Tag Archives: comedy

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‘The Marriage of Figaro’ Closes Opera Omaha’s Season

Omaha, NE. – Opera Omaha will conclude its 2022-2023 Mainstage Season with a production of Mozart’s The Marriage of Figaro.

The Marriage of Figaro is beloved, one of the world’s most popular and frequently performed operas. Mix-ups, mistaken identities, and secrets fly fast through this iconic tale of love, seduction, and guile. Omaha favorites conductor Steven White (Eugene Onegin, Opera Under the Stars, Faust) and director Dean Anthony (Opera Under the Stars) will join forces once again to lead a stunning cast including Sidney Outlaw in his Opera Omaha debut as Figaro, with Vanessa Becerra (Les Enfants Terribles, Medea) as Susanna, his betrothed.

Friday, March 31, 2023 | 7:30 pm Sunday, April 2, 2023 | 2:00 pm

CREDITS

Music by Wolfgang Amadeus Mozart

Libretto by Lorenzo Da Ponte

CONDUCTOR | Steven White
DIRECTOR | Dean Anthony

CAST

Figaro | Sidney Outlaw*

Susanna | Vanessa Becerra

Count Almaviva | Michael Adams

Countess Almaviva | Mary Feminear

Cherubino | Kristen Choi

Marcellina | Victoria Livengood

Dr. Bartolo | Rod Nelman

Don Basilio/Don Curzio | Graham Brooks*

Antonio | Matthew Sommer

Barbarina | Karina Brazas

*Opera Omaha Debut

TICKETS AND INFORMATION

Single tickets for Opera Omaha’s 2022/23 Season are priced from $19 to $99.

Visit www.ticketomaha.com for further details or call Ticket Omaha’s Box Office at (402) 345-0606. Ticket Omaha’s Box Office is open Monday through Friday 10 a.m.–5 p.m.

Opera Omaha performances are held at the Orpheum Theater located at 409 S. 16th Street.

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It May be Wrong, But It’s So, So Right

It’s the actor’s nightmare brought to grand and glorious life when everything that can go wrong does in a murder mystery play produced by a local theatre group.  It’s The Play That Goes Wrong and it is currently playing at Springfield Little Theatre.

I can’t remember the last time that I so looked forward to writing a review.  This, unarguably, is the best comedy I have ever seen.  The idea of a play going haywire is not an original idea, but the script of Henry Lewis, Jonathan Sayer, and Henry Shields raises the idea to an art form.  Poorly constructed sets, botched dialogue, godawful acting, inept stage management, and a useless crew are just some of the antics you’re going to see in this play about a play.  I seldom saw the punchlines coming which allowed me to laugh like a hyena and the antics of the cast prompted numerous ovations throughout the night.

Beth Domann and Marni Erwin bring an incredible pair of hands to the direction of this piece.  Farce is never easy and there is a real skill to making a show look bad intentionally, yet still feel natural and spontaneous. These two directors pull it off with flying colors.  They plotted some fantastic sight gags, kept the pace fast and furious, and led their actors to the best “bad” performances I’ve yet seen.  And their staging. . .well, you’ll have to see it for yourself, but I will say the show starts much, much sooner than you think.

It takes really good actors to come off as really bad actors and this show is crammed with that necessary talent from top to bottom.  Some of the gutbusting performances you’re going to see come from Matt Winston as an utterly inept light & sound operator constantly in search for his Duran Duran CD.  Sarah McQuiggan is hilarious as the stage manager turned understudy who shows she’s just as talented as the leading lady (trust me, it’s a low bar).  Corey Kilburn supplies great pantomime as the corpse of the show.

Jamie Bower gives a howling good performance as Thomas Colleymoore.  Bower’s Colleymoore gives a performance so over the top it makes a soap opera seem realistic.  He is also a master of physical comedy as he performs virtual gymnastics for some of his sight gags and I never knew a spit take could have so many different variations until watching Bower in action.

Joshua David Smith is every director’s worst nightmare as Perkins, the butler.  Perkins is the actor guaranteed to make directors and fellow actors grind their collective teeth.  As Perkins, Smith mispronounces words, hardly varies his delivery, and effortlessly loses his place in the script which makes you wonder why he wasn’t run out of town on a rail.

Rachael Arp reaches new highs in lows as the leading lady, Florence Colleymoore.  Not only is she a poor performer with her ridiculous histrionics, but she is also a scene stealer par excellence with her constant pirouetting and frozen stances.  Arp is pretty impressive in the physical comedic arts as well as she takes a door to the face like few can and her prolonged brawl with McQuiggan’s Annie over who gets to play the leading lady is one of the best bits I’ve seen conjured on stage.

Clayton Avery matches his leading lady step for step with his own lousy chops as Cecil Haversham.  His delivery is not only volcanically over the top, but he manages to match that delivery with gestures and movements that are so enormous, a blind man could see them.  Avery actually does double duty in a sense as he also plays the gardener, Arthur, but it’s not actually double duty since his character plays both roles exactly the same with only a change of costume to delineate them.

Seth White’s bad acting as Inspector Carter is topped only by his bad directing.  To be fair, Carter’s acting is passable since he, at least, knows his lines, but when you realize that he staged and guided this monstrosity, you wish he would stick to acting since he does less damage in that regard.  Still, you have to admire his honesty because, in his “real” self of Chris Bean, he is rather open about the deficiencies in his troupe.

Keith Nisbett’s set is quite elegant and comes off as a proper manor with its gigantic window, mantlepieceless fireplace, fine bookcase, and impressive upstairs study.  But its functionality is the key to this show as the set becomes a character of its own and, believe me, it’s just as, ahem, “talented” as the cast of the murder mystery play.  Kaley Jackson’s costumes are right on the mark as they have the look of the turn of the century with the hunting wear of Colleymoore, the dressing gown of the corpse, and the lovely red dress of the leading lady.  Jamie Bower pulls double duty with lighting and sound design and excels on both with ringing telephones, unexpected Duran Duran music, and the red lights for the “dun dun dun” moments.

If you’re looking for a show to forget your troubles for a spell, this is it.  You’ll laugh until your sides ache with the best botched performances you’re apt to see.  Get a ticket if you still can because I imagine the sellouts are coming quick for this one.

The Play That Goes Wrong runs at Springfield Little Theatre through March 19.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets range from $17-$37. For tickets, visit http://www.springfieldlittletheatre.org or call the Box Office at 417-869-1334.  Springfield Little Theatre is located at 311 E Walnut St in Springfield, MO.

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Pugilistic Playwrights

Nick Bottom has hit, well, bottom.  Unable to write a hit play and deep in debt, he discovers he and his wife are about to have a baby.  Desperate to achieve success he consults a soothsayer to discover the next great thing in theatre and Shakespeare’s greatest play (so he can get one over on his hated rival).  However, Bottom is going to discover that you can’t make an omelet without breaking a few eggs.  This is Something Rotten! and it is playing at Topeka Civic Theatre.

This seems to be my season for serendipitous discoveries.  For the second time this year, I discovered a theatre doing a show that caught my fancy while en route to another assignment and managed to squeeze in an extra review.  And, for the second time, I found myself having a marvelous time.

Shannon J. Reilly really gets this show.  He has a good grip on the show’s disparate elements and blends them together well.  Reilly knows when to lean into the absurdity and when to treat the show with heart attack seriousness.  He stages the show very simply as he focuses on the storytelling and uses a backdrop and a few simple set pieces (designed by Bryce Korf) to help enhance it.  Reilly has also had his actors create some truly delightful characters destined to leave their mark on your memories.

Some of the memorable performances in the supporting cast come from Bruce Smith who brings a childlike excitement to Shylock, the Jewish moneylender who is tickled pink to finally be part of theatre (in the form of his financial support).  Jayme Green makes for a fine Minstrel as he frames the show’s two acts for the audience.  Jaryl Perkins is outstanding as Brother Jeremiah whose overenunciating prudishness seems to barely mask his own sexual appetites.

Bethany Ayers nearly steals the show with her rendition of Portia, the daughter of Brother Jeremiah with a love for poetry.  Ayers’ Portia is a combination of Melissa Rauch and Carol Kane and she has comedic timing that can’t be taught.  Whether she’s getting soused at a party or waiting the precise number of beats for a humorous farewell, Ayers had the crowd laughing heartily at her wit and antics.  She also has a beautiful singing voice with “We See the Light” and “I Love the Way” being particular standouts.

Brett Broadbent makes his Nigel Bottom a bashful milquetoast at the top of the show, but his performance really begins to soar in Act II when the bashfulness gives way to his gentleness.  Broadbent just shines in the show’s quieter and sweeter moments and he has a wonderful tenor and falsetto.  His solo performance in to “To Thine Own Self Be True” is a bit of musical mastery.

Adam Groves is a cocky prick as William Shakespeare.  Shakespeare was a rock star of his era and this show takes that idiom literally as Shakespeare behaves and is adored as a rock star.  Groves comes off as a hybrid of David Bowie and Mick Jagger as he gyrates and heats up the audience with his poetry.  Groves’ Shakespeare isn’t afraid to take a few shortcuts to success as he enjoys the fruits of fame more than the work of fame.  Groves also has a blistering rock tenor which he uses well in “Will Power” and “Hard to Be the Bard”.

Daniel Kooser gives a superlative performance as Nick Bottom.  Kooser understands Bottom’s multifaceted nature and is able to project his decency, his frustrations, his fears, and his regrets.  His delivery is extremely extemporaneous and he has a gift for nimble wordplay.  Kooser also easily transitions from one emotional beat to another.  His hallmark moment is “Bottom’s Going to Be on Top” where he not only croons a fine tune, but engages in an epic tap and verbal joust with Shakespeare.

I enjoyed the period correct costumes of Chelle Decker which were replete with jerkins, tights, cod pieces, and billowing dresses.  Marilyn Foree and her orchestra hit all the right notes (pun intended) of the score and were epic and intimate as the need arose.  Kristin Ross has some fairly effective choreography with the tap battle in “Bottom’s Going to Be on Top” and the sweeping “A Musical” and “We See the Light” being the top moments.  Lauren McCauley-Jones has some nice lighting moments with the rock concert feel of “Will Power” being my favorite.

Act I seemed to suffer from a bit of the Thursday doldrums and needed a bit more energy at some points.  That being said, they found their full groove in Act II and came out swinging.  Some of the dancing also needed to be a bit cleaner.

Something Rotten! is one of the hottest musicals making the rounds on the regional/community theatre circuit. It has great songs and a story that’s meta (the show is aware that it’s a musical), but also funny, sweet, and a little bit dramatic.  Add a director and cast that understands this and you have the recipe for an amusing night of theatre like the one waiting for you in Topeka Civic Theatre’s production.

Something Rotten! runs at Topeka Civic Theatre through April 1.  Showtimes are Thursdays at 7pm, Fri-Sat at 7:30pm, and Sundays at 2pm.  Tickets cost $25 ($46.50 for dinner option on Fri-Sat and $40.50 for Sunday brunch) and can be purchased at www.topekacivictheatre.com.  Topeka Civic Theatre is located at 3028 SW 8th Ave in Topeka, KS.

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Theatre Lawrence Announces 2023-2024 Season

Theatre Lawrence Proudly Announces 2023-2024 Season

CROWNS

Adapted by Regina Taylor from a book of the same name

A moving and celebratory musical play in which hats become a springboard for an exploration of black history and identity. In the show, a young black woman comes to stay with relatives after her brother is killed.  Weaving together faith, fashion and family, CROWNS traces the tradition of hats back to African rituals and forward to current fashion. Filled with gospel music and a little rap, the show pulses with energy and was hailed by the New York Times as “a show that seems to arise out of spontaneous combustion…”

SEPTEMBER 22, 23, 24 ; 28, 29, 30 |  OCTOBER 1

THE ROCKY HORROR SHOW

Book, Music and Lyrics by Richard O’Brien  

The original kitsch rock ‘n’ roll sci-fi gothic musical returns!  The cult classic deals with mutating identity and time warps, as innocents Brad and Janet meet a houseful of wild characters as they sing and dance their way to Frank-N-Furter’s latest creation.

OCTOBER 26, 27, 28

A CHRISTMAS STORY, THE MUSICAL

Book by Joseph Robinette | Music and lyrics by Benj Pask and Justin Paul

Based on the Warner Brothers movie and the book by Jean Shepherd  

The perennial Christmas favorite! Set in the 1940’s, the musical follows 9-year-old Ralphie Parker and his quest for the Holy Grail of Christmas gifts—an Official Red Ryder BB gun. Watch for the tongue stuck to the flagpole; the snowsuit; the bullies, the leg lamp award; the bunny suit; the Christmas dinner, and other iconic moments.

DECEMBER 1, 2, 3; 7, 8, 9, 10; 14, 15, 16, 17

DEAD MAN’S CELL PHONE

A dramatic comedy by Sarah Ruhl

An incessantly ringing cell phone in a quiet café. A stranger at the next table who has had enough. And a dead man – with a lot of loose ends. `A wildly imaginative new story about how we memorialize the dead – and how that remembering changes us, as we confront assumptions about morality, redemption, and the need to connect in a technologically obsessed world

JANUARY 19, 20, 21; 25, 26, 27, 28

AGATHA CHRISTIE’S A MURDER IS ANNOUNCED

A mystery by Agatha Christie | Adapted by Leslie Darbon

An announcement in the local paper states the time and place of an imminent murder.  When an unknown visitor to Miss Blacklock’s Victorian home dies under the prescribed circumstances, Miss Marple turns up to solve the case in a classic Christie puzzle of mixed motives, concealed identities, twists and turns.

MARCH 1, 2, 3; 7, 8, 9, 10

I HATE HAMLET

A comedy by Paul Rudnick    

A young and successful television actor relocates to New York where he is offered the opportunity to play Hamlet onstage. The problem: He Hates Hamlet. His dilemma deepens with the entrance of John Barrymore’s ghost, who arrives intoxicated and in full costume to the apartment that once was his. The contrast between the two actors leads to a wildly funny duel over women, art, success, duty, television, and the apartment. 

APRIL 19, 20, 21; 25, 26, 27, 28

FIDDLER ON THE ROOF

Book by Joseph Stein | Music by Jerry Bock | Lyrics by Sheldon Harnick

A musical theatre tradition! This is a tale of Tevye and his family in a changing Russia. The plight of traditional values in the face of changing social mores and ethnic prejudice cuts across barriers of race, class, nationality and religion to touch audiences on a universal level with laughter, sadness and joy.

JUNE 7, 8, 9; 13, 14, 15, 16; 20, 21, 22, 23  

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Bellevue Little Theatre Announces Auditions for ‘Girls Weekend’

Bellevue Little Theatre Proudly Announces Auditions for:

Girls Weekend

Auditions will be February 26 & 27 at 7:00pm
Both nights at Bellevue Dance Academy (2264 Franklin St, Bellevue, NE)
Callbacks may take place on February 28​
Production will run weekends May 5-21
​Rehearsals to start in March

Click here for audition form. Please bring it with you to the audition.

Synopsis

​In this lightning-quick farce, four women travel to Dot’s Northwoods cabin to consume copious amounts of wine, laugh at their lives, trade stories and chat about their book club’s latest selection. However, after the third case of wine comes through the door, it becomes clear there will be more stewing than reviewing. Carol, who is monitoring her temperature for the best “window of opportunity” to get pregnant, gets a ride to the cabin from her husband, Rick, who is hoping the “time is right” for a quick tryst. She sends him home, frustrated, in a snowstorm, only to discover that her temperature shows she IS ready, and calls him to drive back and hide out in a shed until she can sneak him in with a special porchlight signal. Meg, recently widowed, is having a secret affair with Dot’s son, only to find he has shown up at the cabin unexpectedly and wants to further their relationship in stealth. Meg sends him to hide in a boathouse until he sees her special porchlight signal and the coast is clear to rejoin her in the cabin. Ellie, the youngest and Meg’s daughter, would rather not be a part of the weekend with her “elders” and meets a young townie, inviting him to hide out in a barn. When he sees her special porchlight signal, he climbs into her bedroom window and sneaks her out to a local bar after the other ladies retire. The only obstacle to each of the ladies’ secret endeavors is Dot, who wants to stay up all night and party with the girls. So they make sure they ply her with plenty of party favors, and Dot proceeds to pass out. The ladies move Dot’s lifeless body from floor to closet to room, as the bottles tip up, the secrets spill out and the men sneak in. The madcap, door-slamming chaos comes to a head when Dot wakes up and discovers her girls’ weekend is full of men!

Roles

Dot: 50-60 something. Orchestrates the weekend. Has a 30-something year old son, Stephen
Meg: 40s. Dating Stephen. has a 20-something year old daughter, Ellie
Carol: 30s. Trying to have a baby with her husband, Rick
Ellie: 20s. Single. Free spirit. Doesn’t really want to be there
Stephen: 30s. Dot’s son. In a relationship with Meg
Rick: 30s. Carol’s Husband
Sheriff Tom Lane: 30s. Divorced. Newly elected
​Bubba: 20s. Townie. Went to college with Ellie. Currently working for his dad.

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Godspellbinding

Billy McGuigan stars as Jesus in “Godspell”

Experience the teachings of Jesus and His sacrifice as told by the Gospel of Matthew in Godspell which is currently playing at Benson Theatre under the auspices of Rave On Productions.

In a sense this show marks the full circle of my theatrical life as this was the first show that made me aware of theatre waaaaay back when I was in the third grade and we listened to “Day by Day”.  However, this was my first time actually seeing the production.

I was very glad to see Rave On tackle a show outside of their usual métier and they passed the challenge with flying colors.  This show is a load of fun due to an incredibly talented cast and deft handling of Stephen Schwartz’s score.

The actual script is surprisingly simple.  There’s very little originality in the dialogue as it’s a nearly verbatim lifting of the Gospel of Matthew.  The originality comes in the handling of the dialogue and the music (many tunes were actual hymns) and that’s where the show’s strength lies. 

Many varied styles of storytelling are utilized in the production:  spoken word, pantomime, charades, vaudeville, even a bit of performance art and it all makes the words of the Gospel come alive.  Matthew McGuigan’s musical direction is especially superb as he brought many genres into the music from Gospel to rock to a bit of blues and jazz and even adult contemporary.  Yet he still gives it a flavor as if the music were just written today.

Kimberly Faith Hickman is a triple threat for this production as she not only directed and choregraphed the piece, but she also designed the costumes for the actors. 

As director, Hickman does no wrong.  The actors are always lively and energetic and each story has its own unique flavor.  She well guides the ensemble who often have to play many different roles and each one is unique and well-defined.  Hickman also handles the more emotional scenes, especially Jesus’ Passion, with power and grace.

As choreographer, the numbers each have their own indelible mark.  Whether from the purely fun vaudevillian dancing of Jesus and a follower in “All for the Best” to the use of flashlights and arms in a most literal kind of line dancing in “Light of the World” to the spontaneous freestyle of “We Beseech Thee”, each number is just as much fun to watch as it is to listen to.

As costumer, the costumes are very casual and bring the characters into the modern times though some have a definite taste of the show’s 1970s roots with the vests.

The show has a strong ensemble which features powerful performances and singing from Jonathan Berger who does double duty as a jubilant John the Baptist preparing the way of the Lord and a tragic Judas who calmly offers to betray Jesus, yet has a moment where he nearly reconsiders that’s going to punch you in the gut.  Megan Berger can belt a song like few can and gets the freight train rolling in “Tower of Babble”.  Brittney Thompson nails the show’s signature number “Day by Day” with a light bluesy interpretation with a voice as soothing as running waters.

The bulk of this show lies on the shoulders of the actor playing Jesus and Billy McGuigan proves he’s as formidable an actor as he is a musician as he turns in a performance likely to have him in the mix for Best Actor in a Musical at next year’s OEAs.  His energy and versatility are astonishing as he can be light and amusing in one moment and then tell a simple story in the next.  But his best moments are his dramatic ones in Act II as Jesus’ death draws near.  His simple, clean request to the Father to avoid death will melt your heart.  His refusal to succumb to Satan’s temptations are fused with a desperation to hold onto God’s truths in Jesus’ darkest hour.  And his agony on the cross will silence you with its sadness.

If you’re a person of faith, you’re apt to find this show wonderfully worshipful.  If you’re not, I’m betting you’ll really reflect on this show’s message as you’re being entertained.

Godspell runs at Benson Theatre through Feb 26.  Showtimes are 7:30pm Fri-Sat and 2pm on Sundays.  Tickets start at $35 and can be purchased here.  Benson Theatre is located at 6054 Maple St in Omaha, NE.

Photo provided by Rave On Productions

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Maples Repertory Theatre Announces 2023 Auditions

Macon, MO—Maples Repertory Theatre announces auditions for its 20th season: Season of Memories. This season’s shows consists of some of the biggest hits in Maple Rep’s history. They include:

BIG RIVER    June 14-July 9, 2023

DRIVING MISS DAISY    June 23- July 22, 2023

MAMMA MIA!    July 19-Aug 6, 2023

THE CHURCH BASEMENT LADIES    Sept 27-Oct 15, 2023

BAREFOOT IN THE PARK    Nov 3-12, 2023

SORRY! WRONG CHIMNEY!    Nov 29-Dec 10, 2023

Audition opportunities are as follows:

  • 2023 UPTA; Memphis, TN  February 3 – 6.
  • 2023 Open Audition at Royal Theatre;  102 N. Rubey St.;  Macon, MO- Date TBD
    102 N Rubey Street, Macon MO 63552
    Please prepare one song and one comedic monologue. Accompanist provided.
    Email todd@maplesrep.com to schedule a 10-minute audition slot and with any questions. Walk-in’s welcome. We will see both Equity and Non-Equity.
  • 2023 Auditions in Kansas City- Date TBD
    Please prepare one song and one comedic monologue. Accompanist provided.
  • 2023 SETC in Memphis, TN; March 1-5

For audition appointment or to submit electronically, email todd@maplesrep.com to schedule a 10-minute audition slot and with any questions. Walk-in’s welcome. We will see both Equity and Non-Equity.

Note: If there is inclement weather, auditions may be postponed. Please double check by calling the box office (660-385-2924) or visiting our Facebook page on the day you plan to audition.

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Arrow Rock Lyceum Theatre Announces 2023 Auditions

Arrow Rock, MO–Local auditions, held at the Lyceum Theatre in Arrow Rock, will take place on Thursday, February 23 and Friday, February 24 from 11AM-6PM. Please email headshots and resumes and audition time preference to casting@lyceumtheatre.org. No phone calls please. All auditions are by appointment only. Please prepare 16 bars of 2 contrasting songs or a brief monologue. An accompanist will be provided. All levels of experience are welcome. A Lyceum representative will be in touch to confirm your time slot. We are not accepting video auditions at this time.

Equity Principal Audition (EPA) Procedures are in effect for this audition. An Equity Monitor will not be provided. The producer will run all aspects of this audition. The Lyceum is committed to diversity and encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend.

New York Casting will be handled by Jason Styres, THE CASTING COLLABORATIVE.

2023 Season

The Addams Family
June 9-23

BOOK BY MARSHALL BRICKMAN AND RICK ELICE
MUSIC AND LYRICS BY ANDREW LIPPA
BASED ON CHARACTERS CREATED BY CHARLES ADDAMS

They’re creepy and they’re kooky, mysterious, and spooky—and now they are the stars of a hilariously ghoulish musical! Storm clouds are gathering over the Addams family’s mansion as Gomez faces every father’s nightmare: his daughter, Wednesday, the ultimate princess of darkness, has fallen in love with a sweet, smart young man from a respectable family. And if that wasn’t upsetting enough, Gomez must do something he’s never done before– keep the secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents. One thing is certain: the Addams family will never be the same.

Beautiful–The Carole King Musical
June 30-July 9

BOOK BY DOUGLAS MCGRATH
WORDS AND MUSIC BY GERRY GOFFIN & CAROLE KING, BARRY MANN & CYNTHIA WEIL
MUSIC BY ARRANGEMENT WITH SONY/ATV MUSIC PUBLISHING
ORCHESTRATIONS, VOCAL AND INCIDENTAL MUSIC ARRANGEMENTS STEVE SIDWELL
ORIGINALLY PRODUCED ON BROADWAY BY PAUL BLAKE, SONY/ATV MUSIC PUBLISHING, MIKE BOSNER

Before she was hit-maker Carole King — she was Carole Klein, a spunky, young songwriter from Brooklyn with a unique voice. Beautiful tells the inspiring true story of one woman’s remarkable journey from teenage songwriter to the Rock & Roll Hall of Fame. From the string of pop classics Carole King wrote for the biggest acts in music, to her own life-changing, chart-busting success, Beautiful takes you back to where it all began—and takes you on the ride of a lifetime. Featuring over two dozen pop classics, including “You’ve Got a Friend,” “One Fine Day,” “Up on the Roof,” “You’ve Lost That Lovin’ Feeling,” “Will You Love Me Tomorrow,” and “Natural Woman,” this crowd-pleasing international phenomenon is filled with the songs you remember—and the story you’ll never forget.

State Fair
July 21-30

MUSIC BY RICHARD RODGERS
LYRICS BY OSCAR HAMMERSTEIN II
BOOK BY TOM BRIGGS AND LOUIS MATTIOLI
BASED ON THE SCREENPLAY BY OSCAR HAMMERSTEIN II AND THE NOVEL BY PHIL STONG

Rodgers & Hammerstein’s only musical written directly for the screen is now a Broadway musical! Set against the colorful backdrop of an American heartland tradition, State Fair travels with the Frake family as they leave behind the routine of the farm for three days of adventure at the annual Iowa State Fair. Mom and Pop have their hearts set on blue ribbons, while their children Margy and Wayne find romance and heartbreak on the midway. Set to the magical strains of an Academy Award-winning score and augmented by other titles from the Rodgers and Hammerstein songbook, State Fair is the kind of warmhearted family entertainment only Rodgers & Hammerstein could deliver!

Laughter On the 23rd Floor
Aug 18-27

BY NEIL SIMON

A love letter to his early career as a TV writer on Sid Caesar’s Your Show of Shows alongside the likes of comedy legends Carl Reiner and Mel Brooks, Neil Simon’s Laughter on the 23rd Floor follows the roller coaster antics of a not-your-average 1950s writers’ room, as they frantically attempt to please their larger-than-life boss. Frantically scrambling to top each other with hilarious gags while battling with studio executives who fear the show’s humor is too sophisticated for Middle America, the writing and fighting of the team expose the social and political undercurrents of the 1950s.

The Mousetrap
Sept 8-17

BY AGATHA CHRISTIE

From the Grand Dame of mystery, Agatha Christie’s The Mousetrap holds the world record for the longest running production, mesmerizing audiences for more than sixty years. Monkswell Manor welcomes a group of strangers in the midst of a snowstorm and on the heels of a murder in town. It soon becomes clear that the killer is among them, and the strangers grow increasingly suspicious of one another. A police detective, arriving on skis, interrogates the suspects: the newlyweds running the house; a spinster with a curious background; an architect who seems better equipped to be a chef; a retired Army major; a strange little man who claims his car has overturned in a drift; and a jurist who makes life miserable for everyone. When a second murder takes place, tensions and fears escalate. Will the identity of the murderer be revealed before they strike again?! The Mousetrap’s riveting plot will have you on the edge of your seat from start to finish!

Bright Star
Sept 29-Oct 8

MUSIC, BOOK & STORY BY STEVE MARTIN
MUSIC, LYRICS & STORY BY EDIE BRICKELL

Inspired by a true story and featuring the Tony®-nominated score by Steve Martin and Edie Brickell, Broadway’s Bright Star tells a sweeping tale of love and redemption set against the rich backdrop of the American South in the 1920s and ’40s. When literary editor Alice Murphy meets a young soldier just home from World War II, he awakens her longing for the child she once lost. Haunted by their unique connection, Alice sets out on a journey to understand her past—and what she finds has the power to transform both of their lives. With beautiful bluegrass melodies and powerfully moving characters, Bright Star unfolds as a rich tapestry of deep emotion. An uplifting and nostalgic theatrical journey that holds you tightly in its grasp, Bright Star is as refreshingly genuine as it is daringly hopeful.

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Ozark Actors Theatre Announces 2023 Auditions

Ozark Actors Theatre Announces Auditions for 2023 Season

In-Person Auditions – February 18th:

Auditions will be held by appointment on Saturday, February 18 at The Cedar Street Playhouse, home of Ozark Actors Theatre. 701 N. Cedar St., Rolla, MO 65401

To schedule an audition time, please follow this link.

Video Recorded Auditions – due February 15th:

Video auditions must be sent to casting@ozarkactorstheatre.org and received by February 15th.

What to prepare:

For your in-person or video recorded audition, please prepare a monologue and short song selection that show off your vocal range and storytelling abilities – no more than 2 mins long. Material from the season is acceptable and encouraged.

​Ozark Actors Theatre and Actors Equity Association’s contracts prohibit discrimination. AEA is committed to diversity and encourages all its employers to engage in a policies of equal employment opportunity designed to promote a positive model of inclusion. As such, AEA and OAT encourage performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit auditions.

​Questions or accommodations:

Please contact casting@ozarkactorstheatre.org

Play Summaries & Character Descriptions

A Gentleman’s Guide to Love and Murder

Rehearsal: May 30 – June 14

Performance: June 15 – 25

Director: TBD

Music Director: TBD

Choreographer: TBD

Summary:

A GENTLEMAN’S GUIDE TO LOVE AND MURDER won 4 Tony Awards, 7 Drama Desk Awards, AND it was nominated for a Grammy! This production is a hilarious farce following a young man’s luck at the prospect of inheriting a fortune, but he has 9 relatives ahead of him in the inheritance. This production will give one actor the opportunity to die 90 times on the OAT stage in this incredible comedy!

Character descriptions:

  • The D’Ysquith Family -The principal conceit of Gentleman’s Guide is that one actor plays all members of the D’Ysquith family. As such the actor portraying the D’Ysquiths must have a tremendous and transformational acting ability. Actor should have strong physical comedic skills and accent ability to help establish and differentiate multiple characters. Must have stamina to carry the different characters throughout the show and make extraordinarily quick costume changes.
    • Age: 30s to 50s
  • Monty Navarro – charismatic and cunning enough to ingratiate himself with both the audience and his prospective victims. He is a leading man, and often, the straight man, in the show. Monty should also have excellent physical comedy skills to adequately play along with the D’Ysquiths in their various incarnations. Charming and handsome, Monty is not upper class but has no trouble blending in with high society.
    • Gender: Male identifying
    • Age: 20s to 30s
  • Sibella Hallward – A beautiful and flirtatious social climber, Sibella has true affection for Monty but also true affection for social status. Sibella is smart, funny and stylish and, as far as relationships are concerned, she wants to have her cake and eat it too.
    • Gender: Female identifying
    • Age: 20s to 30s
  • Phoebe D’Ysquith – Monty’s cousin. Phoebe was raised high class with idealistic fantasies of love. As beautiful as Sibella, Phoebe foils Sibella in her interest in love over status, and a desire to find the true virtue in people. Though she is smart and earnest, she can also be naive. Must be an excellent singer with a legit, possibly operatic sound. A true soprano.
    • Gender: Female identifying
    • Age: 20s to 30s
  • Miss Shingle – Monty’s unexpected visitor. Sneaky and mysterious, Miss Shingle has an obvious sense of justice. She comes to tell Monty the secret of his D’Ysquith lineage with a pivotal song in Act 1 that sets up the story of the show. Actress should be a supreme and interesting character actress with a vocal style to match.
    • Gender: Female identifying
    • Age: 40s to 60s
  • The Ensemble – A group of strong and dynamic musical theatre performers who all play multiple featured roles. These actors will play 40+ roles including: Lady Eugenia, Miss Barley, Tom Copley, Detective Pinckney, The Magistrate, various clerks, newsboys, ancestors, maids, actors and many others. All Ensemble members are expected to be comfortable with some movement. Expected to work with the directing team to create dynamic characters.
    • Age: 16 to 99
    • Ensemble Vocal Ranges:
      • Soprano (coloratura) Ab4 Bb6
      • Mezzo Bb4 G5
      • Alto Gb3 Gb5
      • Tenor Ab3 B5
      • Baritone Ab3 G#4
      • Bass C2 G#4

Sunday in the Park with George

Rehearsals: June 19 – July 5

Performances: July 6 – 16

Director: Blane Pressler

Music Director: TBD

Summary:

SUNDAY IN THE PARK WITH GEORGE follows the story of the famous pointillist painter Georges Seurat. A fictional retelling of the painter and his immersive existence in creating a masterpiece. One of only 8 musicals ever to have won the Pulitzer Prize for drama. It was also nominated for 10 Tony awards and has had two major Broadway revivals. At OAT it will be under the direction of Artistic Director, Blane Pressler.

Character descriptions:

  • George – In Act 1: George Seurat, a rather cold artist obsessed with his work at the cost of his personal life. Constantly troubled and borderline obsessive. Act 2: Seurat’s burnt-out descendant and inventor-sculpture searching for his purpose.
    • Gender: Male identifying
    • Age: 25 to 40
  • Dot/Marie – As Dot, George’s headstrong mistress and occasional model so discontent with their relationship that she eventually leaves him. Age: 20 to 40. As Marie, George’s elderly wheelchair bound grandmother who helps him connect to his artistry through her grammar book notes.
    • Gender: Female identifying
  • Old Lady – George’s mother. A cranky and rather demanding fixture in the park. She is able to find solace in nostalgia and inspires George to find order in his art. Doubling as BLAIR DANIELS.
    • Gender: Female identifying
    • Age: 60 to 80
  • Nurse – The Old Lady’s attendant. She is calming and assertive. Doublings include HARRIET PAWLING and MRS.
    • Gender: Female identifying
    • Age: 40 to 60
  • Jules – A rival artist. Callous, critical, and ultimately shallow. He forces Frieda to engage in extramarital affairs. Doubling as BOB GREENBERG.
    • Gender: Male identifying
    • Age: 25 to 45
  • Yvonne – Jules’ pampered wife. She is as snippy and snooty as her husband. Doubling as NAOMI EISEN.
    • Gender: Female identifying
    • Age: 25 to 35
  • Boatman – A surly, blue-collared laborer, simple-minded and slovenly. Doubling as CHARLES REDMOND.
    • Gender: Male identifying
    • Age: 35 to 60
  • Celeste #1 – A young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Optional Doubling as A WAITRESS.
    • Gender: Female identifying
    • Age: 18 to 30
  • Celeste #2 – Another young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Doubling as ELAINE.
    • Gender: Female identifying
    • Age: 18 to 30
  • Louise – Jules and Yvonne’s spoiled little girl. She faces neglect and abuse from her parents, despite being honest. Doubling as BOY.
    • Gender: Female identifying
    • Age: 8 to 12
  • Franz – Jules’s German coachman and Freida’s husband. Disgruntled with his job. Has a bit of a temper and secretly yearns for the Nurse. Optional Doubling as DENNIS.
    • Gender: Male identifying
    • Age: 30 to 50
  • Frieda – As Frieda, Jules and Yvonne’s cook and Franz’s wife. Caring and positive as a surrogate nanny to Louise. Forced by Jules into an affair. Doublings include BETTY and YOUNG MAN.
    • Gender: Female identifying
    • Age: 35 to 55
  • Soldier – A French military man, polite and gentlemanly. Close with his companion, though he yearns for a separation. Doubling as ALEX.
    • Gender: Male identifying
    • Age: 20 to 35
  • Louis – A baker who Dot starts seeing to make George jealous. Kind, friendly, and very popular, but a bit dull. Doublings include BILLY WEBSTER and MAN.
    • Gender: Male identifying
    • Age: 35 to 55

Ken Ludwig’s Baskerville

Director: Suzanne Withem

Rehearsals: July 11 – 26

Performances July 27 – August 6

Summary: 

BASKERVILLE A SHERLOCK HOLMES MYSTERY comes from multi-award-winning playwright Ken Ludwig and follows Sherlock Holmes and Dr. Watson cracking the mystery of “The Hound of the Baskervilles.” With an original piano score by Jeff Horger and direction by our own Suzanne Withem, our intrepid investigators will take the stage at OAT portraying more than 40 characters!

Character descriptions:

  • Sherlock Holmes – The world’s greatest detective is sophisticated, quick-witted, and passionate. He is an English gentleman who is very precise in speech and manner. A strong standard British or RP dialect is required. This actor plays only one role.
    • Gender: The character will be portrayed as male, but all genders will be considered.
    • Age: 25-40

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  • Dr. John Watson – A kind amiable doctor and Sherlock Holmes’s faithful sidekick. A man of action, intellect and deep emotion. He is also very British. A strong standard British or RP dialect is required. This actor plays only one role.
    • Gender: The character will be portrayed as male, but all genders will be considered.
    • Age: 25-40

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  • Actor 1 – Plays more than a dozen characters – primarily the male-identifying villains and baddies. Must be a versatile character actor adept in physical comedy and various accents and dialects.
    • Gender: Male identifying
    • Age: Any

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  • Actor 2 – Plays nearly a dozen characters – primarily male-identifying heroes and gentlemen. Must be a versatile character actor adept in physical comedy and various accents and dialects.
    • Gender: Male identifying
    • Age: Any
  • Actor 3 – Plays more than a dozen characters – primarily female-identifying maids, nurses, and damsels in distress. Must be a versatile character actor adept in physical comedy and various accents and dialects.
    • Gender: Female identifying
    • Age: Any

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  • Roustabouts and Foley Artists- These two or three nonspeaking roles will assist with scene changes, participate in comedy bits, and serve as Foley artists providing live sound effects for the production from onstage. They should be creative problem solvers adept at physical comedy and familiar with silent storytelling. They are vital to the success of keeping the “trunk show” design of the production moving forward and creating the world of the theatre in which the play is performed.
    • Any Gender
    • Any Age