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.

Pardon Me, Boys, is that the Murdering Choo-Choo?

A shady businessman is found murdered in his locked sleeping compartment on the Orient Express.  Will the famed Belgian detective, Hercule Poirot, be able to solve the mystery with his formidable “little gray cells” or has he finally met a killer too cunning for him?  Find out in Murder On the Orient Express adapted by Ken Ludwig from a novel written by Agatha Christie.  It is currently playing at the Bellevue Little Theatre.

It’s awfully hard to write about the plot without being too spoilery so I’ll simply say that Ludwig does an admirable job hitting the essential points of the classic mystery.  With his involvement, I was expecting more of a comedy, but Ludwig plays this script surprisingly straight, though he does leave room open for a bit of over the topness with some of the characters.  The mash-up of comedy and drama weaken the first act slightly, but he sticks the ending on the second act as he seems to have decided to be almost totally dramatic with that act.

Todd Uhrmacher provides a solid piece of direction for the production, handling the dual natures of comedy and drama in the first act quite well and excelling with the nearly purely dramatic second act.  I liked the staging of his show as he placed his actors well in the cramped confines of the train without the actors ever seeming bunched up or blocking each other.  Uhrmacher guided his actors to well-defined performances as each imbued a distinct character.

Some enjoyable performances were supplied by Michael Taylor-Stewart who comes off as somewhat off-kilter and creepy as the secretary of the murder victim and Gene Hinkle as the genial CEO of the company that owns the Orient Express.  But Jeff Garst deserves special notice for an exceptional performance as the conductor, Michel.  He gives Michel a very efficient nature and he nails a brief, heart-wrenching moment at the show’s finale.

Jon Flower is an extremely worthy Hercule Poirot.  He has a firm grip on the sleuth with a flawless Belgian accent, well communicating Poirot’s genius with his deductions, displaying a very gentlemanly and cultured nature, and demonstrating Poirot’s fastidious personality with the care he gives to Poirot’s signature moustache.  Flower also brings a certain weightiness to Poirot who has to wrestle with a choice between his devotion to the law and his dedication to justice which, for the first time in his career, may not be one and the same.

D. Laureen Pickle is utterly obnoxious as Mrs. Hubbard. Almost from the get-go one begins looking for a muzzle to clamp shut the mouth of the man-hungry, stuck-up, grating American snob. Pickle plays this character slightly over the top, but always keeps it in the realm of believability.  She also deftly handles the character’s more dramatic moments when certain secrets begin to come to light.

I don’t think Joey Lorincz could design a bad set even if he was working blindfolded.  He has created one of the most ambitious sets I’ve seen on the Bellevue stage with a three room revolving set that shows an elegant dining room, an office/rear of the train, and the tiny, sleeping compartments one would expect to find on a train.  Lorincz does double duty on lights which were also quite effective, especially the dark blue of the recalling of clues during the denouement.  Todd Urhmacher also pulls double duty with his designing of the costumes which evoke memories of the 1930s with the elegant dresses of the ladies and the snappy suits of the men and the classic conductor’s tunic for Michel.  My program lacked a credit for sound effects, but liked the sounds of the train whistle and the rumble of the wheels on the track.

I thought the pace of the first act could have had a snappier pace and there were a few moments when speaking actors were in darkness.  Volume and projection could have been a bit stronger on the parts of some of the actors and accents were a bit of a mixed bag.

Ultimately, this show is a very pleasant theatre experience with the combination of a faithful telling of a legendary mystery and compelling characters making for a respite from the real world for a few hours.

Murder On the Orient Express plays at Bellevue Little Theatre through Feb 2.  Showtimes are 7:30pm Fri-Sat and 2pm on Sundays.  Tickets cost $20 for adults, $18 for seniors, and $10 for students.  Tickets can be obtained at bellevuelittletheatre.weebly.com or calling 402-291-1554 during the hours of 10am-4pm Mon-Sat.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

It’s an ‘Everlasting’ Audition

Bellevue Little Theatre Presents Auditions for:

Tuck Everlasting

Location:  Central Elementary (510 W 22nd St in Bellevue, NE)

Dates:  December 15 and 16 at 7pm.  Callbacks on December 18

Director:  Suzanne Withem

Music Director:  Liz Stinman

Performance Dates:  March 13-29 (Fridays-Sundays)

Auditioners should prepare 16 to 32 bars of music (or about 1 minute of singing) that showcases your vocal and storytelling abilities. Please DO NOT choose a song from Tuck Everlasting. An accompanist will be provided. Please bring printed sheet music, double-sided, and in a three-ring binder. If your audition cut is two pages, single-sided and side-by-side in a three-ring binder is preferred. In addition, there will be a dance audition as well as scene work and reading from the script.

CAST REQUIREMENTS
WINNIE FOSTER – 11 years old
MOTHER – Winnie’s mother
NANA – Winnie’s grandmother
JESSE TUCK – the youngest of the Tuck family
MILES TUCK – Jesse’s older brother
MAE TUCK – Jesse’s mother
ANGUS TUCK – Jesse’s father
MAN IN THE YELLOW SUIT – a nefarious leader of a traveling carnival, in search of the fountain of youth
CONSTABLE JOE – head of the police force in Treegap
HUGO – Constable Joe’s sidekick and son
ENSEMBLE- performers ages 8 & up including 2 very strong dancers

BLT Wants You to Take Part in a Murder

Bellevue Little Theatre presents
Murder on the Orient Express Auditions

Sunday, November 3 @ 7:00 pm
Monday, November 4 @ 7:00 pm

Location:  Ralston Performing Arts Centre (8989 Park Dr in Ralston, NE)

Interested parties need only attend one day of auditions, so please feel free to select the date that is most convenient for you.  Actors will be asked to read from the script.  No prior work with the text is required.

Rehearsals will begin on November 17
Performance Dates: January 17 – February 2, 2020
Performances are Fri., Sat. evenings at 7:30 and Sunday afternoons at 2 pm.

Cast requirements are:
Number of male characters: 5
Number of female characters: 5

Hercule Poirot
Monsieur Bouc
Mary Debenham
Hector MacQueen
Michel the conductor
Princess Dragomiroff
Greta Ohlsson
Countess Andrenyi
Helen Hubbard
Colonel Arbuthnot
Samuel Ratchett (doubles with the Colonel)
Head Waiter (doubles with Michel)

Synopsis:
Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed a dozen times, his door locked from the inside. Isolated and with a killer in their midst, detective Hercule Poirot must identify the murderer – in case he or she decides to strike again.

Director: Todd Uhrmacher

Join ‘Our Town’ at BLT

BELLEVUE LITTLE THEATRE PRESENTS
OUR TOWN AUDITIONS

Monday, September 16 @ 7:00 pm – Adult Roles Only
Tuesday, September 17 @ 6:30 pm – Youth Roles Only
Tuesday, September 17 @ 7:30 pm – Adult Roles Only

Location:  203 W Mission Road, Bellevue, NE

Cast requirements are:
* 9 men–2 appearing age 16—19
* 6 women–2 appearing 16—19
* 2 either men or women
* 2 boys appearing age 11—14
* 1 girl appearing 12—13
* 1 girl or boy from 8–12

Interested parties need only attend one day of auditions, so please feel free to select the date that is most convenient for you.

Auditions will consist of reading from the script. No preparation is needed.

Callbacks: Wednesday, September 18
Rehearsals will begin on September 21
Performance Dates: November 8-24
Performances are Fri., Sat. evenings at 7:30 and Sunday afternoons at 2 pm.

Questions? Marya Lucca-Thyberg will direct the production. For information contact the director by email at luccathyberg@yahoo.com

Our Town is a 1938 metatheatrical three-act play by American playwright Thornton Wilder. It tells the story of the fictional American small town of Grover’s Corners between 1901 and 1913 through the everyday lives of its citizens.
Throughout, Wilder uses metatheatrical devices, setting the play in the actual theatre where it is being performed. The main character is the stage manager of the theatre who directly addresses the audience, brings in guest lecturers, fields questions from the audience, and fills in playing some of the roles. The play is performed without a set on a mostly bare stage. With a few exceptions, the actors mime actions without the use of props.

The Bellevue Little Theatre is an all volunteer organization.  As such, we maintain an ‘equal opportunity’ policy for volunteer recruitment of both board and all production and onstage positions. Auditions are always open to the general public with the same ‘equal opportunity’ policy observed.  All roles are open, with the exception of an occasional role which will be precast.  Inf this is the case it will always be noted in the audition notice.

Charming ‘Catch’ Could Use a Charge

At sixteen, Frank Abagnale, Jr. began the path to becoming one of the greatest con men of all time.  Posing as a pilot, a doctor, and a lawyer, he bilked the country out of nearly $2,000,000.  Finally cornered by the dogged FBI agent determined to capture him, Abagnale decides to tell (and sing) his story in Catch Me If You Can:  The Musical by Terrence McNally with music by Marc Shaiman and lyrics by Marc Shaiman and Scott Wittman.  It is currently playing at the Bellevue Little Theatre.

McNally’s script is a mixed bag.  It does a fine job of highlighting Abagnale’s life and his most notable impostures and I think sharing this might have been enough as his life had enough drama and natural humor for a great story.  Where the script falters is when it tries to needlessly force humor into the story such as making the FBI agents with the exception of Hanratty seem like inept fools.  Kudos to Matt Karasek, Randy Wallace, and Jackson Hal Cottrell for a superb job of playing the characters as written.

D. Laureen Pickle does an admirable job of directing this piece. The staging is well done, seeming more like a sixties sitcom and full performance space is used in telling this story. She found some great beats to add some heart to this story especially in the conversations between Abagnale and his father and she has guided her actors to solid and moving performances.

The ensemble does fine work supporting this story as they were clearly enjoying themselves and really helped to flesh out crowd scenes and provide some snappy dancing courtesy of inventive choreography provided by Kerri Jo Watts and Eastin Yates.  That being said, I did note a couple of points where the execution of the dancing needed to be a bit cleaner.

Some great supporting performances are provided by Kevin Olsen as Frank Abagnale, Sr. who was a minor league con man that taught Junior everything he needed to know about running a scam.  Olsen’s Abagnale, Sr. is quite pitiable as the purpose for his cons is simply to provide a better life for his family, though he does seem to derive a pleasure out of outsmarting the government.  Heather Wilhem is marvelously entertaining as an Atlanta housewife who is quite taken with the smooth Abagnale, Jr. who wishes to marry her daughter.

Thomas Stoysich gives a rather entertaining performance as Frank Abagnale, Jr.  He is a very likable and charming person and these traits are crucial to being a good con artist.  Stoysich is so darn likable that you don’t want to believe that he’s really a crook.  Stoysich also adds a remarkable emotional depth to the performance as he portrays Abagnale’s con artistry as a compulsion.  He can’t seem to help himself.  Stoysich does good work in showing the three reasons why Abagnale does what he does:  1.  He’s trying to survive.  2.  He hopes to earn enough to reunite his broken family.  3.  It’s fun.

Stoysich also has a very pleasant tenor voice which was well utilized in “Live in Living Color” and his attempt to end Abagnale’s story prematurely in “Goodbye”.

Eric Micks is rock solid as Carl Hanratty, Abagnale’s determined pursuer.  This is a man who is completely dedicated to his job and that came at the cost of his own family.  Micks gives Hanratty intelligence and tenacity, but he also gives him a haunting loneliness.  The job is all he has, even spending the holidays by himself except for an annual phone call from Abagnale with whom he shares a sort of friendship in spite of their adversarial relationship.  Micks also possesses a fine baritone shown when he tries to discover “The Man Inside the Clues” as he investigates the crimes of Abagnale.

Chris Ebke and his orchestra do justice to the score of the show with an energetic performance.  Nancy Buennemeyer’s costumes suit the sixties settings especially with the pilot and flight attendant uniforms of the time as well as the elegant clothes for Abagnale and the rumpled suit for Hanratty.  Joey Lorincz does it again with another stellar set with a stairway lit by runner lights and a pair of revolving doors for speedy entrances and exits while locales are projected behind the stairs.

This show badly needed doses of energy and volume last night.  The volume was especially important with the orchestra situated behind the cast as I lost bits of dialogue at various points.  There also seemed to be something up with the microphones as they didn’t seem to work except for a brief burst towards the end of Act I.  Part of the energy issue came from an audience not giving the cast much to work with.  In a show like this, the cast needs the fuel supplied by a lively crowd to further heighten their own performances.  Cue pickups could also be tightened to help the energy.

When all is said and done Catch Me If You Can is a slightly surreal telling of Abagnale’s story.  It’s got the potential to be a great crowd pleaser thanks to a talented crew and a spritely orchestra and a “Strange But True” story.

Catch Me If You Can:  The Musical plays at Bellevue Little Theatre through Sept 29.  Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $20 for adults, $18 for seniors, and $10 for students.  Tickets can be obtained at bellevuelittletheatre.weebly.com or calling 402-291-1554.  Some discretion is advised due to some strong language and suggestive moments.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

BLT Holding Auditions for Season Opener ‘Catch Me If You Can”

Bellevue Little Theatre Presents
Catch Me If You Can Auditions

Saturday, June 29 @ 2:00 pm
Sunday, June 30 @ 6:00 pm

Location:  203 W Mission Ave in Bellevue, NE

A cast of 20-23 adults, male and female, ages 16-70 is needed for this production.

Interested parties need only attend one day of auditions, so please feel free to select the date that is most convenient for you.

Those auditioning are asked to prepare 16-32 bars of music WITH printed accompaniment – no a cappella, please.  An accompanist will be provided. There will be a dance audition, so those auditioning are asked to wear/bring appropriate clothing and shoes.

Callbacks: Saturday, July 6
Rehearsals will begin on Sunday, July 14
Performance Dates: September 13-29
Performances are Fri., Sat. evenings at 7:30 and Sunday afternoons at 2 pm.

Questions? Please text the Director at 402-681-9785

D. Laureen Pickle will be the stage director, with music direction by Chris Ebke, choreography by Kerri Jo Richardson-Watts, and stage management by Melissa Carnahan.

Bellevue Little Theater is delighted to open its 51st season with the  musical Catch Me If You Can, based on the real life adventures of con artist Frank Abagnale, Jr.   Based on the incredible true story, Catch Me If You Can is the high-flying musical comedy about chasing your dreams and not getting caught. Nominated for four Tony awards, including Best Musical, this delightfully entertaining show was created by a Tony Award-winning “dream team,” with a book by Terrence McNally (The Full Monty, Ragtime) and a swinging score by Marc Shaiman and Scott Wittman (Hairspray).

Seeking fame and fortune, precocious teenager, Frank Abagnale, Jr., runs away from home to begin an unforgettable adventure. With nothing more than his boyish charm, a big imagination and millions of dollars in forged checks, Frank successfully poses as a pilot, a doctor and a lawyer – living the high life and winning the girl of his dreams. When Frank’s lies catch the attention of FBI agent, Carl Hanratty, though, Carl pursues Frank across the country to make him pay for his crimes.

 

The Bellevue Little Theatre, an all volunteer organization, maintains an “equal opportunity” policy for volunteer recruitment of both board and production positions. Auditions are open to the general public, with the same “equal opportunity” policy. All roles are open for audition except an occasional role is precast and is so noted in the audition notice.