OCP Announces Auditions for ‘The Juniors’

Omaha, Neb.–The Omaha Community Playhouse (OCP) is holding auditions for the upcoming staged reading of The Juniors on Sunday, July 14 and Monday, July 15 at 6:30 p.m. The Juniors is part of OCP’s 2019/20 Alternative Programming series.

Production:          The Juniors

Director:                Steve Krambeck

Auditions:             Sunday, July 14 at 6:30 p.m. Monday, July 15 at 6:30 p.m.

Location:  Omaha Community Playhouse, 6915 Cass Street, Omaha, NE 68132

Actors interested in auditioning need only attend one evening of auditions. Those auditioning should enter through the west “Stage Door” entrance and proceed to the check-in table. Actors will be asked to read sections from the script. These sections will be provided at the auditions.

What to Bring:     All contact information, personal schedules and a list of rehearsal conflicts to complete your 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.

Show Dates:         Monday, Aug. 26 at 7:30 p.m. in the Howard Drew Theatre

Rehearsals:           TBD

Description:  Written by Omaha native Noah Diaz, The Juniors is a comedy about the dark culinary arts: home economics. When a group of high school students are tasked with rearing flour sack children, the assignment descends into primitive chaos and “Lord of the Flies”-style savagery. It’s flour power time for these high schoolers, and if you can’t stand the heat — get out of the kitchen.

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

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Fall Into a Ring of Fire

Performing Artists Repertory Theatre is happy to announce auditions for Ring of Fire: The Music of Johnny Cash created by Richard Maltby Jr, conceived by William Meade, and orchestration by Steven Bishop and Jeff Lisenby. All roles are open. Seeking 2 females and 3 males. Auditions are scheduled for Sunday, July 7 from 6:30pm to 8:30pm and Monday, July 8 from 6:30p to 8:30pm. Please bring a headshot, resume and prepare a short monologue and sing one verse from a country song. An accompanist will be provided. Auditions are by appointment only. Please call 402-706-0778 for an appointment. The show will open August 9-18, 2019 at the PART Theatre at the Crossroads.  The theatre is located in Crossroads Mall at 72nd and Dodge Streets in Omaha, NE.

American Dreams & Nightmares

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A housewife and mother of her time.  A Latvian immigrant struggling to realize the American Dream.  A ragtime musician about to have his life torn asunder by the blight of racism.  These are three people living life in America at the turn of the 20th century and their stories and the intersecting of their lives forms the plot of Ragtime by Terrence McNally with music and lyrics by Stephen Flaherty and Lynn Ahrens and based off the novel by E.L. Doctorow. It is currently playing at the Omaha Community Playhouse.

This has been one of the more uniquely crafted musicals I’ve seen.  Usually, it seems like the songs are worked around the story of the show.  This production goes the opposite direction.  Due to the sheer size of the score, Ragtime is more like an opera and the story is worked between the songs.  And it works because the story part of the show is actually three meticulously crafted short stories which are skillfully woven together with a blend of fictional and real-life characters.

I can see why the score won a Tony Award as Stephen Flaherty and Lynn Ahrens crafted a doozy which has something for everyone.  There’s some foot stomping fun, tender love songs, and haunting numbers that will reach right in and squeeze the emotion out of your heart.  I was particularly impressed by the constant use of a singular ragtime number which either served as a springboard from which other songs would emerge or be changed up emotionally to suit the particular moment of the show.

Kimberly Faith Hickman supplies a devastating bit of direction to the production.  Hitting the beats of this show is quite tricky due to the multiple storylines which constantly trade places, but Ms Hickman manages to do so with an effortless ease.  The staging is precisely on point as it utilizes the entire stage and never is there a point where I wasn’t seeing the face of an actor.  The work of her performers is deadly accurate as they never miss a trick.

The night was loaded with sterling performances such as those provided by Jon Flower as Younger Brother, a carefree young man who transforms into a fighter for equal rights, though he doesn’t go about it in the best way.  Flower is particularly moving with his singing in “He Wanted to Say” as he tries to support Coalhouse Walker.  Joey Hartshorn is gripping as the anarchist Emma Goldman who wants to better the lives of the poor workers and bring down the rich and powerful.  Dara Hogan is going to make you cry with her turn as Sarah, the lover of Coalhouse Walker.  Ms Hogan begins as a broken, mute mother whose life has fallen apart along with her relationship with Walker.  She blooms to life as she and Walker rekindle their love before tragedy blows their lives apart due to racism’s malevolent hand.  Ms Hogan has a wonderful upper alto which shines in “New Music” and “Wheels of a Dream”.

Jodi Vaccaro is stunning as Mother.  Ms Vaccaro’s Mother is the nexus character as her life intersects with those of Coalhouse Walker and Tateh and her experiences with them change and deepen her.  When the show starts, Mother is very much a woman of her era.  She takes care of the home and raises the children and her husband is the boss.  But that begins to change when she takes in the homeless Sarah and her illegitimate child.  This breaking of the social and racial barriers of her time opens her eyes to how things are in their world and begin her journey of personal growth as she stomps those barriers flat.

Ms Vaccaro brings a genuine warmth and kindness to the role of Mother and I loved her slow and steady realization to the hardness of life outside of her upper-class walls as it made her character arc truly satisfying.  Ms Vaccaro also has a sweet and beautiful singing voice with shining moments in the touching “Our Children” and the revelatory “Back to Before”.

Mike Palmreuter gives an amazingly realistic performance as Tateh.  Palmreuter’s Tateh provides a very frank look at the plight of immigrants who came to America for the promise of the streets paved with gold only to discover a very different reality.  Palmreuter is brilliant as he plays a man struggling to realize the American Dream.  He begins as bright eyed and determined to reap the promises of the New World only to be beaten down by its harsh realities where the only thing that keeps him going is his daughter’s survival.  But it’s all worth it as his struggles do yield the promised fruit due to his perseverance.  Palmreuter has a great lower tenor and he knows how to use it emotionally from the hopeful “Success” to the bittersweet “Nothing Like the City” to the triumphant “Buffalo Nickel Photoplay, Inc.”

Over the past few seasons, J. Isaiah Smith has evolved into one of the city’s most dynamic talents.  He can sing, dance, and act and his performance as Coalhouse Walker, Jr. allows him to excel at all three at once as well as turn in a performance that puts him in the running for a second straight Fonda-McGuire Award.

In many ways, Smith’s Walker is already living the American Dream.  He’s a successful musician, a new father, his relationship with his lover is on the mend, and he can even afford a Model T Ford.  But he realizes the American Nightmare when racism not only takes away all that he’s worked for, but also denies him an avenue to justice until he feels compelled to take matters into his own hands.

Smith’s interpretation of Walker is a bit of elegant mastery.  Before his life is blasted, he’s a sweet, sensitive, happy go lucky man determined to fix his broken relationship with his lover and be a father.  After the fall, he becomes a smoldering cauldron of anger whose rampage is still tempered by a bit of honor as he’s limiting it to the bigot and the entity that bigot represents and will gladly stop once he metes out justice.  What I liked best was that he doesn’t completely lose his humanity and still makes the right choice in the end.

Smith has a mighty vocal range that soars between deeply baritone notes to high tenor ones.  Some of his best numbers were the raucous “Getting’ Ready Rag”, “Justice”, and the determined “Make Them Hear You”.

Lindsay Pape’s costumes provided an accurate depiction of life at the turn of the century with the short pants of the boys, the double- breasted suits, hats and bowlers, and the almost Victorian gowns of the wealthy women.  Jim Othuse has designed a series of set bits that could easily be moved in and out from the burgundy sitting room of Mother’s home to Coalhouse Walker’s nightclub to the posters and seaside of Atlantic City.  Michelle Garrity provides some scintillating choreography especially with “Getting’ Ready Rag”.  Tim Burkhart and John Gibilisco have cooked up some crucial sounds from the lolling waves outside Atlantic City to the puttering of Walker’s Model T to the gunshots and explosions of Walker’s rampage.  Jim Boggess and his orchestra never miss a note with their fun and energetic take on this show’s score.

In the end, Ragtime not only provides a great night of entertainment, but it also provides an honest look at the lives of all classes of people at turn of the century America and I think it serves as a potent reminder that we have come a long way as a people, but there’s still a bit of road left to travel.

Ragtime plays at the Omaha Community Playhouse through June 30.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.  Tickets start at $32 and can be purchased at the OCP Box Office, by phone at 402-553-0800, or online at www.omahaplayhouse.com.  Some parental discretion is advised due to racial epithets and a little strong language.  The Omaha Community Playhouse is located at 6915 Cass Street in Omaha, NE.

(Photo supplied by Robertson Photgraphy)

It Will Be ‘Epic’ At GPTC

Epic – PART OF GPTC’S NEIGHBORHOOD TAPESTRIES PROJECT
Written by Ellen Struve
Directed by Michael John Garcés
Translations by Lucia Francisco and Marina Rosado.
Wednesday, May 29 at 7:30pm
Thursday, May 30 at 7:30pm
Friday, May 31 at 7:30pm
Metropolitan Community College/ South Omaha Campus ITC 120

Exploring the lives of contemporary South Omaha Mayan and artist communities through a time bending journey of the ancient Mayan stories of the Popol Vuh, this multi-generational play will include music, puppetry and pageantry.

CAST
Ximena Herrera-Baro
Francisco Franco
Edwin Garcia
Juana Marcos
Luis Marcos
Reyna Marina Pedro Mateo
Manny Onate
Eulalia Pedro
Marina Rosado
Brisia Valdovinos
Juan Valdovinos
Catie Zaleski
Hugo Alberto Zamorano

PUPPETEERS
Julie Huff
Britta Tollefsrud

DESIGNERS/TECHNICIANS
Mark Bruckner
Ashleigh Dawn Kreigh-Fleming
Rick Goble
Madelyn Hubbard
Lynn Jeffries
Mark Krejci
Jocelyn Reed
Savannah Reed
Savannah Savick
Valerie St. Pierre Smith

In partnership with Abstract Mindz, South Omaha Mural Project, and Comunidad Maya Pixan Ixim.

FREE ADMISSION LIMITED SEATING
For more information: http://www.gptcplays.com/epic/

OCP Ends Season with a Little “Ragtime”

Omaha, NE–Tony Award winning musical, Ragtime, will open Friday, May 31 at the Omaha Community Playhouse.  The show will run in the Hawks Mainstage Theatre from May 31-June 30.  Performances will be held Wed-Sat at 7:30pm and Sundays at 2pm.

A tragic, yet hopeful, tale, four time Tony Award winning musical, Ragtime, explores the pursuit of the American Dream and the meaning of family.  Set in the melting pot of New York City at the turn of the century, the lives of a wealthy white couple, a determined Jewish immigrant, and an African American ragtime musician intertwine, creating a rich tapestry of American life.  With soaring ballads and a stunning score, these characters are connected by their compassion, belief, and resolution that they, too, will find their place in the world.

Tickets are on sale now starting at $32 with ticket prices varying by performance and seating zone.  Tickets may be purchased at the OCP Box Office located at 6915 Cass St, by phone at 402-553-0800, or online at www.omahaplayhouse.com.

Production:  Ragtime (Written by Terrence McNally and based on the novel by E.L. Doctorow

Music and Lyrics By:  Stephen Flaherty and Lynn Ahrens

Directed By:  Kimberly Faith Hickman

Cast

Paul Tranisi as Father

Jodi Vaccaro as Mother

J. Isaiah Smith as Coalhouse Walker

Dara Hogan as Sarah

Mike Palmreuter as Tateh

Pieper Roeder as Little Girl

Dominic Torres as Little Boy

Jon Flower as Younger Brother

Nelson Lampe as Grandfather

Megan Kelly as Evelyn Nesbit

Jordan Smith as Booker T Washington

Zhomontee Watson as Sarah’s Friend

Mark Haufle as J.P. Morgan

Brandon Fisher as Henry Ford

Kevin Olsen as Harry Thaw

Jay Srygley as Stanford White

Bob Gilmore as Admiral Peary

Brendan Brown as Hensen

Bowen Peterson as Harry Houdini

Joey Hartshorn as Emma Goldman

Justin Dehmer as Willie Conklin

Amanda Srygley as Brigit

Julia Ervin as Kathleen

Taylor Plank as Chorine

Lauren Taylor Anderson, Janet Goodman, and Elizabeth Planck as Sob Sisters

Ensemble features Sheldon Ledbetter, Ejanae Hume, Erin Florea, Olivia Howard, Olivia Bryant, Serena Johnson, Cody Girouex, Lynn Ramert, Alex Nilius, Danny Denenberg

 

A Love Cursed

Out of tragedy is born love.  And out of that love arises another tragedy. . .and a bit of hope.  Come discover the story of the Tin Woodsman of Oz before he became the Tin Woodsman in the Strangemen Theatre Company’s production of The Woodsman by James Ortiz with music by Edward W. Hardy and lyrics by Claire Karpen.  It is currently playing at the Blue Barn Theatre.

The hardest thing about writing an article is coming up with a good conclusion.  This time, it’s a piece of cake.  Go see this show.

OK, now let’s get to that analytical stuff.

I knew I was going to see something different when I saw this show, but what I didn’t know was just how good it was going to be.  Ortiz has written a sensational tale about the pre-metal life of the Tin Woodsman.  It’s sweet.  It’s moving.  It’s even a little spooky at times and you’ll likely shed a tear or two before it’s all through.  For the purists, the transformation to the Tin Woodsman is very faithful to L Frank Baum’s description from the original Oz novels.  For those thinking of bringing kids, it means it’s a little grim, but not overly violent.

Ortiz draws from a wide variety of performance styles such as straight dialogue, pantomime, puppetry, and musical.  Outside of a prologue, a song, and a rare word here and there, this show is done with no dialogue and I think that’s where its real power lies.  The actors have to tell a highly nuanced tale with naught but facial expressions, body language, and little expostulations of sound.  The result is a production that ranks as one of my favorite shows of the season.

James Ortiz and Claire Karpen co-direct this singular tale and their control and execution of the story is like watching a master painter create a masterpiece from scratch.  Finding beats in dialogue is tricky enough, but finding beats without the spoken word is another beast all together and the two directors expertly strike each and every one without effort.  Under their coaching, the performers “tell” this story with crystal clear expressions and body language that let me “read” this story just as easily as I read novels.  Their direction combined with movement direction from William Gallacher creates a story that really invokes all of your senses.  You can almost smell the campfire, hear the pounding of a panicked heart, and feel the texture of a warm hand on a body that no longer has sensation.

The ensemble is a critical part of this production as they literally become the world.  They are the trees of the forest.  Their whistles are the songs of birds.  Their snaps are the pop of a fire.  Their slaps are the blows of an ax.  They also play a variety of supporting parts and I was especially impressed by the work of Barry Carman and Stephanie Jacobson as Pa and Ma Chopper as they tell an excellent story about their courtship and their life together complete with posture changes to signify their aging.  I was also floored by the work of Michael Burns, Caulene Hudson, and Be Louis with their puppetry of the Wicked Witch of the East.  Their skilled manipulations made the Witch seem like an otherworldly force of nature and a truly vile villain.

The beauty of Anna Jordan’s performance as Nimmee made me want to weep.  She has an absolutely phenomenal physicality that makes for great pantomime.  You can feel and see the fear in her tense body whenever the Witch is around.  Her selling of the routine physical abuse dealt to her by the Witch is spot on.  The slow opening of her heart to Nick Chopper is wondrous to behold.  And a bit where she and Nick try to subtly cozy up to each other by a fire is sweet and funny.

Matthew Olsen’s portrayal of Nick Chopper (the flesh and blood version of the Tin Woodsman) is equally powerful.  His love for his family is palpable and it was a joy watching his childish antics as he grew up especially as he learns to fight from his father and properly wield an ax.  His courage is inspiring as he battles a forest monster to protect Nimmee.  And his anguish is haunting as he slowly loses his human nature.

Never before have I seen a show where light was so crucial to its telling and Jamie Roderick’s work is of superior quality.  His lighting is so atmospheric as he takes you to the depths of a pitch black forest with just a wisp of sunlight peeking through to the magical charges of Nick Chopper’s amulet to the dankness of the Witch’s lair.  Jenny Pool’s costumes had a nice old fashioned flair of a long forgotten time.  The set was pretty much bare bones though I thought the tree branches hanging about the theatre and the old fashioned lights set above the stage (and a bit out into the seating area) was a very nice touch.  And the violin score provided by Samantha Perkins was heavenly especially with the haunting song of the Tin Woodsman at the end.

This is storytelling at its finest.  It’s an achingly beautiful and well told love story guaranteed to melt the coldest of hearts.  At the risk of repeating myself, go see this show.

The Woodsman plays at the Blue Barn Theatre through June 16.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 6pm.  On June 9, there will be an additional 2pm matinee and Jun 16 will have only a 2pm matinee.  Tickets are $35 ($30 for seniors) and can be obtained at www.bluebarn.org or by calling at 402-345-1576.  The Blue Barn Theatre is located at 1106 S 10th St in Omaha, NE.

‘The Woodsman’ to Close Blue Barn Season

BLUEBARN THEATRE presents:

Strangemen Theatre Company’s Obie Award-Winning The Woodsman by James Ortiz with Music by Edward W. Hardy and Lyrics by Jen Loring May 16th, 2019- June 16th, 2019.

Thursday-Saturday at 7:30pm

Sunday 5/26 at 6pm| 2 Shows Sunday 6/2 & 6/9 at 2pm & 6pm | Sunday 6/16 at 2pm

About the Play

Based on the forgotten writings of L. Frank Baum, The Woodsman tells the origin story of the Tin Man from The Wonderful Wizard of Oz. This hauntingly beautiful love story is told through original music, physical storytelling, and innovative puppetry. Members of Strangemen Theatre Company re-create their Obie Award-winning experience with an ensemble of Omaha professionals. Follow ‘Nick Chopper’ on a magical adventure filled with dangers and wonders that are breathtaking to behold.

About the Production

The performance ensemble for The Woodsman features MoiraMangiameli, Matt Olsen, Anna Jordan, Stephanie Jacobson, Barry Carman, Be Louis, Caulene Hudson, Michael Burns, Beau Fisher, and Samantha Perkins(violinist).  The original creative team behind The Woodsman is in Omaha to work with our incredible local talent in bringing this haunting tale to life.

The Strangemen Theatre Company and the BLUEBARN share another origin story- each company was formed by graduates of the same acting conservatory, SUNY-Purchase.

Strangemen mainstays James Ortiz(Director/Playwright/SetDesign), Claire Karpen(Director), Will Gallacher(MovementDirector), and Amanda Lederer (Associate Director) will lead the BLUEBARN ensemble. The Woodsman features lighting design by Jamie Roderick, costume design b yJennifer Pool , scenic painting by Craig Lee,original sound design by Adam Salberg, and stage management by Meghan Boucher.

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.