On the Poor Side of Town

Billy Ferguson stars as Mark Cohen in “Rent” at the Omaha Community Playhouse

Come experience a year in the lives of the people of a poor neighborhood in NYC.  This is Rent and it is currently playing at the Omaha Community Playhouse.

I’ll make this short and sweet.  This is the season’s first masterpiece.  Good night, everyone!

Oh, very well.  I’ll share some more.

I actually had never seen this show before tonight and did not know any of its songs, though I did remember this show being extremely hot property back when it debuted in 1996.  Little did I know what I had been missing.

Jonathan Larson wrote an incredible tour de force with compelling stories and amazing songs.  I detected influences from Andrew Lloyd Webber and Shakespeare mixed in with Larson’s heart and vision.  His show is also very prescient with its powerful theme of inclusiveness which makes it very much a show that fits in today’s environment.

I’ve occasionally referenced theatrical kismet when a show gets all the right elements in place to create an indelible piece of magic and this show has that from top to bottom.  Superior musical direction.  A perfectly cast ensemble.  Dead on the mark direction.  Flawless technical elements.  Lovely voices and brilliant choreography.  Spot on acting.  There’s even a little audience participation (and I mooed with the best of them).

Stephen Santa is on fire with this show.  Not only is his direction pluperfect, but it’s one of the very best, if not the best, pieces of staging I’ve ever seen.  Santa uses the entire theatre with his actors joining the audience on the risers to make us part of the story.  And “Contact” is, without question, the single most perfectly staged moment I’ve ever witnessed.  Santa also led his actors to superlative performances.  Never did he let them cheat or shortchange an emotional moment and this show has them in droves.

This show has the truest ensemble I’ve ever seen.  By that I mean that each role holds a crucial level of vitality and necessity and everyone gets a moment to shine at some point.  Some stellar performances come from Evelyn Hill who is larger than life as Maureen, a performance artiste trying to fight the good fight against a lot owner attempting to evict the homeless.  Brandi Mercedes Smith is incredibly effective as the no nonsense lawyer, Joanne, who is in a tumultuous relationship with Maureen.  DJ Tyree Is not only eminently likable as Tom Collins, but he has a voice like a warm and comfortable quilt and an unbelievable vocal range from soaring tenor to deep baritone.  I defy you to listen to him sing “I’ll Cover You” and not start crying.

Isa Gott has one killer Playhouse debut as Mimi.  Gott displays some masterful versatility with her depiction of the old before her time teenaged exotic dancer/junkie further bolstered by her sizzling chemistry with Jesse White’s Roger.  In one moment, she’s hungrily eyeballing Roger as she flirts with him while trying to get a candle lit.  In another, she’s emotionally gutted by Roger’s constant distrust and pushing her away.  Her reactions are always natural and right on the money and her jones for heroin when overpowered by stress is palpable.  Gott also has the voice of an angel and just smacks emotional pitches out of the park with the flirty “Light My Candle”, the seductive “Out Tonight”, and the haunting “Without You”.

Over the past few years, Jesse White has made his mark as one of Omaha’s finest musical actors and is in especially fine fettle as Roger.  There’s a real nimbleness to White’s portrayal of the recovering junkie musician as he leaps from emotional beat to emotional beat and those beats swing huge as Roger can go from upbeat to broken on the turn of a dime.  White even had a remarkable way of making his eyes seem hollowed out to show his former dependence on drugs and his sickliness from battling HIV.  White shows Roger’s weariness, his distrust, his reluctance to open up emotionally, and even his hopefulness, especially as he struggles to write one great song before he shuffles off this mortal coil.  White has got a sensational voice as he fights to achieve that “One Song Glory” which he certainly does with a phenomenal take on “Your Eyes”.

Personally, I saw the character of Angel as the lynchpin of this group of friends.  His indefatigable joie de vivre serves as the fuel for everyone’s happiness.  When he hits the scene, the day gets a little brighter and when he’s not around, things go awry.  In Wayne Hudson II’s hands, the role is a piece of acting gold.  Hudson’s Angel just eats life with shining teeth.  He never seems to have a bad day and is always willing to be a supportive rock for those struggling emotionally.  Hudson is incredibly sweet in the role and he and Tyree’s Tom Collins make for an adorable couple.  Hudson has got a nice light tenor which he uses well in “You Okay, Honey?” and the gut wrenching “I’ll Cover You”.

Mark is the closest thing this show has to a central character as he serves as narrator and I got the sense that the show might have been the great documentary he was trying to create.  Billy Ferguson gives a top rate performance as the hopeful documentarian.  Ferguson’s take on Mark is that he’s always searching for something.  He’s searching for that great documentary.  He’s searching for that sense of connection in a community.  Heck, he’s even searching for the rent money.  It’s interesting to watch Mark’s inner turmoil as he battles suppressing his artistic vision to the expediency of money when a tabloid show wants to employ him after his footage of a riot hits the news.  At the same time, he is tormented by watching friendships fray and decay in Act II and fears being the only one of his group left alive as nearly all of his other friends suffer from HIV and AIDS.  Ferguson shows some emotional musical versatility of his own as he commiserates with his ex’s new girlfriend over her selfishness and libido in “Tango Maureen”, snarkily sticks it to a former friend in “La Vie Boheme”, and frets over his future and the potential deaths of his friends in “Halloween”.

Jim Boggess was in especially rare form (and that’s saying something!) with his work on this show.  Not only was his conducting of the orchestra infallible, but his molding of the singers was of tremendous quality with their beautiful harmonies and blended voices.  I’d also like to tip my hat to the band as Colin Duckworth, Mark Haar, and Vince Krysl did yeoman work.  But I especially want to laud Jennifer Novak Haar’s keyboard work as it just transported me to another realm.

Aaron Derell Gregory supplies some phenomenal choreography for the show.  What I liked best about it was its spontaneity.  It never felt staged.  It always seemed so natural as if the characters just felt like dancing for the sheer fun of it.  And “La Vie Boheme” is easily the most infectious piece of choreography I’ve ever seen as I almost succumbed to the temptation to get up and start dancing with the cast. 

Nora Marlow Smith has designed a fantastic set as it looks like a dingy street in NYC with the placement of ladders and lights really feeling like the industrial loft of Mark and Roger.  I especially liked the rotating crosswalk which Santa skillfully used to represent emotional distance between characters in key scenes.  Andrew Morgan’s properties add that sense of poorness with discarded TVs and is enhanced by Janet Morr’s protest graffiti.  Darrin Golden adds some technical wizardry with snowfall, confetti, and balloons.  Josh Wroblewski’s lights add something special especially with the Christmas lights and the street corner light used when the homeless comically deride another Christmas season.  The sounds of Tim Burkhart and John Gibilisco suck you in even before the show starts with the horn honks, bustling traffic, and police whistles pulling you into another morning rush hour in NYC.  Lindsay Pape’s costumes well communicate the bohemian lifestyle of the denizens of this neighborhood.  But she also gets to show off some other personalities with the rigid business wear of the TV exec trying to hire Mark and the matronly wear of the mothers of Mark and Roger when they’re leaving voice mails. 

Truly, this was an extremely satisfying night of theatre and one of the top five musicals I’ve had the pleasure of watching.  It’s a nearly perfect story with wonderful characterizations and unforgettable music.  Do yourself a favor and get a ticket yesterday because this one is already selling out.

Rent runs at Omaha Community Playhouse through March 19.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm. Tickets are on sale now, starting at $45 and may be purchased at the Box Office, by phone at (402) 553-0800, or online at OmahaPlayhouse.com. Due to strong language and some mature themes, parental discretion is advised. The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Photo by Colin Conces

Ozark Actors Theatre Announces 2023 Auditions

Ozark Actors Theatre Announces Auditions for 2023 Season

In-Person Auditions – February 18th:

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

To schedule an audition time, please follow this link.

Video Recorded Auditions – due February 15th:

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

What to prepare:

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

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

​Questions or accommodations:

Please contact casting@ozarkactorstheatre.org

Play Summaries & Character Descriptions

A Gentleman’s Guide to Love and Murder

Rehearsal: May 30 – June 14

Performance: June 15 – 25

Director: TBD

Music Director: TBD

Choreographer: TBD

Summary:

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

Character descriptions:

• The D’Ysquith Family -The principal conceit of Gentleman’s Guide is that one actor plays all members of the D’Ysquith family. As such the actor portraying the D’Ysquiths must have a tremendous and transformational acting ability. Actor should have strong physical comedic skills and accent ability to help establish and differentiate multiple characters. Must have stamina to carry the different characters throughout the show and make extraordinarily quick costume changes.
  • Age: 30s to 50s

• Monty Navarro – charismatic and cunning enough to ingratiate himself with both the audience and his prospective victims. He is a leading man, and often, the straight man, in the show. Monty should also have excellent physical comedy skills to adequately play along with the D’Ysquiths in their various incarnations. Charming and handsome, Monty is not upper class but has no trouble blending in with high society.
  • Gender: Male identifying
  • Age: 20s to 30s

• Sibella Hallward – A beautiful and flirtatious social climber, Sibella has true affection for Monty but also true affection for social status. Sibella is smart, funny and stylish and, as far as relationships are concerned, she wants to have her cake and eat it too.
  • Gender: Female identifying
  • Age: 20s to 30s

• Phoebe D’Ysquith – Monty’s cousin. Phoebe was raised high class with idealistic fantasies of love. As beautiful as Sibella, Phoebe foils Sibella in her interest in love over status, and a desire to find the true virtue in people. Though she is smart and earnest, she can also be naive. Must be an excellent singer with a legit, possibly operatic sound. A true soprano.
  • Gender: Female identifying
  • Age: 20s to 30s

• Miss Shingle – Monty’s unexpected visitor. Sneaky and mysterious, Miss Shingle has an obvious sense of justice. She comes to tell Monty the secret of his D’Ysquith lineage with a pivotal song in Act 1 that sets up the story of the show. Actress should be a supreme and interesting character actress with a vocal style to match.
  • Gender: Female identifying
  • Age: 40s to 60s

• The Ensemble – A group of strong and dynamic musical theatre performers who all play multiple featured roles. These actors will play 40+ roles including: Lady Eugenia, Miss Barley, Tom Copley, Detective Pinckney, The Magistrate, various clerks, newsboys, ancestors, maids, actors and many others. All Ensemble members are expected to be comfortable with some movement. Expected to work with the directing team to create dynamic characters.
  • Age: 16 to 99
  • Ensemble Vocal Ranges:
    • Soprano (coloratura) Ab4 Bb6
    • Mezzo Bb4 G5
    • Alto Gb3 Gb5
    • Tenor Ab3 B5
    • Baritone Ab3 G#4
    • Bass C2 G#4

Sunday in the Park with George

Rehearsals: June 19 – July 5

Performances: July 6 – 16

Director: Blane Pressler

Music Director: TBD

Summary:

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

Character descriptions:

• George – In Act 1: George Seurat, a rather cold artist obsessed with his work at the cost of his personal life. Constantly troubled and borderline obsessive. Act 2: Seurat’s burnt-out descendant and inventor-sculpture searching for his purpose.
  • Gender: Male identifying
  • Age: 25 to 40

• Dot/Marie – As Dot, George’s headstrong mistress and occasional model so discontent with their relationship that she eventually leaves him. Age: 20 to 40. As Marie, George’s elderly wheelchair bound grandmother who helps him connect to his artistry through her grammar book notes.
  • Gender: Female identifying

• Old Lady – George’s mother. A cranky and rather demanding fixture in the park. She is able to find solace in nostalgia and inspires George to find order in his art. Doubling as BLAIR DANIELS.
  • Gender: Female identifying
  • Age: 60 to 80

• Nurse – The Old Lady’s attendant. She is calming and assertive. Doublings include HARRIET PAWLING and MRS.
  • Gender: Female identifying
  • Age: 40 to 60

• Jules – A rival artist. Callous, critical, and ultimately shallow. He forces Frieda to engage in extramarital affairs. Doubling as BOB GREENBERG.
  • Gender: Male identifying
  • Age: 25 to 45

• Yvonne – Jules’ pampered wife. She is as snippy and snooty as her husband. Doubling as NAOMI EISEN.
  • Gender: Female identifying
  • Age: 25 to 35

• Boatman – A surly, blue-collared laborer, simple-minded and slovenly. Doubling as CHARLES REDMOND.
  • Gender: Male identifying
  • Age: 35 to 60

• Celeste #1 – A young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Optional Doubling as A WAITRESS.
  • Gender: Female identifying
  • Age: 18 to 30

• Celeste #2 – Another young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Doubling as ELAINE.
  • Gender: Female identifying
  • Age: 18 to 30

• Louise – Jules and Yvonne’s spoiled little girl. She faces neglect and abuse from her parents, despite being honest. Doubling as BOY.
  • Gender: Female identifying
  • Age: 8 to 12

• Franz – Jules’s German coachman and Freida’s husband. Disgruntled with his job. Has a bit of a temper and secretly yearns for the Nurse. Optional Doubling as DENNIS.
  • Gender: Male identifying
  • Age: 30 to 50

• Frieda – As Frieda, Jules and Yvonne’s cook and Franz’s wife. Caring and positive as a surrogate nanny to Louise. Forced by Jules into an affair. Doublings include BETTY and YOUNG MAN.
  • Gender: Female identifying
  • Age: 35 to 55

• Soldier – A French military man, polite and gentlemanly. Close with his companion, though he yearns for a separation. Doubling as ALEX.
  • Gender: Male identifying
  • Age: 20 to 35

• Louis – A baker who Dot starts seeing to make George jealous. Kind, friendly, and very popular, but a bit dull. Doublings include BILLY WEBSTER and MAN.
  • Gender: Male identifying
  • Age: 35 to 55

Ken Ludwig’s Baskerville

Director: Suzanne Withem

Rehearsals: July 11 – 26

Performances July 27 – August 6

Summary: 

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

Character descriptions:

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

​​

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

​​

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

​​

• Actor 2 – Plays nearly a dozen characters – primarily male-identifying heroes and gentlemen. Must be a versatile character actor adept in physical comedy and various accents and dialects.
  • Gender: Male identifying
  • Age: Any

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

​​

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

They Are Family

Dysfunction, thy name is Magrath.  After ten years, the three Magrath sisters reunite in the wake of their grandfather being hospitalized by a stroke.  One is an unhappy old maid bound to the hometown to take care of their grandfather.  One is a selfish diva with delusions of stardom.  One has a charge of attempted murder hanging over her head.  Will the sisters overcome their personal trials and long buried animosities to be a true family?  Find out by watching Crimes of the Heart by Beth Henley and currently playing at Lofte Community Theatre.

Henley’s script has its pluses and minuses.  I personally felt that the script was somewhat overlong and could have been edited into a two act play as the first act is a bit of a slog.  Once past the slow moving first act, the play really picks up the pace and the second and third acts are much more compelling and riveting as a result.  Another weakness is that the play sets up several storylines, but doesn’t really resolve any of them.  What the script lacks in story development, it more than makes up for in character development as the Magrath sisters are fully realized and gripping characters especially in the hands of the production’s three leading ladies.

Kevin Colbert’s direction is steady and sure.  I appreciated the high quality of his staging as he kept his actors moving about the stage to keep the talky play from becoming static.  He also understood the play’s numerous emotional moments and had his actors play them with unerring accuracy as they always felt genuine and realistic.  He also coached his actors to high caliber performances.

Melissa Holder is absolutely spot on as Lenny Magrath.  She brought a wonderful world-weariness to the eldest sister and the constant sag in her shoulders well communicated the terrible burden weighing upon her.  Holder’s Lenny is actually the play’s unsung hero.  Lenny is the glue that holds her family together.  She has remained at home to care for their grandfather who is implied to be an uncaring sort and had to be a mother to her two younger sisters after their real mother committed suicide.  My heart went out to her as she constantly sacrificed her own chances at happiness to help someone else and I silently cheered when she began taking the small steps to regain control of her own life.

Meg Magrath is a self-centered, conniving brat.  It’s a rich character for a performer and Natalie McGovern plays her for everything she’s worth.  If all the world is a stage, then Meg certainly believes herself to be the star.  McGovern brilliantly displays Meg’s egoism with a smug body language that says, “I always get my way” as she prepares for a night out with a married ex that clearly suggests she’s expecting romance.  She guzzles bourbon like a pro to soothe her deep unhappiness and lies like a rug to look good to her grandfather.

For all of her unsavory qualities, Meg also has some redeeming features.  She does love her sisters and is straight with them.  She’s capable of kindness such as surprising her older sister with a birthday cake.  McGovern does wonderful work in making these small decent seeds blossom as Meg does mature a bit throughout the run of the show.

CeCe Hastreiter is sweet and naïve as the youngest Magrath sister, Babe.  Hastreiter’s Babe may seem a bit dumb, but she’s actually an innocent unwise in the ways of the world.  She married at a young age and has been dominated by her thuggish husband.  Hastreiter gives Babe a lovely heart of gold as she is willing to go to prison rather than explain her motivations for shooting her husband and she also lends Babe a tender fragility as she can still be broken by her hospitalized husband and practically swoons over her lawyer who shows her a kindness and respect long denied by her brutish spouse.

Aside from direction, Kevin Colbert also designed the set which was a lovely little two story home where the screen door and gas stove invoked memories of my grandparents’ house.  The properties provided by Sheila Hansen and the cast helped make the home feel old and lived in.  Janet Sorensen’s costumes helped solidify the characters with clothing that suited their personalities such as Lenny’s simple housedress or Meg’s more vibrant and flashy dresses.

There were some minor issues in today’s performance.  Projection could have been better on the parts of some actors.  Energy was down and cue pickups were a bit lax in the story’s slow first act, but picked up remarkably in the more energetic second and third acts.  Performers also upstaged themselves on a few occasions.

Ultimately this is a story about family and before the story ends the Magrath sisters will prove that they are a family through thick and thin.

Crimes of the Heart plays at Lofte Community Theatre through April 25.  Showtimes are Thurs-Sat at 7pm and Sunday at 2pm.  Tickets cost $24 and can be obtained at www.lofte.org, calling 402-234-2553 or e-mailing LofteTickets@gmail.com.  Lofte Community Theatre is located at 15841 Manley Rd in Manley, NE.

Omaha Playhouse Announces 96th Season

Omaha, NE.–The Omaha Community Playhouse (OCP) has announced the titles to be produced during their 96th season, which will run from August 2020 through June 2021. Subscriptions for OCP’s 2020/21 season are now available for purchase through the OCP Box Office at 6915 Cass Street, Omaha, NE 68132, by phone at (402) 553-0800 or online at OmahaPlayhouse.com.

OMAHA COMMUNITY PLAYHOUSE 2020/21 SEASON PRODUCTIONS

*Billy McGuigan’s Pop Rock Orchestra

Aug. 7–16, 2020

Hawks Mainstage Theatre

Featuring Billy McGuigan | Music Director Steve Gomez | ©2007 by Rave On Productions

Billy McGuigan’s Pop Rock Orchestra is a high-energy concert experience packed with rock ‘n’ roll mega hits from the 50s, 60s and 70s. Led by international touring artist Billy McGuigan and backed by the 14-piece Pop Rock Orchestra, these all-star musicians serve up fresh, original arrangements covering everything from the Beach Boys to Billy Joel, and everything in between.

*Special Event—Not part of the regular season series.

Clybourne Park

Aug. 21–Sept. 20, 2020

Howard Drew Theatre

By Bruce Norris

Pulitzer Prize and Tony Award®-winning comedy Clybourne Park serves as prequel and sequel to A Raisin in the Sun. A 1950s couple faces sharp backlash from neighbors for selling their home in the all-white Clybourne Park to a black family. Fifty years later, a white couple attempts to purchase the same home in the now predominantly black neighborhood, igniting fears of gentrification.

Disclaimer: Contains adult language and themes of racial tension.

Kinky Boots

Sept. 25–Oct. 25, 2020

Hawks Mainstage Theatre

Book by Harvey Fierstein | Music and Lyrics by Cyndi Lauper

Original Broadway Production Directed and Choreographed by Jerry Mitchell

Based on the Miramax motion picture Kinky Boots

Written by Geoff Deane and Tim Firth

Flashy, inspiring and downright fun, Kinky Boots is the Tony Award®-winning musical warming hearts around the world. After returning to his hometown to manage his late father’s failing shoe factory, Charlie meets Lola, an outspoken and unapologetic drag queen in need of a sturdy pair of exotic boots. Together, the unlikely pair cobble a heartwarming tale of acceptance and friendship.

Orchestra Sponsor: Woodmen Life

Hawks Series Sponsor: Immanuel Communities

Water by the Spoonful

Oct. 16–Nov. 8, 2020

Howard Drew Theatre

By Quiara Alegría Hudes

Winner of the 2012 Pulitzer Prize for Drama, Water by the Spoonful follows Elliott, an Iraq war vet struggling to care for his dying aunt, and Odessa, a recovering drug addict fighting to stay sober with the support of her online companions. When their two worlds unexpectedly collide, everyone’s progress comes crashing down in this thought-provoking and beautifully human tale.

Disclaimer: Contains adult themes and language.

Presenting Sponsor: Conagra Brands Foundation

*A Christmas Carol

Nov. 20–Dec. 23, 2020

Hawks Mainstage Theatre

Written by Charles Dickens | Adapted by Charles Jones

Musical Orchestration by John J. Bennett

It just isn’t Christmas without A Christmas Carol! Experience Omaha’s favorite holiday tradition as Ebenezer Scrooge takes us on a life-changing journey to discover the true meaning of Christmas. Filled with stunning Victorian costumes, festive music and crisp, wintry sets, A Christmas Carol is a beautiful reminder that love and generosity are the heart of the Christmas holiday.

*Special Event—Not part of the regular season series.

Presenting Sponsor: First National Bank

Artistic Team Sponsor: Omaha Steaks

Orchestra Sponsor: KPMG

Bakery Shoppe/Special Effects Sponsor: Rotella’s Bakery

*Yesterday and Today:  An Interactive Beatles Experience

Nov. 27–Dec. 31, 2020

Howard Drew Theatre

Featuring Billy McGuigan | Music Director Matthew McGuigan | ©2007 by Rave On Productions

Cap off 2020 with a shot of Beatlemania! Yesterday and Today is the smash hit, all-request Beatles show controlled by the audience. Share your favorite stories and relive your fondest memories with the songs that defined a generation. With no two shows the same, fans will be dancing in the aisles and singing along to all their favorite hits.

*Special Event—Not part of the regular season series.

The Miracle Worker

Jan. 15–Feb. 7, 2021

Hawks Mainstage Theatre

By William Gibson

The Miracle Worker is the incredible true story of Helen Keller, deaf and blind since age one, and the extraordinary woman who changed her life. Unable to communicate with their daughter, the Keller family enlists the help of Annie Sullivan, a woman determined to rescue Helen from the dark, tortured silence imprisoning her mind. A story that has inspired audiences for generations.

Hawks Series Sponsor: Immanuel Communities

The Scottsboro Boys

Feb. 12–March 14, 2021

Howard Drew Theatre

Music and Lyrics by John Kander & Fred Ebb

Book by David Thompson

Original Direction and Choreography by Susan Stroman

The Scottsboro Boys follows the wrongful conviction of nine black teenagers in Scottsboro, Alabama in the 1930s—an infamous case that helped ignite the modern civil rights movement. From the composers of Chicago and Cabaret, this 12-time Tony® Award nominee alternates toe-tapping musical numbers with heart-wrenching ballads to tell a harrowing tale of bravery and strength in the face of great adversity.

Disclaimer: Contains themes and language related to racial tension.

In the Heights

Feb. 26–March 21, 2021

Hawks Mainstage Theatre

Music and Lyrics by Lin-Manuel Miranda

Book by Quiara Alegría Hudes

Before there was Hamilton, there was In the Heights. From the revolutionary musical mind of Lin-Manuel Miranda, this Tony® Award-winning musical recounts three days in the vibrant Latino neighborhood of Washington Heights, NYC, where the Spanish-speaking residents chase American dreams. This bubbly fusion of rap, salsa, Latin pop and soul music boasts an infectious enthusiasm from beginning to end.

Presenting Sponsor: Heider Family Foundation

Producing Partner: Physicians Mutual

Hawks Series Sponsor: Immanuel Communities

*THE CANDY PROJECT PRESENTS:

Gutenberg!  The Musical!

March 18–21, 2021

Howard Drew Theatre

By Anthony King and Scott Brown

Starring Steve Krambeck and Dan Chevalier

Join The Candy Project, friends of OCP, for a special presentation of Gutenberg! The Musical! A pair of aspiring playwrights audition their newest work—a big, splashy musical about the inventor of the printing press—for an audience of potential investors. This two-man musical spoof offers an unending supply of enthusiasm and laughs.

*Special Event—Not part of the regular season series.

Agatha Christie’s Murder on the Orient Express

April 16–May 9, 2021

Hawks Mainstage Theatre

Adapted for the stage by Ken Ludwig

A thrilling whodunit set aboard the world’s most famous luxury locomotive, Murder on the Orient Express will keep you guessing until the very end. When the Orient Express becomes stranded by a snow storm, a passenger is found stabbed to death in his private room. With the murderer still on board, a detective must solve the crime before the train reaches its destination.

Producing Partner: UNMC

Hawks Series Sponsor: Immanuel Communities

Outside Mullingar

May 7–30, 2021

Howard Drew Theatre

By John Patrick Shanley

This charming romantic comedy follows Anthony and Rosemary, two introverts who grew up on neighboring farms in rural Ireland. Rosemary secretly fell in love with Anthony at age six, but after a bought with heartbreak, Anthony swore off women forever. The now middle-aged pair must overcome their own aloofness—as well as a family property dispute—to find their way to one another.

Roald Dahl’s Willy Wonka

May 28–June 27, 2021

Hawks Mainstage Theatre

Music and Lyrics by Leslie Bricusse and Anthony Newley

Adapted for the Stage by Leslie Bricusse and Timothy Allen McDonald

Based on the Book Charlie and the Chocolate Factory by Roald Dahl

Oompa-Loompa-Doom-Pa-Dee-Doo! We’ve got a family favorite for you! Grab your golden ticket as Willy Wonka takes your family on a whimsical tour of the chocolate factory—with Charlie Bucket, Augustus Gloop, Veruca Salt, and all of your favorite characters. Featuring songs from the hit film, Willy Wonka will open up a world of pure imagination.

Presenting Sponsor: Mutual of Omaha

Orchestra Sponsor: Kiewit

Hawks Series Sponsor: Immanuel Communities

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

Blue Barn Vows to Make Memories with Season 31

BLUEBARN THEATRE ANNOUNCES

Season 31: Memory

This season BLUEBARN delves into the collective unconscious with five transcendent theatrical experiences, sure to linger long in your memory after you leave the theatre.

What do we choose to remember? What do we allow ourselves to forget?  In finding our individual answers to these questions, we discover the nature of our identities, our views of society, and our responsibilities within it.  We transform memory into history, into adventure, into myth. We create the past with these choices.  We define our present. We shape the future.

RED SUMMER

World Premiere Production

by Beaufield Berry

September 26^th – October 20^th , 2019 

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 an unflinching depiction of a city on the brink of chaos and a compelling portrait of the black migrant experience, each grounded by a deeply affecting vision of Will’s life and relationships before he became a tragic headline.

History is not a burden on the memory but an illumination of the soul.

 

A VERY DIE HARD CHRISTMAS

by Jeff Schell and the Habit

November 29^th  – December 22^nd, 2019

Yippee-Ki-Yay, BLUEBARNERS! An outrageous take on the Most. Beloved. Christmas Movie. Of. All Time, we cordially invite you to our company Christmas party at Nakatomi Plaza! All NYPD Blue’s John McClane wants is to come to the coast, get together with his estranged wife, and have some laughs. But when a team of well-choreographed, vaguely European terrorists start taking hostages as part of their nefarious plot to…who cares 😊 John has to cowboy up! Starring the dead guy from The Sixth Sense, the cop outside with Twinkies, big big hair, cocaine, indoor smoking, Professor Snape, and 40 floors of sheer adventure!

Hilarious, action-packed déjà vu… all over again.

WAKEY, WAKEY
by Will Eno
January 30^th – February 23^rd, 2020

You are invited to a celebration. We will talk about time, gratitude, our childhoods, and the million miracles at work in the world, in every single moment. There will be pictures. There will be music. Gifts. Wonder. Grief. Rebirth. From Will Eno, author of the BLUEBARN’s productions of Thom Pain and Gnit, comes an extraordinary, strange and beautiful experience that wakes up the big questions, and awakens us to one another with sly humor, compassion, and grace. P.S. There will be cake.          

Memento mori.

MARJORIE PRIME
Pulitzer Prize Finalist
by Jordan Harrison
March 19^th – April 12^th, 2020

In the near future, ‘Primes’ are available from the good people at Senior Serenity, the latest devices for helping people with their fading memories and loss of companionship. Marjorie’s daughter and son-in-law have purchased Walter Prime (a holographic projection of her husband as he looked in his 30s) to keep her company.  As the Prime is fed memories and conversation, the shape of their lives are revealed, more and more years are covered and recovered, and the nature of memories, the legacy of the past, and the promise of the future are all called into question.

Memories are not the key to the past, but the future.

A CHORUS LINE

Conceived and Originally Directed and Choreographed by Michael Bennett

Book by James Kirkwood, Jr. & Nicholas Dante, Music by Martin Hamlisch, Lyrics by Edward Kleban

Winner of 9 Tony Awards and the Pulitzer Prize

May 14^th – June 14^th, 2020 

A singular sensation.  A cultural touchstone.  An iconic masterpiece.  A Chorus Line has captivated generations of theatre theatregoers with its unforgettable score, astonishing songs, and stunning choreography.  Rediscover the raw emotion, heart and determination of the unsung heroes of American musical theatre, the chorus dancers.  Drawn from real experiences that resonate even more strongly today, share the hopes and dreams, failures and successes of 16 dancers with their lives and careers on the line as they endure a grueling audition process.  Rediscover the power, rediscover the beauty, embrace the spectacular magic of one of the finest musicals ever set to stage.

Experience A Chorus Line again, for the very first time.

Do you remember what you did for love?

SEASON MEMBERSHIPS GO ON SALE TO THE PUBLIC JULY 24

CALL 402.345.1576

OR VISIT WWW.BLUEBARN.ORG

Join us for another season of unforgettable theatre.

OCP Announces Auditions for ‘Sweat’ and Musical Auditions for 95th Season

Auditions for Sweat by Lynn Nottage

Thursday, May 2nd at 7:00 p.m.

Saturday, May 4th at 1:00 p.m

Those auditioning should enter through the west “Stage Door” entrance and proceed to the check-in table downstairs.

Show Dates: August 16 – September 15, 2019 in the Howard Drew Theatre

Director: Susie Baer Collins

Rehearsals: Begin approximately mid June 2019

Description: Winner of the 2017 Pulitzer Prize, 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. Disclaimer: Contains adult language and violence.

Roles:

Evan, African-American, forties

Jason, white American of German descent, twenty-one / twenty-nine
Chris, African-American, twenty-one / twenty-nine
Stan, white American of German descent, fifties
Oscar, Colombian-American, twenty-two / thirty
Tracey, white American of German descent, forty-five / fifty-three
Cynthia, African-American, forty-five / fifty-three
Jessie, Italian-American, forties
Brucie, African-American, forties

Notes:

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

What to 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.

2019/2020 Season Musical Auditions

Adult (16 or older) auditions:

Saturday, June 15th at 11 a.m.

Sunday, June 16th at 6 p.m.

Youth (under 16) auditions:

Saturday, June 22nd at 11 a.m.

Actors interested in Annie, The Rocky Horror Show, A Christmas Carol, Once, Bright Star and The Color Purple should plan to attend. Actors should enter through the main lobby on the south or east side of the facility.

Once will include actors playing instruments. If you are interested in this specific musical and have an instrument, please bring the instrument with you and be prepared to play 16 bars of music of your choice. You may also accompany your own singing audition if you prefer.

Actors please be prepared with the following:

• Sheet music with 16 bars ready to sing (an accompanist will be provided)
• ONCE the musical will include actors playing instruments. If you are interested in this specific musical and have an instrument, please bring the instrument with you and be prepared to play 16 bars of music of your choice. You may also accompany your own singing audition if you prefer.
• There will be a dance audition, so actors should be dressed to move (no boots, sandals, flip-flops, etc.)
• You will be asked to fill out an audition form, please have all necessary contact information and schedules available to complete the form.
• A recent photo to attach to your audition form. Please note, the photos do not need to be professional and will not be returned.

*Audition dates are subject to change

Location:  Omaha Community Playhouse (6915 Cass St, Omaha, NE)

Harper Lee’s Classic Novel Takes the Stage at Bellevue Little Theatre

Bellevue Little Theatre ( 203 W. Mission Ave in Bellevue, NE) will present the classic the classic and timely  play To Kill a Mockingbird the weekends of Nov. 6-22. Performances are scheduled on Fridays and Saturdays at 7:30 PM and Sundays at 2:00 PM.

Reservations are strongly recommended and may be made by calling the theatre at 402-291-1554 between the hours of 10 am and 4:30 PM Monday thru Saturday.  Tickets are $18 for adults, $16 for seniors, and $10 for students with proper id.

Lorie Obradovich is directing this classic, with Robin Klusmire and Pam Matney serving as producers. Tony White is stage manager.  Nancy Ross is in charge of costumes and Wes Clowers is the set builder.  Lighting design will be done by Tom Reardon, and sound design by Dan Baye.  Baye will also be sound technician and Wayne Matney will be lighting technician.

Featured in the cast are Jodi Bagley, Mayella Ewell; Dan Baye, Nathan Radley; Phyllis Bonds, Miss Stephanie; John Carlson, Atticus Finch; Karen Codes, Mrs. Dubose; Zoey Dittmer, Scout Finch; Will Jones, Dill Harris; Deb Kelly, Miss Maudie;Paul Kelly, Mr. Gilmore; Fred Kracke, Boo Radley; Tim Livers, Bob Ewell; Manuel Marquez, Clerk; Jarell Roach, Tom Robinson; Phyllis Mitchell-Butler, Calpurnia; Gary Planck, Mr. Cunningham; Carl Brooks, Rev. Sykes; Wes Clowers, Heck Tate; Aidan Schmidtke, Jem Finch; Larry Wroten, Judge Taylor.

Please note that the original language from the novel will be used, and that may be offensive to some.

This drama, based on the acclaimed Pulitzer Award winning novel by Harper Lee, is set in Alabama during the 1930’s.  The play follows Atticus Finch and his crusade to bring justice to a black man accused of raping a white woman.  The ensuing drama brings racial prejudice to the spotlight in the small town.  Atticus struggles to explain his defense of the man to his family, especially to his young daughter, Scout, as she and her brother, Jem, try to understand the problems of injustice which her father is trying to overcome. In addition the children are exposed to a neighbor who is ‘different’, and learn through his actions that ‘different’ doesn’t mean evil or threatening.