The Monsters Are Needed at the BSB

Brigit Saint Brigit is holding auditions for our next production ‘The Monsters are Due on Maple Street and Other Assorted Treats’ directed by Scott Kurz. Casting will be gender/race-blind. All roles are open. All roles are paid. Roles will be tailored to suit the actor not the other way around.

When/Where: Saturday, Oct., 19 @ 1:00 PM @ UNO (Fine Arts Building Rm. 333) & Monday, Oct., 21 @ 7:00 PM @ First Central Congregational Church (421 South 36th St.)

Details: A rep company will be cast for this production. All members will be cast in ‘The Monsters are Due on Maple Street’ and others will be double-cast in other shorts/one-acts that evening (including Kurt Vonnegut’s ‘The Long Walk to Forever,’ an original work written by the director and more…) The original ‘Monsters…’ Twilight Zone episode can be found on Netflix (Season 1, Episode 22)—this version is being updated to a contemporary setting/sensibility. This will be a fun, stimulating and collaborative production!

If you are unable to attend either night and would like to be considered for a role, please contact Scott Kurz (skurz@bsbtheatre.com).

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OCP Holding Auditions for ‘A Raisin in the Sun’

Omaha, Neb.–The Omaha Community Playhouse (OCP) is holding auditions for the upcoming production of A Raisin in the Sun on Saturday, Oct. 26 at 11 a.m. and Sunday, Oct. 27 at 6:30 p.m. at OCP.

Production:          A Raisin in the Sun

Show Dates:         Jan. 17 – Feb. 9, 2020

Rehearsals:           Begin Dec. 1, 2019

Description:          Winner of five Tony Awards®, A Raisin in the Sun confronts life in South Side Chicago through the eyes of the Younger family. After years of battling poverty and racism, the Youngers hope an unexpected insurance check will be their ticket to a better life. With the looming fear that this may be their only chance, the family is torn apart as they struggle to agree on the most effective way to use the money.

Director:                Tyrone Beasley

Auditions:             Saturday, Oct. 26 at 11 a.m. and Sunday, Oct. 27 at 6:30pm

Location:              6915 Cass Street, Omaha, NE  68132

Those auditioning should enter through the main lobby entrance and proceed to the check-in table.

Roles:  11 African American; 1 Caucasian Male

Lena Younger (Mama): Ages 55 to 65

Walter Lee Younger: Ages 35 to 45

Beneatha Younger: Ages 18 to 28

Ruth Younger: Ages 30 to 40

Travis Younger: Ages 8 to 14

Joseph Asagai: Ages 18 to 28

George Murchison: Ages 18 to 28

Bobo: Ages 28 to 40

Karl Lindner: Ages 45 to 60

Moving Men: Ages 18 to 55 

Actors only need to attend one of the audition dates to be considered for a role.

Those auditioning will be asked to read from the script provided at auditions.

If special accommodations are needed, please contact OCP prior to auditions.

Please Bring:  All contact information, personal schedules and a list of rehearsal conflicts to fill out an audition form.

To expedite the check-in process, please bring a physical copy of a headshot or recent photo of yourself.  Please note, photos will not be returned.

Contact:  For more information, contact Tiffany Nigro, tnigro@omahaplayhouse.com, at (402) 553-4890.

World Premiere of ‘Red Summer’ Kicks Off Blue Barn Season


BLUEBARN THEATRE presents:

The World Premiere Production of

RED SUMMER

By Beaufield Berry

September 26th – October 21, 2019

Thursdays-Saturdays at 7:30pm

Sunday 10/6 & 10/20 at 2:00pm | Sunday 10/13 at 6pm

About the play:  In commemoration of the centenary of the Omaha race riots of 1919, BLUEBARN presents the world premiere of Beaufield Berry’s evocative account of our city’s past centered on the story of William Brown. Accused of a crime he couldn’t physically have committed, the infamous torture and lynching of this 40 yr old factory worker is a stain on America’s heartland. Red Summer presents a compelling portrait of the black migrant experience, grounded by a deeply affecting vision of Will’s life and relationships before he became a tragic headline.

About the production:. Red Summer features Antonio Duke, Xena Broaden, Brendan Brown, Raydell Cordell III, Devel Crisp, Haley Haas, Dara Hogan, Regina Palmer, and Brandi Smith. Directed by Susan Clement-Toberer. Assistant Directed by Barry Carman. Sound and Projection Design by Bill Kirby. Properties by Amy Reiner. Dramaturgy by Denise Chapman. Set Design by Marty Marchitto. Lighting Design by Jamie Roderick. Costume Design by Kendra Newby.

This production is generously sponsored by

Vernie and Carter Jones

Jannette Davis

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.

Blue Barn Theatre is located at 1106 S 10th St in Omaha, NE.

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.

‘Sweat’ing Bullets

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From left to right, Laura Leininger-Campbell as Tracey. Brandon Williams as Chris. Josh Peyton as Jason. Kathy Tyree as Cynthia.

A steel mill in Reading, PA begins to shut down.  Suddenly lifelong employees set to retire on fat pensions are facing joblessness with no nest egg and no hope.  As their very survival is threatened, friends become enemies, latent racist and xenophobic tendencies take over minds, and a mountain of emotional kindling is laid that only needs one small spark to set off a raging conflagration.  This is Lynn Nottage’s Sweat and it has kicked off the latest season at the Omaha Community Playhouse.

There is certainly nothing subtle about Nottage’s script.  From the very beginning, it grabs the viewer by the throat and gleefully paintbrushes her or him for the better part of 2 ½ hours.  The play is chock full of devastating themes such as betrayal, racism, xenophobia, entitlement, corporate greed, depression, and the danger of having one’s sense of self defined solely by a job.  It also skillfully presents a mindset that demonstrates just how our political climate might have reached its current volatile state without making any judgment calls.

From an actor’s perspective, this show is a treasure trove.  Every character is unique and well-defined.  It is truly an ensemble piece with each character getting a moment in the sun and no true leading role.  With a perfectly cast group of magnificent talent, OCP’s season gets an explosive start with a drama for our time.

Susan Baer-Collins returns to the Playhouse to direct this powerful piece.  Her knowledge of the story is deep and certain which allows her to fully explore every beat and help each performer realize his or her fullest potential and become fully formed and realistic persons.  The staging is pretty strong for the most part with the actors making full use of the performance space and constant movement to animate the dialogue.  However, the performance space of the Howard Drew is a bit of a mixed blessing as its intimacy is crucial to pulling the audience in, but the way the characters have to interact makes it difficult to play to the entire audience at various points.

In a night of outstanding interpretations, a stellar performance is provided by Emmanuel Oñate who makes an excellent debut as Oscar, a likable young man trying to make his way in the world who draws the ire of locked out steel mill workers due to the double whammy of his crossing the picket line and the perception that he is stealing work from “real” Americans due to his Hispanic heritage.  Thomas Becker also shines as Stan, the manager of the local bar who serves as a sounding board to everyone’s issues and also acts as a voice of reason to the burgeoning turmoil bubbling up from the plant’s lockout.  L. “James” Wright gives a tragic performance as Brucie whose sense of identity was completely wrapped up in his job.  Robbed of his ability to provide, he sinks into a deep abyss of depression and addiction.

Kathy Tyree is a geyser of talent with her rendition of Cynthia.  Tyree’s Cynthia is a rock and tough as nails.  She is the friend who will have your back no matter what, but also knows when to draw the line as she has to keep her husband, Brucie, at arm’s length while he battles his personal demons and refuses to take any garbage from her friends after winning a promotion to warehouse supervisor that has her perceived as one of “them” due to a combination of jealousy and things going south at the mill.  What I liked best about Tyree’s take is that she never made an obvious choice or reaction.  She was so extemporaneous, it was almost as if she was writing her own dialogue on the spot as opposed to reciting learned lines.

Laura Leininger-Campbell is a firecracker as Tracey.  Tracey strikes me as a person who isn’t easy to friend, but, if you manage to do so, you have a friend for life.  She is brusque, mouthy, and has a vocabulary that would make a sailor blush.  She can also be fiercely loyal, but watch out if you cross her as she holds grudges.  Leininger-Campbell is incredibly effective as this complex character.  She well communicates Tracey’s latent racism that gains strength when she loses a promotion and is further fueled by Oscar’s crossing of the picket line.  Leininger-Campbell is particularly mesmerizing in two scenes.  One where she is arguing with Cynthia and manages to convey the sense that she loves and hates her simultaneously with her on the dime emotional beat changes.  And a second where the show leaps into the future and she is having a conversation with her estranged son, Jason, and seems to age years before your eyes with pure body language that seems to bow her back, make lines appear on her face, and add a few pounds.

Josh Peyton succeeds with his handling of the role of Jason.  Arguably, this may be the show’s most difficult character to play due to the two widely different personalities he has depending on when the show is in the past or the present.  Peyton gives past Jason a happy go lucky personality.  He’s a pretty decent guy who doesn’t give much thought to tomorrow and just likes having fun, though he does exhibit some of the personality traits and thinking of his mother, Tracey.  Present Jason is an angry, bitter, potentially violent man whose facial tattoos suggest that he might have been part of a white supremacist group.  Peyton not only does good work in playing the two variations of his character, but he also succeeds in showing the transition from one to the other and planting the seed that past Jason’s good qualities may overpower his present’s darkness.

Brandon Williams has a dandy debut as Chris.  This is the play’s most positive character as he is a good man in both past and present.  Williams has a great likability as Chris who is good to his parents, a hard worker, and has a plan for his life all mapped out.  His one weakness is that he might be too loyal to Jason as that loyalty leads him into a truly bad moment in the past.  In the present, Chris is an even better man who has found Jesus and now shares that faith to bolster others and gives him the strength to right some past wrongs and to try to have closure with Jason.  In the present, Williams exudes a confidence granted by faith and well executes the determination to correct a past error even while he clearly feels guilt and embarrassment over it.

Jim Othuse has designed a nice little local bar that is clean, welcoming, and comfy and is further enhanced by the properties of Darin Kuehler whose bottles of liquor and hanging chips make it feel like a real hangout.  Othuse has also well lit the production especially with his use of darkness and light.  The past was always bright and got a little darker as things went bad and the present is shrouded in darkness until a literal light of hope at the end.  John Gibilisco brings some great sounds especially the creepy effect as present transitions to past and the use of a TV showing news footage of the day when our country slid into the Great Recession.  Amanda Fehlner’s costumes are quite realistic with the work overalls, the everyman clothes of the working class, and the somewhat poorer garb of the present version of some of the characters.  Timothy Vallier provides a sad and moving score.  I did think a fight scene could have used a bit more speed and a crucial moment needs to be cleaner as I wasn’t sure exactly what happened until the final moments of the show.

Sweat is definitely a play for our time.  You won’t be able to turn your eyes away from it and it might give you a better idea of how we reached our present state of affairs.  And understanding the past is always the first step to making a better tomorrow.

Sweat plays at the Omaha Community Playhouse through Sept 15.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets start at $36 and can be purchased at the OCP Box Office, by phone at 402-553-0800 or online at www.omahaplayhouse.com.  Due to strong language and mature themes, this show is not recommended for children.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Photo provided by Colin Conces Photography

Blue Barn Announces Auditions for Season 31: Memory

BLUEBARN THEATRE is pleased to announce auditions for Season 31: Memory

Auditions for A Very Die Hard Christmas and Marjorie Prime

Sunday, September 8th from 3-6pm & Monday, September 9th from 5:30-8:30pm

Company Members Needed:

The Die Hard company is comprised of fourteen actors, many of whom play multiple roles throughout. All ethnicities, genders, and ages are welcome to audition.  For the Sgt. Al Powell track, we are seeking an African-American (late 20s-40s), for the Joseph Takagi track, we are seeking an Asian-American (30s-40s), all other available roles will be cast without restrictions.  A full casting breakdown is available upon request, but due to the nature of the show is subject to change. The roles of Hans Gruber and John McClane have been cast.

For Marjorie Prime, we are seeking to cast Marjorie (60s-80s), Walter (30s), Tess and John (mid-40s-50s, Marjorie’s daughter and son-in-law). All ethnicities and genders welcome.

Preparation:

Actors are encouraged (but not required) to present a contemporary monologue no longer than 90 seconds. Auditions will also include cold readings from the script, and prepared sides (for Marjorie Prime). Sides will be available 8/21.

A Very Die Hard Christmas runs Nov 29th – Dec 22nd, 2019. Rehearsals begin Oct 22nd.

Marjorie Prime runs March 19th – April 12th, 2020. Rehearsals begin Feb 10th

For more information, to request a script or to sign up for auditions or the workshops below, please contact Barry: bcarman@bluebarn.org. When signing up, please indicate which show(s) you’re auditioning for.   

A Chorus Line Dance Workshops

Saturday, October 19th from 10-12pm & Monday, November 11th from 6-8pm 

These workshops are being offered to any actor-dancer interested in auditioning for our production of A Chorus Line. Participants will learn two combinations in contrasting styles at each session, with different combinations taught at each workshop. Please wear comfortable clothing and appropriate footwear. Participation in these workshops is strongly encouraged, but not required for casting consideration for A Chorus Line.  RSVP to bcarman@bluebarn.org.

A Chorus Line Auditions:

Sunday, January 5th from 3pm-6pm & Monday, Jan 6th from 6-9pm.

Further information on our January auditions will be available on December 4th.

A Chorus Line runs May 14th through June 14th, 2020. Rehearsals begin April 13th.

 

Be Prepared to ‘Sweat’ at OCP

Omaha, NE–Winner of the 2017 Pulitzer Prize, Sweat will open Friday, August 16 at the Omaha Community Playhouse.  The show will run in the Howard Drew Theatre from Aug 16 to Sept 15.  Performances will be held Thurs-Sat at 7:30pm and Sundays at 2pm.

Sweat is a head-first dive into working class America.  A three time Tony Award nominee, Sweat follows a group of steelworkers whose steady march toward the American Dream is uprooted by economic change.  As their sense of security slowly unravels, jobs and relationships are left in the wake.  Punctuated with lively humor, Sweat goes to the heart of what it means to be human–both good and bad–when fear and uncertainty take hold.

Tickets are on sale now starting at $36 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 www.omahaplayhouse.com

Directed by:  Susan Baer-Collins

Cast

George Weaver as Evan

Josh Peyton as Jason

Brandon Williams as Chris

Thomas Becker as Stan

Manny Onate as Oscar

Laura Leininger-Campbell as Tracey

Kathy Tyree as Cynthia

Jennifer Gilg as Jessie

James Wright as Brucie