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.

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Creatures of the Night

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Benn Sieff as Dr. Frank ‘N’ Furter

Newly engaged Brad and Janet have a vehicle breakdown in the middle of nowhere.  They stop at the home of Dr. Frank ‘N’ Furter to seek assistance and find that the good doctor has created a new. . .playmate.  This is The Rocky Horror Show with book, music, and lyrics by Richard O’Brien and is currently playing at the Omaha Community Playhouse.

If you’re unfamiliar with the show, it is an homage to cheesy sci-fi films of the 1950s, but with a lot of raunchiness thrown in.  There’s risqué behavior, performers in various states of undress, and a bit of fondling.  So for those uncomfortable with that, consider yourselves forewarned.

I was pretty much a newbie to this show.  I kind of, sort of watched most of the film version once upon a time, but wasn’t paying that close of attention to it.  After watching the stage version, I can honestly say this show is one of the best in the history of the Playhouse.  It is a tremendous amount of fun with catchy songs (brilliantly executed by Jennifer Novak Haar and her band), an intentionally hokey story, some spritely and original choreography, and a great opportunity for audience participation as they are encouraged to bring noisemakers, rubber gloves, toast, flashlights, and even dress up in costume.

Kaitlyn McClincy directs her first full production at the Playhouse with this endeavor.  This is not an easy show to direct due to the colossal amounts of energy required and the suggestive behavior actors need to be led through.  As my friend succinctly stated, “If you ain’t committed, you’re screwed”.  I assure you McClincy and her cast are most thoroughly committed and McClincy’s direction is immaculate and dead on target.

The staging is incredible with Matthew Hamel creating an old-fashioned movie theater for this show to take place.  McClincy makes phenomenal use of the small Howard Drew as she utilizes the entire theatre from stage to seating area to balcony for her actors to tell this story.  She hits all of the hot points of the show to milk the funny and even drilled the rare sentimental moments of the show.  McClincy also has boldly and deftly led her cast to sterling performances from top to bottom.

As I previously stated, energy is crucial to this show and the ensemble hits the ground running and never lets up in a supercharged night of singing and dancing.  Some standout performances came from Jason DeLong who gives an innocent performance as Rocky, Frank ‘N’ Furter’s new creation and shows an impressive set of pipes in “The Sword of Damocles”; Erika Hall-Sieff does well as the sultry domestic, Magenta, and also gets to let her own rich alto shine in “Science Fiction”; Olivia Howard has one of the night’s funniest moments as Columbia with a series of gyrations and movements after having her brain zapped by Frank; and Kevin Buswell is eerily mysterious as the enigmatic butler Riff Raff.

Benn Sieff comes out roaring in his Playhouse debut as Dr. Frank ‘N’ Furter.  Sieff has incredible instincts and nails the oversexed, over the top mad scientist to the floor.  Sieff has wonderful timing, knowing how to precisely punch a funny line and has a flair for physical comedy, best demonstrated by his bedroom romps with Brad and Janet and he does it all while wearing lingerie and fishnets and gliding around the stage in lifts that add a good six inches to his already towering presence.

Sieff also has a smooth baritone with which he nails comedy in the doctor’s introduction number “Sweet Transvestite” or downright sad and melancholy in one of the night’s few serious moments in “I’m Going Home”.

Cale Albracht is delightfully dorky as Brad.  Albracht’s Brad is a real square and he adds a wonderful stilted and stiff delivery to his lines to emulate the poor actors of cheapo sci-fi films.  Albracht is also a nimble dancer and has a great tenor used to superior effect in “Damn it, Janet” and “Once in a While”.

Charlotte Hedican is sweet and a bit repressed as Janet.  Hedican skillfully handles her hokey dialogue with perfectly sincere camp delivery.  She is also on the mark with the flip from the virginal Janet to the shark smelling blood version after being deflowered by Frank and wants more in “Touch A Touch Me”, one of the top numbers of the evening.

Tim Burkhart and John Gibilisco supply some fantastic sounds from the zap of laser guns to the sounds of storms and the electronic whine of viewscreens.  Amanda Fehlner’s costumes were on target with the tuxedoes of the Transylvanians, the lingerie and fishnets of Frank (and eventually other characters), Rocky’s form fitting golden tights, and the goody-goody look of Janet’s pink dress and Brad’s dark suit.  Courtney Cairncross provides a dazzling bit of choreography especially with the energetic “Time Warp” and the ensemble dancing in “Touch A Touch Me”.

There seemed to be some microphone difficulties at a few points and some of the actors needed to project a bit more strongly.  That being said, I also want to salute the cast for great poise under pressure by not allowing themselves to get thrown off course when a group of theatregoers began to get a bit disruptive halfway through the second act.

It’s cheesy.  It’s hokey.  It’s just plain silly.  But, heavens, this show is fantastic fun and definitely a treat for the Halloween season over at the Playhouse.  Grab your tickets while you can because I foresee many a sellout for this one.

The Rocky Horror Show plays at the Omaha Community Playhouse through Nov 10.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Special midnight showings will take place on Oct 19, Oct 26, and Nov 2 with no Sunday show on the following day.  Ticket prices start at $42 for adults and $25 for students at can be obtained at the OCP box office, by phone at 402-553-0800, or online at www.omahaplayhouse.com.  Due to mature content, this show is not suitable for children.  The Omaha Playhouse is located at 6915 Cass Street in Omaha, NE.

Photo provided by Colin Conces Photography

OCP Set to Do the Time Warp with ‘The Rocky Horror Show’

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Benn Sieff as Dr. Frank ‘N’ Furter

Omaha, NE–Cult classic The Rocky Horror Show will make its long-awaited return to the Omaha Community Playhouse when it opens on Friday, Oct 4, 2019.  The show will run in the Howard Drew Theatre from Oct 4-Nov 10.  Special midnight showings will be held on Oct 19, 26, and Nov 2.  No performances will be held on Oct 20, 27, and Nov 3.

After a flat tire renders them helpless in a storm, Brad and his fiancee, Janet, take refuge in the mansion of Dr. Frank ‘N’ Furter, a dangerously eccentric cross-dressing scientist with an insatiable libido.  As the night unfolds, a host of wild characters plunge in and out of rock songs and elaborate dances, stripping the couple of their innocence and leading them to question their traditional stance on sexuality.  This gender-bending musical extravaganza is the most fun you can have in fishnets!  Audience participation and costumes are encouraged.

Tickets are on sale now starting at $42 for adults and $25 for students with prices varying by performance.  Tickets can 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:  Kaitlyn McClincy

Cast

Benn Sieff as Dr. Frank ‘N’ Furter

Bob Gilmore as Eddie

Cale Albracht as Brad

Charlotte Hedican as Janet

Erika Hall-Sieff as Magenta

Jason Delong as Rocky

Jerry Van Horn as Dr. Scott

Kevin Buswell as Riff Raff

Olivia Howard as Columbia

Rob Baker as Narrator

The Transylvanians will be played by Colin Burk, Connor Meuret, Ejanae Hume, Erin Florea, Evelyn Hill, Jesse White, Jessie Kellerman, Julianna Cooper, Lacey Kiefer, Liliana McMahon, Nathaniel Belshan, Nina Washington, Nora Shelton, Raymond Butler, Riley Perez, and Tonya Stoakes

Photo provided by Colin Conces Photography

‘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

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

A Melange of McGuigan

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He’s been thrilling crowds since 2002.  Now the master maestro of Omaha, Billy McGuigan, is set to make his 500th performance at the Omaha Community Playhouse and it will happen during his latest run of Billy McGuigan’s Rock Twist.

Billy McGuigan was ready to rock tonight and, believe me, that’s really saying something.  Attacking the music with a thunderous energy that never let up and actually increased to something cataclysmic, McGuigan and his Pop Rock Orchestra delivered a fiercely awesome 2+ hour concert that had the audience in the palm of their hands from the first note to the last clap.

If you have never seen Billy McGuigan’s Rock Twist before (and if you haven’t, what’s wrong with you?) what you get is a show that offers classic rock songs done with a big band flair.  Even if you have seen this show, you really need to see this incarnation as Billy and company have completely revamped the show with a new set, lights, set up, and an almost completely new set list.  Truthfully, I rank this as one of McGuigan’s best performances to date and I have seen plenty of them over the years.

Few connect with an audience the way McGuigan can with his charming wit and storytelling abilities and when you add in his phenomenal musical abilities, you’re really in for something special.

Versatile seems almost too small a word for a guy who makes everything he plays sound like his own creation.  McGuigan hit the ground running with ELO’s “Evil Woman” and ran through rockers such as The Doors’ “Touch Me” and Sly and the Family Stone’s “Dance to the Music” with his pulse pounding tenor and killed it in a guitar duel with Omaha’s personal Pete Townshend, Max Meyer, in the Everly Brothers’ “Bye Bye Love”.

McGuigan also slowed it down a notch with the Beatles’ beautiful “Yesterday” backed by the string trio of Melissa Holtmeier, Axelle Verboon, and Mindy Zimmerman.  And tears were a flowing when he teamed up with Tara Vaughan to perform an epic take on Simon and Garfunkel’s “Bridge Over Troubled Water”.

Speaking of Tara Vaughan, the mistress of the keyboards also got a fair chance to shine throughout the night with her one of a kind tickling of the ivories and that dreamy alto serenading the crowd with Nancy Sinatra’s “These Boots Were Made for Walking”, the Supremes’ “Stop!  In the Name of Love”, and Lulu’s “To Sir, With Love”.

Featured performances were supplied by Natalie Thomas who practically had the audience purring with a throaty, sultry interpretation of Ike and Tina Turner’s version of “Proud Mary” that was further bolstered with the almighty tenor of Ryan McGuigan; Steve Gomez made his singing debut with The Champs’ “Tequila” which featured his singular bass playing and a stellar solo from Stan Harper on saxophone; Matthew McGuigan took a moment in the sun with The Temptations’ “My Girl”; Omaha’s legendary jazz musician, Doyle Tipler, soloed on his trademark trumpet as only he could; Patrick Peters and Willie Karpf solidly rounded out the horns while the Doctor, Tomm Roland, kept the beat going on his drums.

The volume of the microphones could have used some slight boosting on a couple of occasions, but the only real disappointment of the night was that it had to end at all.

If you haven’t had a chance to see a show with Billy McGuigan and his band, this is the one to see.  You’ll feel like a million bucks before the night is through and if you strike fast you may be able to snatch up a ticket to see that magical 500th performance on August 17.  But any night of this run is going to be smoking good.

Billy McGuigan’s Rock Twist runs through August 18 at the Omaha Community Playhouse.  Performances are Fridays and Saturdays at 7:30pm and Sundays at 2pm.  Tickets start at $42 and can be obtained at www.omahaplayhouse.com, by calling 402-553-0800, or visiting the Box Office.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Photo provided by Omaha Community Playhouse.

Youth Auditions for Nebraska Theatre Caravan’s ‘A Christmas Carol’ Tour

Nebraska Theatre Caravan Youth Auditions for the Tour of A Christmas Carol

The Nebraska Theatre Caravan will hold auditions for youth (ages 7-18) for the anticipated national touring production of A Christmas Carol. Auditioning youth must not be taller than 5-foot even. Auditions will be held Saturday, August 17th at 11:00 a.m. at the Omaha Community Playhouse, 6915 Cass Street. Please enter through the stage door on the west side of the building.

The audition will include singing and reading from the script, followed by movement. Applicants should bring a resume and headshot, a 16 bar cutting of a prepared song with sheet music, and be prepared to read from the script. Applicants should also be prepared to move. An accompanist will be provided.

Estimated contract dates for A Christmas Carol are early November through late December 2019.

Note: These ARE touring productions and performances will be conducted across the United States. Rehearsals will be held 9 a.m.–6 p.m in Omaha. All actors must be available to attend all rehearsals during stated times, as well as all performances.

Youths selected for the tour will miss approximately seven weeks of school. A tutor / chaperone will be provided for the tour.

For additional audition or production information, contact Company Manager Kate Whitecotton at (402) 553-4890.