OCP Announces Auditions for ‘Dead Bird Play’

Omaha Community Playhouse is pleased to announce auditions for:

Dead Bird Play
By Maddie Radcliffe

A part of OCP’s Alternative Programming Series


Directed by Charisa Ramsey

Virtual Auditions
Nov. 21 and 22 | 2–6 p.m.
Auditions will be by appointment only via Zoom in 20 minute increments. Actors will be read in pairs. Please email Becky Deiber at bdeiber@omahaplayhouse.com to schedule a virtual audition and to receive audition paperwork and sides.

*The two characters in this play (ALEX and JORDAN) are deliberately not categorized by gender, race, age, ability or sexuality. This is a deliberate intent to actively encourage equitable casting. This reading will be filmed on Dec. 14th, 2020 and streamed at a later date.

Synopsis: In this new play by Maddie Radcliffe, everything’s fine until it’s not. All Alex wants is keep their porch plants alive, and all Jordan just wants is to visit their friend. An otherwise uneventful day plunges into surreal chaos when an ungodly amount of dead birds plummet from the sky and blanket Alex’s yard. What is this? A freak illness? A government conspiracy? Something…darker? Just when is a good time to talk about what happened? When an apocalypse seems nigh, your choices, past, present, and future, come into sharp relief.

Through upholding high ethical standards, demonstrating respect for all and consciously working to provide diverse representation, OCP is committed to creating an inclusive and safe environment in which all community members feel a sense of belonging, and does not discriminate in casting practices on the basis of an individual’s ethnicity, age, gender, physical and cognitive ability, sexual orientation, gender identity, religion, country of origin or other factors. Omaha Community Playhouse is committed to diverse and inclusive casting.

OCP Needs Some Sleuths to Solve a Murder

Omaha Community Playhouse Announces Auditions for:

Agatha Christie’s Murder on the Orient Express
Adapted for the stage by Ken Ludwig


Directed by Anthony Clark-Kaczmarek


Production Dates: Feb. 26–March 21, 2021 | Hawks Mainstage
Rehearsals: Begin Jan. 17, 2021

In-Person, by appointment only Auditions
Sunday, Nov. 29 | 2 p.m. in Dance Studio at OCP (6915 Cass St, Omaha, NE)

To schedule an audition time and to receive paperwork, email Becky Deiber at bdeiber@omahaplayhouse.com

Enter through the Stage Door on the West side of the building. For those auditioning in person: Temperatures of auditioners will be taken upon arrival. Auditioners will be required to wear a facemask. Auditions will be held individually. Callbacks may include small groups. Provided seating will be plastic or metal chairs only, no fabric upholstery. The audition space will be appropriately sanitized. When arriving to audition, please enter through the Stage Door entrance on the West side of the building.

Virtual Auditions via Zoom
Monday, Nov. 30 | 6 p.m.
—Email Becky Deiber at bdeiber@omahaplayhouse.com to schedule a virtual audition via Zoom. Video Submission Auditions being accepted now through Nov 29. You can also submit a vocal audition video to Becky Deiber.


A Story of Survival

Living as a transgender woman during the nightmarish regimes of the Third Reich and the Soviets who ruled East Germany after World War II should have doomed Charlotte von Mahlsdorf to a tragic, possibly even short, life.  But she managed to not only survive, but thrive as an antiquarian with an amazing life story to tell.  But was her story simply a story to cover a more tragic reality?  Judge for yourself by watching I Am My Own Wife by Doug Wright and playing at the Omaha Community Playhouse.

Doug Wright has not written a biographical play.  This is a spoken biography with snatches of an autobiography tossed in as Wright, himself, is one of the 35 characters in the production.  Wright has a phenomenal gift for voice.  The conversations and monologues all sound completely natural and believable.  Unsurprising, as a great deal of them were culled from actual interviews he conducted with von Mahlsdorf.  But there’s a richness and power to the words that go beyond a mere interview and they suck the viewer in as von Mahlsdorf shares her fascinating life story.

Kimberly Faith Hickman provides yet another top of the line piece of direction with this play.  In the hands of a less capable director, the biographical nature of the show could cause it to become a little dry and draggy, but Faith Hickman keeps the pace brisk and knows how to strike the beats so the interviews and anecdotes pop and burst with a vibrant life of their own.  Her guidance of the play’s sole performer is entrancing as each character played by the actress is unique and well defined and helps pull the audience deeper into the tale.

I was particularly excited to see this show as I always relish the opportunity to see a new talent on the stage.  That being said, Natalie Weiss makes an epic debut at the Playhouse and does it, not with a bang, but with a whisper.

Weiss brings a quiet energy to her performance which is crucial for the primary character of von Mahlsdorf.  As von Mahlsdorf, Weiss is soft-spoken and unassuming, almost mesmeric.  Listening to von Mahlsdorf is like listening to your own grandmother as she has a warm and welcoming presence that can’t help but hook you in as she shares the story of her survival during one of history’s most horrific periods.  So closely do you identify with von Mahlsdorf that a lump may appear in your throat when the possibility that parts, perhaps all, of von Mahlsdorf’s life story could be works of fiction when official evidence from the Soviet regime of East Germany contradicts some of her personal story.

But Weiss’ skill isn’t limited to her handling of von Mahlsdorf.  Weiss proves herself a performer of great range and versatility as she assumes another 34 characters throughout the night.  Her changes are achieved effortlessly and subtly and accomplished through slight changes in posture, vocal timbre, accent, and energy focus.  The changes are also quite fluid as one character flows naturally into the next without smacking the audience over the head with the changeover.

Some of my favorite characters in Weiss’ repertoire were an intense Nazi commander who managed to retain a degree of humanity and spared von Mahlsdorf’s life from an execution squad; her depiction of von Mahlsdorf’s brutish father; her calm, no-nonsense aunt; Wright, himself, with a youthful exuberance and excitement at turning von Mahlsdorf’s life into a play; Wright’s very Southern friend, John; and a gregarious German TV talk show host who interviewed von Mahlsdorf when the controversy of her cooperation with East Germany’s Russian regime was national news.

Jim Othuse’s lights add so much to this play.  He utilizes an almost sepia effect with the lights so that one feels he or she is looking at a living, old time photograph, though he also achieves a nice disco effect when von Mahlsdorf visits a homosexual nightclub and achieves a TV studio lighting effect for the talk show scene.  Darin Kuehler’s properties accentuate the production with the period correct, antique models, pictures, and phonograph that make up von Mahlsdorf’s museum.  Amanda Fehlner’s simple black dress gives von Mahlsdorf that grandmotherly feel.  John Gibilisco’s ambient sounds always enhance von Mahlsdorf’s recollections from the fighter planes of WW II to gunshots to the disco beat of the nightclub.

Ultimately this story is an incredible tale of survival, but the question the show asks is how did von Mahlsdorf survive?  Was her personal story the truth of her survival or were her stories her means of surviving awful personal choices she was forced to make?  Or is the truth somewhere in between?  That answer is left to you.

I Am My Own Wife plays at the Omaha Community Playhouse through Nov 15. Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets start at $36 and may be purchased at www.omahaplayhouse.com or by calling the Box Office at 402-553-0800.  Due to mature themes and some strong language, this show is not suitable for children.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

OCP Holding Auditions for ‘The Last Five Years’

Omaha, NE.–The Omaha Community Playhouse is holding auditions for the upcoming production of The Last Five Years on Saturday, Oct. 31 at 11 a.m. at OCP, located at 6915 Cass St., Omaha, NE 68132. Video auditions are being accepted now through Oct. 31. Those who wish to submit a video audition can send their video to Becky Deiber at bdeiber@omahaplayhouse.com

Through upholding high ethical standards, demonstrating respect for all and consciously working to provide diverse representation, OCP is committed to creating an inclusive and safe environment in which all community members feel a sense of belonging, and does not discriminate in casting practices on the basis of an individual’s ethnicity, age, gender, physical and cognitive ability, sexual orientation, gender identity, religion, country of origin or other factors. Omaha Community Playhouse is committed to diverse and inclusive casting.

Production: The Last Five Years

Written and Composed By: Jason Robert Brown

Director: Susan Baer Collins

Show Dates: Jan. 15–Feb. 7, 2021

Show Synopsis: A captivating, intimate musical that retraces the rise and fall of a five-year romantic relationship. The story is presented in chronological order by Jamie, the man, and in reverse by Cathy, the woman, with the two versions of the story meeting only once—at their wedding in the middle. Profoundly emotional with comedic moments sprinkled throughout, The Last Five Years is beautifully heartbreaking.

Roles

Catherine Hiatt; Age 25 to 35; Vocal range top D#5; Vocal range bottom F3; Character arcs from an ambitious, fresh-faced girl in a new relationship to a woman stunned by a betrayal and a divorce that she is only beginning to understand.

Jamie Wellerstein; Gender male; Age 25 to 35; Vocal range top Bb4; Vocal range bottom A2; Character arcs from an ambitious guy on a promising first date with a dazzling career to someone who is blinded by success and ego. He is lovable, yet makes unintentional choices that sabotage his own happiness.

To schedule an audition and to request paperwork, please email Becky Deiber at bdeiber@omahaplayhouse.com.

Vocal auditions will be in the Hitchcock Rehearsal Hall. Those who cannot attend in person may submit a vocal audition video.

Auditioners must fill out paperwork in advance, not at the audition. They can return completed paperwork by email or bring it with them. Specific time slots will be set in advance for each auditioner. Tryouts will be in groups of no more than 15. Temperatures of auditioners will be taken upon arrival. Auditioners will be required to wear a facemask. Auditioners will be allowed to sing only 16 bars of a song of their choosing, for which they should bring sheet music. Provided seating will be plastic or metal chairs only, no fabric upholstery. The audition space will be sanitized between groups . When arriving to audition, please enter through the south entrance lobby doors.

Please Bring: All contact information, personal schedules and a list of rehearsal conflicts with which to fill out an audition form. To expedite the check-in process, please bring a recent photo if you have one available. Please note, photos will not be returned.

Contact: For more information, contact Becky Deiber, bdeiber@omahaplayhouse.com, at(402) 661-8539.

OCP Artistic Director Announces Departure

Omaha, NE.–After serving as artistic director for four-and-a-half years, Kimberly Faith Hickman has announced she is leaving her role at the Omaha Community Playhouse (OCP) at the end of 2020. Hickman plans to return to OCP in spring of 2021 as a guest director for the highly anticipated production of Willy Wonka and to teach for OCP’s Henry Fonda Theatre Academy.

Susan Baer Collins will serve as the interim artistic director upon Hickman’s departure until OCP completes a nation-wide search for the organization’s next artistic director. Baer Collins held various positions on staff at OCP from 1987 to 2014, most notably associate artistic director. She also served as an interim artistic director at OCP from 2015 to 2016.

“I am very proud of the programmatic, artistic and educational growth that has occurred at OCP during the last four-and-a-half years,” said Hickman. “I have collaborated with incredible people, both onstage and off, and the Omaha Community Playhouse staff is among some of the best that I have worked with in my 18 years of working in theatre. I look forward to those collaborations continuing in this new capacity.”

“Kimberly brought an enormous amount of creativity and passion to OCP over the last four years,” said Katie Broman, Executive Director. “She has contributed so much to our organization in many positive ways. We appreciate all of her hard work, and we wish her the absolute best in any and all future endeavors.”

Hickman joined the OCP staff in 2016 and quickly became a driving force in the organization. In addition to programming four seasons and directing 19 productions, Hickman established the OCP Directing Fellowship, a program that provides up-and-coming directors the opportunity to gain valuable directing experience. She worked with Autism Action Partnership to develop sensory-friendly performances, designed to create a welcoming environment for those with autism spectrum disorders, sensory sensitivities and other special needs to experience live theatre. She coordinated Spanish-translated performances, offering real-time translation services during popular productions via headset. Hickman also rebranded OCP’s existing education department as the Henry Fonda Theatre Academy.

OCP will commence a nation-wide search for the organization’s new artistic director. “We are committed to hiring an artistic director who is both exceedingly talented and passionate about leading OCP into our next 100 years of service to the Omaha community,” Broman said. “We will seek the most qualified candidates who share OCP’s values of inclusivity, artistic and educational impact, excellence, stewardship and community.”

Into the Gray

A hotshot fighter pilot is grounded after she becomes pregnant.  After several years, she is ready to be “in the blue” again, but finds herself still on the ground as she will now pilot a drone.  Her relegation to the “Chair” Force and finally witnessing the real horrors of war cause her to slowly lose her sense of identity and her mind won’t be far behind if the spiral can’t be stopped.  This is Grounded by George Brant and currently playing at the Omaha Community Playhouse.

Brant’s script displays a minute understanding of what being in the military means to somebody completely dedicated to the military.  Brant’s unnamed pilot exudes that unbreakable sense of brotherhood with the constant camaraderie which includes not only hanging out together, but the blue language one often finds in the barracks.  But Brant’s pilot also shows the danger of one’s identity being wrapped up in what he or she does as opposed to who she or he is as the changes to warfare and inability to fly slowly rob the pilot of her sense of self.  Brant’s play title actually holds a number of meanings within the context of the show.  The pilot is grounded in the sense that she is not permitted to fly.  In her own mind, she is grounded in the sense of punishment when she is forced to pilot a drone.  As she loses herself, she loses the things that kept her grounded. 

Kimberly Faith-Hickman keeps all of these ideas and a great deal more in mind with her direction of this play.  The staging is absolutely impeccable as she uses a plexiglass cell designed by Jim Othuse which serves the double purpose of keeping the actor socially distant from the audience, but also represents the cell that slowly builds around the Pilot over the course of the show.  Her managing of the play’s numerous beats is precisely on point and the changes always ring true.  Faith-Hickman’s guidance of her sole performer is a work of art as she lets the story build slowly and organically before reaching its tense climax and crushing resolution.

Leanne Hill-Carlson’s rendition of the Pilot is splendid and nearly flawless.  Her Pilot is definitely a tomboy as she curses at a PhD level, enjoys a beer and burger with her brothers-in-arms, and has a real sense of swagger and machismo.  The Pilot has a confidence that often bleeds over into arrogance with her enjoyment of being the lone wolf and her constant referencing to herself as a god.

But this is no 2D character.  The Pilot is a multifaceted character with a constantly evolving emotional arc that Hill-Carlson rides the same way a champion jockey rides a prime thoroughbred.  One actually feels Hill-Carlson’s disappointment with being grounded, her anger and frustration at not getting to fly a proper jet when reactivated to combat duty, her arrogant sense of superiority when hunting the enemy, her shock at seeing dead bodies for the first time, and her slowly eroding sense of identity when the ease and more personal nature of modern warfare conflict with the way things were.

Not only does Hill-Carlson masterfully play the Pilot, but she presents it beautifully as well.  She’s always aware of her positioning and plays to all sides of the theatre and punctuates her monologues with just the right reactions and gestures.

Jim Othuse’s lights bolster the story as he gives us a desert sun and shades of gray as the Pilot loses her sense of emotional color and the ability to see anything as black or white.  Lindsay Pape has Hill-Carlson properly attired in an Air Force jumpsuit.  John Gibilisco provides always appropriate sounds especially in a small running gag of radio static always changing into AC/DC songs.  Jay Hanson has also composed an original score that well supports this story’s emotional trek.

In the end, this is a tragic tale of someone who enjoyed being in the clouds in more ways than one being brought to earth in a most decisive fashion and makes for a gripping night of storytelling.

Grounded plays at the Omaha Community Playhouse through October 18.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets start at $36 and may be purchased at www.omahaplayhouse.com or by calling the Box Office at 402-553-0800.  Due to strong language, this show is not suitable for children.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Prepare to Be ‘Grounded’

Omaha, NE.– Grounded will open Friday, Sept. 25 at the Omaha Community Playhouse. The show will be held in the Howard Drew Theatre at OCP. Performances will run Thursdays through Sundays through Oct. 18. The Howard Drew Theatre will allow for social distancing and other safety precautions in response to the COVID-19 pandemic.

An ace fighter pilot finds herself grounded when an unexpected pregnancy cuts her career in the sky short. Reassigned to military drone operation, the former F-16 pilot patrols Afghanistan by day—from a windowless trailer outside of Las Vegas—and returns to her family at night. But as professional pressure mounts, the lines between the desert where she lives and the desert where she hunts high-profile terrorists begins to blur.

Tickets are on sale now starting at $36, with prices varying by performance. Tickets may be purchased through the OCP Box Office by phone at (402) 553-0800 or online at OmahaPlayhouse.com.

COVID-19 INFORMATION

All audience, staff, and volunteers will be required to wear masks. Masks will be available free of charge and must be worn properly in accordance with CDC guidelines. Patrons attending a show in either theatre will be socially distanced from other guests with all groups at least 6 feet apart. In the Howard Drew theatre, a plexiglass barrier will be installed around the perimeter of the stage to provide separation between guests and performers. Productions will not incorporate any physical audience participation.

Audience members will be required to self-screen for a fever and symptoms of illness prior to arriving at OCP. Those with fever or other symptoms may exchange their ticket at no cost. New arrival and dismissal procedures will help encourage social distancing, including staggered vehicle loading/unloading, assigned will call pick up times and row-by-row dismissal after a show.

Lobbies, reception areas and lines will be arranged and marked to encourage social distancing. Plexiglass barriers will be installed in the box office windows with cash-free payments encouraged, touchless credit card transactions offered and touch-free ticket pickup available. Common areas and performance halls will be cleaned and sanitized on a daily basis with both cleanser and electrostatic technology.

All restrooms will be outfitted with touchless fixtures and will be sanitized daily and throughout performances. We will no longer hold post-show meet and greets with the actors in the lobby. Concessions and drinks will not be available and public water fountains will be closed.

Director:  Kimberly Faith-Hickman

Starring:  Leanne Hill-Carlson as The Pilot

Don’t Stop Them Now

From L to R: Jonathan Berger, Evelyn Hill, Jesse White (back row), Eric Perlstein, Brittney Thompson, Ejanae Hume

Look!  Up on the stage!  It’s a chord!  It’s a bard!  No, it’s Don’t Stop Me Now!  A Celebration of Rock Musicals.  This joint production between Rave On Productions and the Omaha Community Playhouse is currently playing in the Storz Parking Lot at OCP.

This rollicking revue of rock musicals is a rather ambitious production and hits the right notes (pun intended) for the most part.  Rave On and OCP give the audience a potpourri of tunes ranging from hard rockers to soft ballads to some pretty emotional works.  I especially enjoyed the fact that not only were classic well-known numbers and shows utilized, but they also selected songs from lesser known productions which really spiced up the evening.

Kimberly Faith Hickman’s direction brought some fun theatricality to the night while Matthew McGuigan’s musical direction was utterly flawless.  He and his band were in fine fettle as they played with a rich gusto and energy that gave the songs a familiar feel, but imbued them with a unique vibrancy.

The show is blessed with a talented troupe of troubadours who each get their moments in the sun and occasionally blend in glorious harmony.  Some shining moments were Brittney Thompson’s rendition of the power ballad “And I Am Telling You I’m Not Going” from Dreamgirls and Ejanae Hume’s killer take on “Take Me or Leave Me” from Rent.  Eric Perlstein kicked things off with the sonorous “Heaven On Their Minds” from Jesus Christ Superstar, gave us a little Four Seasons with “December, 1963 (Oh What a Night), but his shining moment was his interpretation of “Boulevard of Broken Dreams” from American Idiot with his sensational, soulful emoting.  Jonathan Berger’s lower tenor got to glow with Billy Joel’s “Movin’ Out” and “Tear Me Down” from Hedwig and the Angry Inch.

But in a group of standout performers, Evelyn Hill and Jesse White really stole the show.  Hill is a worthy successor to Brenda Lee’s moniker of Little Miss Dynamite as her talent is explosive.  Hill threw herself into her numbers and stunned with performances including a high powered rendition of ABBA’s “Mamma Mia” and her half of “Suddenly, Seymour” from Little Shop of Horrors

White is a performer’s performer with his own animated performances.  His tenor is both soaring and searing as he tore through the night outdoing Frankie Valli’s falsetto in “Sherry”, was shyly comforting in his half of “Suddenly, Seymour”, nailed David Bowie’s “Changes” from Lazarus to the floor, and capped the night with Queen’s “Don’t Stop Me Now”.

But the night’s capstone number came from Ryan McGuigan with his tragically haunting version of “Gethsemane” from Jesus Christ Superstar.  Aside from his formidable musical chops, McGuigan brought a little top notch acting as he was shedding real tears by the end of the song and if you can listen to it without your soul stirring, then you probably don’t have one.

But I can’t end this review without mentioning the splendid work of Jim Boggess who hosted the festivities.  His wit, warmth, and humor really enhanced the night and his introduction of each number was a real aid for those who may not be familiar with each song and show.

There were some moments of singers not having enough breath for certain notes and numbers that were fine technically, but needed a bit more commitment to bring them to that next level, but these were minor quibbles in a thoroughly entertaining night.

It’s a rocking good time and a pleasant, and socially distant, way to get out and have some fun.  Take a break from these strange times and get a ticket to see this one before it’s too late.

Don’t Stop Me Now! A Celebration of Rock Musicals plays at the Omaha Community Playhouse through Sept 20. Showtimes are Wed-Sat at 7pm and Sundays at 6pm. Tickets cost $35 and can be purchased online at www.omahaplayhouse.com or by phone at 402-553-0800.  This is a cashless event and reservations are required.  CDC guidelines are being followed and parking spaces will be assigned upon arrival.  Please do not arrive earlier than 60 minutes before showtime.  The Omaha Community Playhouse is located at 6915 Cass Street in Omaha, NE.

Photo provided by Zach Wagner Photography

‘Don’t Stop Me Now’ Opening Outside at OCP

Omaha, NE.– Don’t Stop Me Now! A Celebration of Rock Musicals will open Friday, August 28 at the Omaha Community Playhouse (OCP). The show will be held outdoors in the Storz Parking Lot at OCP. Performances will run Wednesdays through Sundays through September 20. The outdoor venue allows social distancing and other safety precautions in response to the COVID-19 pandemic.

Bid farewell to summer with one final outdoor extravaganza at OCP! Don’t Stop Me Now: A Celebration of Rock Musicals is a drive-in style concert featuring songs from acclaimed rock ‘n’ roll musicals, including Jersey Boys, Jesus Christ Superstar, Rock of Ages, Beautiful, Hair, Dreamgirls and more! Sing and dance along with your favorite musical hits from the your private socially-distanced parking area, or tune in to hear the show from OCP’s radio station inside your car! Featuring Billy McGuigan’s Rave On Productions band and six powerhouse vocalists, Don’t Stop Me Now is the end-of-summer spectacular you won’t want to miss.

To ensure audience safety during the COVID-19 pandemic, this will be a cashless event requiring a reservation. Cars will be parked in a checkerboard pattern for social distancing. Audience members can choose to bring portable chairs and sit outdoors on the driver’s side of the vehicle they came in, but please mingle only with those who came in your vehicle. No concessions will be sold. No smoking or alcoholic beverages will be permitted. Bathrooms in the Playhouse main lobby will be available, with COVID sanitation and social distancing observed. Early arrival is recommended to allow extra time for parking. Parking spaces will be assigned as cars arrive. Please, no lining up to park until 60 minutes before showtime. Tickets are on sale now starting at $35, with prices varying by performance. Tickets may be purchased at the OCP Box Office, 6915 Cass St., by phone at (402) 553-0800 or online at OmahaPlayhouse.com.

Director: Kimberly Faith Hickman

Cast

Jonathan Berger

Evelyn Hill

Ejanae Hume

Eric Perlstein

Brittney Thompson

Jesse White

Band

Rick Avard (Keys)

Matthew Mcguigan (Vocals/Keys/Music Director)

Ryan Mcguigan (Vocals/Percussion)

Max Meyer (Lead Guitar)

Darren Pettit (Saxophone)

Kevin Sullivan (Bass)

Larell Ware (Drums)

Auditions for Two at OCP

Please contact Becky at bdeiber@omahaplayhouse.com to make an appointment for a Zoom audition.
Grounded
By George Brant
Directed by Kimberly Faith Hickman
 
Auditions are Tuesday August 18, 2020 from 6:00pm-9:00pm via Zoom appointment only. Sides will be emailed to actors after an appointment is made. The sole character of Grounded is a female pilot. Actors who identify as cisgender women, transgender women and nonbinary women are encouraged to audition.
 
An ace fighter pilot finds herself grounded when an unexpected pregnancy cuts her career in the sky short. Reassigned to military drone operation, the former F-15 pilot patrols Afghanistan by day – from a windowless trailer outside of Las Vegas – and returns to her family at night. But as professional pressure mounts, the lines between the desert where she lives and the desert where she hunts high-profile terrorists begins to blur.
 
 
Production Dates: September 25 – October 18, 2020
Rehearsals begin August 23, 2020 (based on actor availability)
I Am My Own Wife
By Doug Wright
Directed by Kimberly Faith Hickman
 
Auditions are Saturday September 19, 2020 from 2:00-5:00pm via Zoom by appointment only. Sides will be emailed to actors after an appointment is made. The primary character of I Am My Own Wife is Charlotte von Mahlsdorf, a transgender woman who survives oppressive regimes. Actors who identify as transgender women, nonbinary and feminine of center are greatly encouraged to audition and will be given preference. Cisgender men can also audition.
 
The Tony Award and Pulitzer Prize-winning true story about Charlotte von Mahlsdorf, an East Berlin transgender woman who survived two of the most repressive totalitarian regimes in history – the Nazis and the Communists – while openly flouting gender norms. Born to a brutal Nazi father, Charlotte went on to become a highly celebrated antiques collector and curator of her own museum. An incredible tale – with one actor playing 35 different roles – filled with intrigue, danger and conspiracy that examines the balance between morality and survival.
 
Production Dates: October 30-November 15, 2020
Rehearsals begin September 27, 2020 (based on actor availability)