Herring provides some superlative direction for this piece.  Doing double duty with set design, Herring stages the story in the unfriendly, starched white walls of the mental institution where the patients live a monotonous and controlled existence under the thumb of Nurse Ratched.  Herring utilizes the space quite well as each patient carves out his own little nook in the ward.  He’s also led his thespians to well-developed performances as all characters have their quirks and tics which wonderfully create this little slice of purgatory.

I applaud the ensemble for giving its all to the show.  Each and every one remained involved in the story and had mannerisms and/or reactions that told me something about them which helped to build this little world.  Some notable performances in the ensemble came from JJ Davis who seems to have had one shock treatment too many with his take on the hallucinating Martini and Jim Watson who gives a very empathetic performance as Dale Harding, the patient ward’s president who is wrestling with his own sexual identity.

Brian Henning gives quite a moving performance as Chief Bromden, the show’s narrator.  Henning has a wonderful gift for pantomime and some of the most expressive eyes I’ve ever seen on a performer.  His eyes often let me read his thoughts as Chief has buried his sense of identity so deeply that he rarely speaks (the narration is done via voiceover) and pretends to be deaf and dumb so he won’t have to react to anything around him.  It’s a joy to watch Henning’s Chief slowly blossom to life under the encouragement of McMurphy and his antics and his emotional breakdown during the play’s resolution is one of the finest heartbreaking moments I’ve seen in Omaha theatre.

I can’t say enough good things about David Frolio’s performance as Randle P. McMurphy.  It is a truly a nuanced, spellbinding interpretation and I foresee Frolio being in the running for some Best Actor prizes come awards season.  Frolio is just a force of nature.  He comes blowing into the asylum like a storm and is so animated and fun to watch.  His McMurphy is truly a rebel.  He cares little for rules and authority and loves to fight and f—k.  But he also has a heart of gold as he truly befriends the patients and fights for them even when he’s causing trouble for his own amusement.  Frolio carefully walks the line with McMurphy’s battles with Ratched as he expertly acts as the burr under her saddle while tempering his behavior so she is unable to counterattack with the resources at her disposal.  Frolio steadily builds and builds the tension until his McMurphy is finally forced to take drastic action when a beloved comrade falls victim in the war between he and Ratched.

Shelly Gushard gets an awful lot right with her take on Nurse Ratched.  Gushard’s Ratched is the god of this little world and woe betide any who thwart her commandments.  She’s also clearly the yang to McMurphy’s yin, not just in personality, but physicality as she is clearly the stronger of the two which added to her aura of power.

I liked how controlled she was and never allowed Ratched to get overly emotional.  With a look and a glare, Ratched is even able to cow and bend the asylum’s doctor to her steely will.  I also enjoyed how she would take little moments to exert control over her emotions when McMurphy pushed her buttons.  But I think she’s got the room to be even colder, downright frigid I dare say, which would well suit the machinelike Ratched who genuinely believes her routines and rules and morality will help cure the patients.

Tim Mantil gives an extremely moving performance as Billy Bibbit.  Mantil nails Billy’s shy nature with his soft-spokenness and believable, naturalistic stuttering.  He also brilliantly communicates Billy’s constant thoughts of suicide with his twitchy movements, distressed expressions and persistent touching of his bandaged wrists.  He just needs to be a little careful with his voice as it sometimes went into too high a register which made Billy seem more childish instead of childlike.

Cecelia Sass and Syrian Black did a pretty good job with the costumes from the classic nurse’s outfits to the T-shirts and dark sweats of the patients to McMurphy’s leather jacket and trademark hat.  I did think the costumes for McMurphy’s female friends could be a bit trashier as they seemed a little too elegantly garbed for the crowd he’d likely run with.  Derek Kowal and Stuart Anderson provided some lovely sounds for the show with ducks quacking during a morning sunrise to the ominous sounds of electro shock therapy when McMurphy and Chief are dragged away for treatment after a brawl with the orderlies.

It is a story of a battle of wills and this cast takes you on the emotional roller coaster ride of this slugfest with a strong, measured hand.  You’ll laugh.  You’ll cry.  You may even be in stunned silence at some moments.  But you’ll definitely be hooked from beginning to end.

One Flew Over the Cuckoo’s Nest runs at Florence Community Theater through Feb 23.  Showtimes will be Fri-Sat at 7pm and Sunday at 2pm.  Tickets cost $12 ($10 for TAG members/60+/groups of 8 or more).  For reservations, call 531-600-8634 or visit www.florencetheater.org.  Due to some strong language and sensitive subject matter, this show is not recommended for children.  Florence Community Theatre is located inside of Florence City Hall at 2864 State St in Omaha, NE.

Chanticleer Theatre Holding Auditions for ‘Joseph and the Amazing Technicolor Dreamcoat’

Auditions for the fourth production of the Chanticleer Community Theater 2019 – 2020 season, Joseph and the Amazing Technicolor Dreamcoat,  will be held on Monday March 2nd at 6:00 p.m. with callbacks scheduled for Saturday, March 7th at 7:00 p.m. Auditions will be held in the Hoff Arts and Cultural Center, 1001 South 6th Street, in Council Bluffs, IA. If you would like to audition but can’t make the March 2nd date please contact director Daena Schweiger at daena.schweiger@gmail.com.  An additional off-site date may be scheduled for auditions. Please check Chanticleer’s website or social media channels for audition site updates, or contact the director via email.

AUDITION MATERIAL

Please prepare 32 measures of music. An accompanist will be provided. Please bring sheet music to the audition – no acapella singing or singing with pre-recorded music will be allowed. Please be prepared to sing your song in a different style – (i.e. French, Country, Hip-Hop, Elvis, etc.)

We ask that you wear comfortable clothing and shoes as you will be asked to learn and perform a short dance routine in jazz style.

REHEARSAL SCHEDULE

Please bring a calendar to reference for rehearsal conflicts. Having conflicts will not necessarily preclude you from being cast but we need to know to plan schedules.  NOTE: There will be some weekend evening rehearsals in addition to weekday evening rehearsals. Rehearsals are tentatively scheduled to begin Saturday, March 21 in the evening and will be held in our new home at the Hoff Family Arts and Culture Center. Performance dates are May 15 – 24, 2020.

CASTING

The cast calls for both adult performers as well as youth and young adult performers (ages 7+). We would like our production to reflect the diversity of the world. As such, actors of all races, ethnicities, gender identifications and abilities are welcome and encouraged to audition. Actors with disabilities who need to request an accommodation needed to audition, please contact Bob Putnam, theater manager, at manager@chanticleertheater.com or daena.schweiger@gmail.com

SHOW SUMMARY

Told entirely through song with the help of a main character Narratorthe musical follows preferred son Joseph. After being sold into slavery by his brothers, he ingratiates himself with Egyptian noble Potiphar, but ends up in jail after refusing the amorous advances of Potiphar’s wife. While imprisoned, Joseph discovers his ability to interpret dreams, and he soon finds himself in front of the mighty but troubled, Elvis-inspired, Pharaoh. Joseph’s solution to Egypt’s famine elevates him to Pharaoh’s right-hand man and reunites him with his family.

CONTACT INFORMATION

Chanticleer:  712-890-5608

Email: chanticleertheater@gmail.com

Stage Director:  Daena Schweiger

Music Director: Todd Brooks

Choreographer: Julie Stanfill