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Monday, October 12, 2020
Arizona Broadway Theatre's October Events
Sunday, October 11, 2020
Desert Stages Theatre announces Auditions for A CHRISTMAS STORY, THE PLAY on October 22 & 23
Humorist Jean Shepherd's memoir of growing up in the Midwest in the 1940s follows 9-year-old Ralphie Parker in his quest to get a genuine Red Ryder BB gun under the tree for Christmas. Ralphie pleads his case before his mother, his teacher and even Santa Claus himself at Higbee's Department Store.
The consistent response: "You'll shoot your eye out kid!”
Directed by: KatiBelle Collins
Auditions:
Youth (Ages 6-16) and Adults
October 22, 6pm
October 23, 6pm
Callbacks October 24
What to prepare:
Auditions will consist of cold readings from the script.
Headshot, resume, and completed registration form are required.
For more information and to sign up for auditions, go to: www.desertstages.org/auditions
Saturday, October 10, 2020
DISNEY'S DESCENDANTS: THE MUSICAL - Queen Creek Performing Arts Center - October 22-October 26, 2020
Disney’s Descendants: The Musical lights up the stage with sassy songs and electrifying dances.
Based on the popular Disney Channel Original Movies, this show is a brand-new musical
comedy featuring the beloved story from the films! It is present-day and the kingdom of Auradon
is welcoming descendants of villains that have been banished to the magic-free Isle of the Lost.
These four “Rotten to the Core” villain kids ignite Auradon reminding us that not every person is
who they appear to be and with love, all things are possible. Tickets are available at qcpac.com
under the shows and events section as part of our family theatre series.
Show dates:
Thursday October 22nd 7:00 pm
Friday October 23rd 7:00 pm
Saturday October 24th 2:00 pm
Saturday October 24th 7:00 pm
Monday October 26th 7:00 pm
Friday, October 9, 2020
Arizona Theatre Company Announces Lineup, Strict Protocols to Return to Live Theatre for 54th Season
Arizona Theatre Company (ATC) will bring live theatre back to the Temple of Music & Art in Tucson in January and the Herberger Theater Center in Phoenix in February – albeit to limited audiences – with an entertaining and engaging six-show Mainstage Season chosen by Artistic Director Sean Daniels.
In addition to live theatre, ATC will release an exclusive limited-time broadcast of each performance for ticket holders uncomfortable returning to the theatre to view at home. Exclusive show broadcasts will be shot on opening night with three cameras and will be produced for at-home viewing. Audiences for live performances will be limited to approximately 25 percent of theatre capacity, and shows will be held under strict Arizona Department of Health and Centers for Disease Control and Prevention COVID-protection guidelines.
“With in-home viewing and extensive new safety protocols in our theatres, we’re most likely to be the safest venue in town,” said ATC Artistic Director Sean Daniels. “As the State Theatre, we’re determined to make sure Arizona continues to be a leader in the national cultural conversation. With Broadway closed until at least next summer, it’s a time for the nation’s focus to be on the great regional theaters that make up the vast majority of theatre created in our country.”
He continues, “With a new musical about RBG and Arizona’s beloved Sandra Day O’Connor by America’s most produced playwright, Arizona Theatre Company is primed to make Arizona the theatrical center of the country.”
Because ATC is a member of the League of Resident Theatres, they must adhere to state and city guidelines as well as receive approval from professional unions, notes Geri Wright, managing director of ATC.
“We are committed to doing everything we can to meet the expectations of our patrons, donors and communities, and we are equally committed to safety and prevention,” Wright said.
Among the steps being taken to ensure comfort and safety:
• Adjustments have been made to ensure socially distanced seating to meet health guidelines, resulting in 25% capacity in the theatres.
• Masks will be required for all audiences.
• Improved air filtration systems will be in place.
• Additional sanitation and safety protocols.
• Additional matinees.
The season opens with ATC Artistic Director Daniels directing the delightful award-winning musical about the magic that happens when we let ourselves say, “yes,” My 80-Year-Old Boyfriend, created by Charissa Bertels, Christian Duhamel and Edward Bell, will run Jan. 23-Feb. 13 in Tucson and Feb. 18-March 7 in Phoenix.
Daniels also will direct the second show of the season, a new musical about Ruth Bader Ginsburg and Sandra Day O’Connor, the first two women to serve on the United States Supreme Court, Justice A Musical. Written by Lauren Gunderson, one of America’s most produced playwrights with a growing partnership with Arizona Theatre Company, and with music and lyrics by Brian Lowdermilk and Kate Kerrigan, Justice A Musical will be staged March 13 to April 3 in Tucson and April 8-25 in Phoenix.
Justice will be followed by:
• Nina Simone: Four Women, a face-to-face musical evening with the fiery genius that is a tribute to the four little girls lost in the tragic 1963 Ku Klux Klan bombing at the 16thStreet Baptist Church in Alabama. Written by Christina Ham, directed by Tiffany Nicole Greene. April 24-May 15 in Tucson, May 20-June 6 in Phoenix.
• Women in Jeopardy!, Wendy MacLeod’s riotous comedy about trading in wine glasses for spy glasses when the mid-life crisis just isn’t your speed. Directed by Daniels, the show will be in Tucson June 5-26 and in Phoenix July 1-8.
• how to make an american son, by ATC Artistic Associate christopher oscar peña, directed by Kimberly Senior, a co-production with Rattlestick Playwrights Theater. A moving new play about the complexities of privilege, citizenship and the most complex relationship of all: family, how to make an american son will be in Tucson July 17-August 7 and in Phoenix Aug. 12-29.
• The Legend of Georgia McBride, written by Matthew Lopez and directed by Meredith McDonough. A big-hearted, fierce, music-filled comic cornucopia of camp, country music, drag, domestic dilemmas and larger-than-life divas, The Legend of Georgia McBride will be in Tucson Sept. 25-Oct. 16 and in Phoenix Oct. 21-Nov. 7.
“In the coming weeks, we will be reaching out to our subscribers to determine if they want to attend in-person or prefer to watch at home so we can accommodate their wishes,” Wright said. “Our team is eager to get back to the theatre, to see the faces of our audiences and to share the magic of live theatre together.”
Flexible Star Packages for the full six-play season are available at www.arizonatheatre.org. Additional packages and single tickets will be released as seating is available.
THE SOUND OF MUSIC - Desert Foothills Theater - November 12-November 21, 2020
Music by Richard Rodgers; Lyrics by Oscar Hammerstein II;
Book by Howard Lindsay and Russel Crouse
Based on Maria von Trapp's "The Story of the Trapp Family Singers"
Based on the true story of the Von Trapp Family Singers, this play captures a personal tale of growth and hope amidst the horrors of World War II. The Sound of Music tells the tale of young postulant Maria Rainer, whose free spirit has trouble fitting into the rules and regulations of Nonnberg Abbey.
SPECIAL Venue- This show will be performed at the outdoor Sanderson Pavillion in downtown Carefree, AZ
Tickets $40/adults $25/children 12 and under.
Thursday, November 12, 2020 7:00PM
Friday, November 13, 2020 7:00PM
Saturday, November 14, 2020 7:00PM
Thursday, November 19, 2020 7:00PM
Friday, November 20, 2020 7:00PM
Friday, November 13, 2020 7:00PM
Saturday, November 14, 2020 7:00PM
Thursday, November 19, 2020 7:00PM
Friday, November 20, 2020 7:00PM
Saturday, November 21, 2020 7:00PM
Maria Rainer: Kim Cooper-Schmidt
Sister Berthe: Deborah Lee Hall
Sister Margaretta: Lisa Upper
The Mother Abbess: Ashley Rahaman
Sister Sophia: Hannah Wiegand
Captain Georg von Trapp: Christian Krugman
Frau Schmidt, the housekeeper: Skye Ayers
1st weekend 2nd weekend
Leisl (Nun) Morgan Vasiliauskas Grace Allen
Friedrich Adrian Bahnearth Adrian Bahnearth
Louisa Katerina Anderson Olivia Spini
Kurt Shane Macris Shane Macris
Brigitta Scarlette Shapiro Baylee Horvath
Marta Mckenzie Lopezlira Claire Calihan
Gretl Hannah DeMeo Mae Thorius
Rolf (Ensemble) Keagen Smith Zach Snyders
Elsa Schrader: Christina Robinson
Max Detweiler: Peter Strupp
Nuns of Nonnberg Abbey and/or party guests: Janine Macris, Janis Peltier, Bella Quinn, Annie Kopp
Ashlynn Carter, Grace Killingbeck, Sydney Bentley, Kennedy Czyz, Mckenzie Jessen
Adult Male Roles: Oakley Rinehart, John Rose, Drew Wright, Joshua Hengst
The following roles will be filled by our amazing ensemble cast members:
Franz, the butler, Herr Zeller, Baron Elberfeld, Baroness Elberfeld, A New Postulate, Admiral von Schreiber
HEY, OLD FRIENDS! - The 1st Annual Arizona State University Music Theatre & Opera Alumni Benefit Concert - October 17
Online Streaming Event hosted by ASU Music Theatre and Opera Student Lab, the Lyric Opera Theatre Guild, alumni Seth Tucker '09 and Šime Košta '11.
Join alumni and past members from ASU Music Theatre and Opera (Lyric Opera Theatre) as they come together for the first annual Alumni Cabaret: "Hey, Old Friends!" This online streamed event will feature over 40 alumni in songs and selections, some of which they performed years ago on the Evelyn Smith Music Theatre stage, as well as interviews with alumni, faculty and staff and current students. ASU alumni are working and succeeding all over the globe as performers, producers, educators and more, and are joining together to raise scholarship funds for BIPOC (Black, Indigenous, People of Color) students in the ASU Music Theatre and Opera program. This event is supported in part by the Lyric Opera Theatre Guild, which for decades has helped raise funds for emergency grants for Music Theatre and Opera students.
Pinnacle Creative Arts announces Auditions for ALL SHOOK UP! on October 23
Pinnacle Creative Arts is pleased to announce auditions for All Shook Up!
Directed by Meribeth Reeves
Auditions October 23, 2020 (Callbacks October 24)
Ages 10-20
Performance Dates dependent on Location:
Will perform one or two weekends between January 22 & February 14, 2021.
Audition location: First Southern Baptist Church of Paradise Valley (16033 N 32nd St, Phoenix, AZ 85032)
The music of Elvis comes alive in All Shook Up. Inspired by Shakespeare’s Twelfth Night, All Shook Up follows a small Midwestern town that is thrown into a frenzy with the arrival of Chad, a good-looking, motorcycle-riding roustabout, who rides from town to town with a guitar on his back, blue suede shoes on his feet, and a song in his heart. Repressed by their conservative mayor, the town begins to come alive once more under Chad’s influence. Lovers meet, woo, pursue, and more, all in one zany night that will change the town forever. All Shook Up is a rocking, heartwarming tale about following dreams, opening up to love, and the power of music.
*Please come prepared to sing a 32-bar cut of a showtune or Elvis song.
Bring your sheet music distinctly marked for the accompanist to follow.*
Bring a resume (optional) and headshot or snapshot (required).
Rehearsals will be Monday, Tuesday, Thursday evenings (6pm - 9pm) and Saturdays (sometime between 11am & 5pm). Not everyone will be called to every rehearsal.
The first rehearsal will be Thursday, October 29th.
Production fee - $250
Cast of Characters
Chad: (Baritone) a great-looking, motorcycling, guitar-playing, leather-jacketed roustabout.
Natalie Haller: (Alto) a mechanic.
Dennis: (Tenor) a young, quirky, and awkward, aspiring dentist.
Jim Haller: (Baritone) Natalie’s widowed father.
Sylvia: (Mezzo-Soprano/Alto) the no-nonsense, owner of Sylvia’s Honky-Tonk.
Miss Sandra: (Mezzo-Soprano/Alto) the beautiful, intellectual caretaker of the town’s museum.
Lorraine: (Alto) Sylvia’s 16-year-old daughter.
Mayor Matilda Hyde: (Alto) the town’s conservative mayor.
Sheriff Earl: (Baritone) the law in town. A man of not many words.
Dean Hyde: (Tenor) Matilda’s 16-year-old son. He has grown up at a military boarding school
Ensemble: (Henrietta, Female Customer, Female Clerk, Bus Driver, Warden, Fella, Guys #1 & #2, Barflies)
Thursday, October 8, 2020
Southwest Shakespeare Company announces a call for submissions for Core Company Members for the 2020/20201 season
Southwest Shakespeare Company is looking to expand its Core Company Members (CCMs), as it continues to provide schools, the community and, via virtual productions, the world with professional Shakespeare productions and education. Current CCMs include Artist-In-Residence, Debra Ann Byrd, along with 2020 Patrick Page Studio Fellows Beau Heckman, Bonnie Beus Romney, Dayna Donovan, Benjamin Harris, Natalie Andrews, Racquel McKenzie, Gustavo Flores and Joi Fletcher.
The mission of CCM is to further develop individual actors, technicians, and designers by offering professional development, masterclasses, and company support. CCMs are the primary source for casting, technical, and artistic design and support.
CCMs are expected to attend and participate in scheduled classes, meetings and professional development and will meet at least once per month (though likely more often) beginning with a 2 hour dramaturgy session on October 23rd with Dr Susan Willis, Director and Dramaturg with Alabama Shakespeare Festival. Other sessions include a Masterclass with Patrick Page, a Yoga for Voice Practicum with Natalie Andrews, and How To Succeed in Theatre By Really Trying with Debra Ann Byrd. While performance opportunities are anticipated for 2020/2021 CCMs, because of the current uncertainty surrounding live performance, this may take the form of live, virtual or other means of performing.
Southwest Shakespeare Company is committed to inclusive casting and hiring in regards to gender, ethnicity, disability and sexual orientation.
THE DEADLINE for CCM submissions is midnight October 13 and will include:
FOR PERFORMERS:
Headshot
Resume (if you dance, please indicate)
2 written recommendations from someone you have worked with
Up to 5 minutes of video (via YouTube links ONLY), divided any way you wish but to include:
2 Classical monologues
1 minute compelling video of why you would like to be an SSC Company Member
If you play an instrument and/or sing, please include a 1 minute demonstration
FOR DESIGNERS:
Resume
5 Examples of your design work
2 recommendations from someone you have worked with
A compelling written explanation of why you would like to be an SSC Company Member
FOR TECHNICAL SUPPORT:
Resume
2 Recommendations from tech supervisors
A compelling written explanation of why you would like to be an SSC Company Member
TO APPLY: If you have Classical and/or technical theater training and experience, and are interested in being a Core Company Member at Southwest Shakespeare Company please email us at info@swshakespeate.org, subject line: CCM OPEN CALL with all of the above required documents/videos attached. As a reminder, all videos should be included as YouTube (or comparable) links. Please do not send video files.
If you lack the experience you need to be in a company but have training and/or aptitude, please reach out for possible internship opportunities.
review - THE LARAMIE PROJECT - Mesa Encore Theatre / Virtual Theater Lab
by Gil Benbrook
Last summer, on a road trip from South Dakota to Colorado, the route my husband and I took happened to take us through the small town of Laramie, Wyoming. With a main street populated with gas stations and fast food chain restaurants, Laramie isn't very different from other small towns that appear out of nowhere on a trip across miles of seemingly empty farmland only to just as quickly disappear in your rearview mirror as you continue on your journey. However, Laramie became famous after it was the setting of the 1998 hate crime death of Matthew Shepard, the gay 21 year old who was beaten and left to die tied to a fence post on a barren farmland on the outskirts of Laramie. It was eerie and surreal being in the same town where the events of the murder took place. Adding to that strange feeling was the fact that it was also the same day of the Gay Pride march in New York City where I knew that Shepard's parents were serving as the parade's grand marshals.
As we stopped to refuel at a gas station in town, I wondered if the store had ever been frequented by Shepard, his parents, or members of the Tectonic Theater Company, the NY based company who came to Laramie the year after the murder to interview many of its residents, including several who knew Shepard, and who took those interviews to create the docu-drama play The Laramie Project. That play, which premiered in 2002, is being presented by Mesa Encore Theatre and Virtual Theater Lab through next Monday in a fairly impressive filmed virtual production, with a cast of dozens of local actors who portray the over 50 characters in the piece.
 |
| Nathan Gayan as Aaron Kreifels |
Kaufman and the Tectonic Theatre members took the transcripts of their more than 200 interviews, which were conducted over six separate trips to Laramie over the course of a year and a half, to weave together the story of this violent hate crime. This well-crafted piece is both an expose into the residents of the town that interweaves their own words to form a deeper understanding into their beliefs, their feelings and their views on what happened to Shepard, while also serving as a chillingly detailed account of the facts in Shepard's murder.
As many who followed the case know, Matthew Shepard was a gay student at the University of Wyoming who met up with two locals, Aaron McKinney and Russell Henderson, at a bar in Laramie one night. While the account of what exactly happened next is still unclear, what is known is that those two young men kidnapped Matthew, beat him and left him tied to a fence outside Laramie. It wasn't until the next day that his bloody body was discovered by Aaron Kreifels, a university student out for a bike ride who stumbled upon the lifeless, but still alive, Matthew. Over the next several days Shepard's story quickly gained national attention due to the horror of the events and the nature of his attack being viewed as a hate crime.
Kaufman and the Tectonic Theater Project members spoke to dozens of members of Laramie, including the student who found Matthew, Laramie law enforcement officers and investigators, members of the University faculty who knew Shepard, and even McKinney and Russell Henderson. The play follows a somewhat linear timeline, starting with what is known about the events of the night Shepard was kidnapped and beaten to the investigation, Shepard's funeral, the trials and the aftermath. It also wisely shows both sides of the community members beliefs, from those who think homosexuality is a sin to others who have the motto "live and let live." In doing so, it depicts how everyone in Laramie struggled to make sense of what transpired in their small town and the subsequent call to action many took on behalf of what happened.
 |
| Wade Moran as Rob Debree |
Using archival photos, news video, and a somber musical underscore, along with varied backgrounds and settings to give the feel of an actual documentary film, Mesa Encore Theatre and Virtual Theater Lab's production is quite effective. The use of captions to identify each character speaking also helps ground the piece in realism and also eliminates some of the narrative introduction usually present in the three act play. The two theatre companies and co-directors Chris Chávez and Van Rockwell are to be commended for taking on such a daunting project.
The docu-drama style of the piece has its strengths and weaknesses on stage and this virtual version also has its pro and cons. Since many of us are familiar with similar types of dramas with filmed investigative documentaries that feature similar interviews being fairly present on TV, the stage version can come across as a bit theatrical in nature - especially in how it is usually staged with only a small group of actors playing all of the parts. Also, when I saw the original Off Broadway production, Kaufman and members of Tectonic were not only playing themselves on stage but also many of the people they each had interviewed which provided an intense connection between the actors on stage and the real life people they played in knowing that they were speaking the same words of the people they each actually spoke to. While that added element is clearly missing from any subsequent production that doesn't feature the Tectonic cast, it is the words of the people who were interviewed that is important and hearing those words, whether they are spoken by the actual individual, the person who interviewed them, or members of this production, are still relevant today when hate crimes are still prevalent and hatred and bigotry still exists
However, while the play is well-crafted it's also long, running three acts and 2 and a half hours, with some time spent on supporting characters that don't always add to the emotional and reflective nature of the play. There is also the lack of nuance in some of the performances for this virtual production which I'm assuming is due to most of the actors involved usually performing on stage and not film. While many of the video segments use varied backgrounds, there is also an unfortunate repetitiveness in several scenes that use MET's Black Box space for the backdrop for almost 1/2 of the scenes in the film. There is also some unevenness in the audio with loud background noise that gets in the way a few times.
 |
| David Chorley as Rulon Stacey |
Fortunately there is much to praise, including the fact that having dozens of actors in this production where each almost only plays one part adds an element of realism to the piece that works well for a filmed version of the play. Also, in depicting individuals who range from callous to caring and from those who resent the fact their town is now famous because of the murder to others who are changed for the better from what has happened, many of the actors in the cast deliver realistic portrayals that also work well to give the film a sense of naturalism. These include Nathan Gayan as Aaron Kreifels, the university student who feels that God guided him to find Matthew so that Matthew would not die alone; Wade Moran as Matt Depree, the chief investigator in Shepard's case; David Chorley as Rulon Stacey, the doctor who oversaw Matthew's treatment in the hospital after he was found tied to the fence; and Dan Marburger as Doc O'Connor, the limousine driver who often drove Matthew to gay bars in Colorado. All four men instill their characters with a profound sense of humanity.
As the two accused murderers, Russell Henderson and Aaron McKinney, Brady Anderson and Daniel Makoutz appropriately don't show a hint of remorse for what they did. Matthew Ryan Harris delivers the moving, emotional and heartfelt speech Matthew's father gives during McKinney's arraignment where he talks about how much he misses his son (it's too bad there aren't any reaction shots from Mackoutz as McKinney, which in a stage version would help show the impact of these words.)
Brenna Jackson is very good as Romaine Patterson, a friend of Matthew's who uses the experience as a call to activism and a way to find a better vehicle to deal with the kind of hatred Shepard's murder unfortunately exposed. Madeleine Miller and Debra Lyman are quite effective as Reggie Fluty, the policewoman who first responded to the scene where Shepard was found, and Reggie's mother, respectively. In supporting parts, Tony Blosser, George Canady, Madison Desoto, Tina Khalil, Henry Male, Jeffrey Middleton and George Peterson-Karlan are all very good.
Full of several moving monologues, and still raw and realistic even though the events happened over twenty years ago, The Laramie Project may be long, but the length of the play can also be seen as a strength in that it does allow you to get to know a lot of the people from the town with conflicting views as well as many people that Matthew Shepard actually knew. While The Laramie Project may have first premiered almost 20 years ago, the story of Matthew's murder is still relevant today. It may evoke reactions ranging from anger to sadness but it is still a thought provoking play that quietly projects the important message of tolerance. Chris Chávez, Van Rockwell, and David Chorley, whose audio and video editing for this production is very good, are all to be praised as The Laramie Project is a daunting beast of a play, so the fact that MET and Virtual Theater Lab were able to create such a polished production, during a pandemic, is amazing.
Paradise Valley Community College announces Auditions for A NIGHT OF MYSTERY, submissions due by October 14
A NIGHT OF MYSTERY
Email your 1-2 minute monologue (any genre) to Andrea Robertson andrea.robertson@paradisevalley.edu by October 14!
Adapted from:
Agatha Christie’s “The Case of the Careless Client” And Sir Arthur Conan Doyle’s “The Musgrave Ritual”
SYNOPSIS-
POIROT:
Herculene Poirot grew up learning about crime and investigation from her great-uncle, the famous Belgian detective Hercule Poirot. But, when Ms. Poirot stumbles upon a murder in her hotel, she must solve her first case with a new mentor. As the truth begins to unravel, Poirot must find the killer before he follows through on his threats, or finds a new victim.
HOLMES:
In the present day, Dr. Watson recounts a most extraordinary tale to our host, Manning. Sherlock is vacationing in Phoenix when he receives a call from an old friend, Reggie Musgrave, urgently requesting his help. Musgrave’s butler, Brunton has gone missing. A mysterious riddle leads to a startling discovery. The game is most certainly afoot.
NOTE: Some of these characters can be gender switched and age will be based on casting.
CHARACTERS (POIROT)
Herculene Poirot: Young french exchange student. Trained by her great uncle, Poirot. An eye for detail, confident demeanor. Speaks with a slight accent.
Abigail Fletcher: Hotel guest. Mystery enthusiast.
Detective Stevens: Seasoned detective and mentor to Herculene. Experienced, committed, slightly mysterious.
Hilary Kent/Johnathan Parrish: Hilary Kent - psychopath, murderer, and con-artist. Pretending to be
Parrish, a currency expert who guards his privacy.
Johnny: Student, hotel elevator operator. Polite, helpful, but cautious.
Laura Parrish: Adult daughter of Johnathan Parrish, visiting her father in town.
Clerk: Apartment agency clerk in a dead-end job.
CHARACTERS (HOLMES)
Mr. / Ms. Manning: The show’s Host. Curious and eager to learn more about the pair’s adventures.
Dr. Watson: Holmes’ sidekick, meticulous (Think Felix in “The Odd Couple”), and a natural storyteller.
Sherlock Holmes: Attentive and highly observant. A friend to Reginald. Quick-witted and confident. Slightly arrogant, but never wrong.
Reginald Musgrave: Scion of a wealthy family, original settlers of the Arizona Territory. Semi-snooty without realizing it; not curious by nature; a bit dull. Constantly amazed by Sherlock’s power of deductive reasoning.
Alfred: The Butler, not the REAL butler, he’s just standing in for Brunton. Formerly the groundskeeper.
Rachel Howells: The housekeeper, in her 20s, old-fashioned, devastated but determined. Hopelessly infatuated with Brunton. Naive.
Brunton: Musgrave’s assistant, early-late 30s - early 40s, ladies’ man, cad, ambitious. Brunton believes himself to be smarter than everyone else and is confident in his ability to improve his station in life.
Wednesday, October 7, 2020
Spotlight Youth Theatre announces auditions for EMMETT'S ART PROJECT, October 12 & 13
AUDITIONS:
“Emmett’s Art Project” Doing nothing is no longer an option.
Be a part of one of the most important and powerful shows Spotlight has ever staged.
Help us speak out and take action through theatre in a creative and safe platform.
Audition Dates:
October 12th @ 6pm
October 13th @ 6pm
Ages:
14 to 19
Requirements:
Please come prepared with two contrasting one minute monologues.
Headshots and resume are required.
Masks are required.
Callbacks:
October 14th @ 5pm
All auditions and callbacks are held at Spotlight Youth Theatre.
Character Breakdown:
AMIRAH - Female. Biracial (While & Black). Teen. Amirah represents indifference. Her enneagram is 9 (peacemaker) and life is just easier when people aren’t arguing or fighting. She will do or say pretty much anything to make people happy and keep the peace. She has made it a point to not make any of her beliefs (what few she has) known to the public. It’s safer that way. She’s even-tempered and nothing much hurts her feelings.
ADA (Huizhong, means wise & loyal) - Teen Female. Biracial (Asian & White). Ada is the guide. She is one of the members of ART. As her name suggests, she is wise and loyal; she protects those she cares about and stands up for her beliefs. She’s a bit on the bolder side but knows how to read a room. She does her best to create peace amongst division and believes in the goodness of people.
RASHAAD- Teen Male. Black. Rashaad is a kind yet outspoken student who leads with passion. He is the head of ART and is constantly finding new membership for the club. He has had many different experiences with race, and therefore is the most level-headed of the group.
EMMETT - Teen Male. Black. Emmett is the only student at the school who both goes to Amirah’s church and is an active member of the ART club. He’s not afraid to discuss religion or politics and doesn’t mind if he offends people or steps on people’s toes. He’s not angry and he doesn’t raise his voice often. He’s confident in who he is. He is the artistic type and likes discovering new creative outlets like drawing, painting, photography or even graphic design.
EMMA - Teen Female. White. Emma is one of Amirah’s friends from church. She has a gentle leadership personality and is actively working to be comfortable with herself. She appreciates well thought-out and researched information. She’s a natural born leader, and although she tries to share, she usually doesn’t mind being in charge.
MARLO - Teen and can be any gender. White. Marlo is one of Amirah’s church friends. Marlo considers themself not as “uppity” as the other students in their church group. Marlo blends in well outside of the church community and often hears the phrase “You’re one of the cool Christians.” Marlo is into their phone and pop culture. Don’t get them wrong, they still very much believe in their faith but not so much into the institution of the religion. Marlo might start their prayers with “Hey God.”
ZION - Teen and can be any gender. Non-black POC. Another one of Amirah’s friends from church. Zion is sometimes overlooked because they are not as strong willed and extroverted as Emmett, Emma, or Marlo. Zion is really into music and there is almost always a song stuck in their head. Zion is silly and comfortable around people they know, but can be reserved in a group setting. Zion is sensitive, but when given permission, can really surprise you.
DALLAS - Teen can be any gender. White. Dallas grew up in a rigid and religious household. Not only Dallas’ parents, but their entire family was and still is incredibly religious. Maybe they are Catholic or LDS. Dallas is resentful of their families faith. Dallas is passionate about creating a safe space for outcasts and will fight anyone who would bully/troll someone for being different. Dallas attributes a lot of the hate, division, and pain in the world to the religious right.
TAMIKA - Teen female. POC. Tamika is well researched and unafraid of offending people with the truth. She has no problem publicly calling people out but can still be goofy when she wants to be. Her friends are her life and she takes pride in their inside jokes, group hangouts, and the things that make their relationship legitimate.
SALEM - Teen any gender. POC. Salem is a part of the ART club. The mission of the club is very personal for Salem. When Salem fights, it’s out of bravery and pride for their heritage. Salem is loyal and boisterous. Sometimes Salem's tenacity can swing a little far for some people, but Salem feels perfectly justified in their choices.
MALE ADULT: Dad, Teacher, Man, Nurse
FEMALE ADULT: Mom, Doctor
Tuesday, October 6, 2020
Mesa Community College Musical Productions presents BACKWARDS BROADWAY!, October 10 & October 11
Mesa Community College Musical Productions presents Backwards Broadway!
Your favorite Broadway songs sung by the opposite sex!
Come experience your favorite show tunes in a whole new way.
A guaranteed night of excellent music and a lot of laughs!
Performances: Saturday Oct 10 at 7 pm and Sunday Oct 11 at 2 pm
This will be on a Zoom Platform and you will receive the zoom link to watch closer to the event.
Talking to the co-directors of THE LARAMIE PROJECT
 |
| Chris Chávez and Van Rockwell |
by Gil Benbrook
Tonight, Mesa Encore Theatre, in partnership with Virtual Theater Lab, launches its first virtual production with the documentary style theatrical drama, The Laramie Project, which focuses on the aftermath of the 1998 murder of Matthew Shepard.
Moisés Kaufman's 2000 play, that he wrote in cooperation with members of the Tectonic Theater Project, was created from hundreds of interviews the theatre company members conducted with inhabitants of Laramie, Wyoming. Those interviews, along with news reports and journal entries are woven together to create an emotional, intense and moving work.
When The Laramie Project initially premiered, the cast included 8 actors who all played multiple parts. For this virtual production, MET has expanded the size of the cast, with permission, to include over 40 performers from across the Valley. The individual film pieces that feature this large cast have been edited together to resemble a documentary film, which ties in perfectly to how the play is presented. The production will stream from tonight through October 12.
Co-directors Chris Chávez and Van Rockwell took a few minutes from last minute preparations for the streaming of this production to answer some questions about the play, the process behind filming it, and how the impact of Shepard's death still resonates 22 years after it happened.
For someone who has never heard of The Laramie Project how would you describe it?
Chris Chávez: "The Laramie Project is a documentary style theatre piece in which a play was created from hundreds of interviews with residents of Laramie following the murder of Matthew Shepard. It’s a play that colors the picture of a tight knit community and shows how one horrifying event can have a profound effect on that community for better or for worse. It is a think piece, but does not try to sway you no matter what side of the spectrum you are on."
Van Rockwell: "Even before Chris and I began our virtual journey, I’ve always described it as a documentary in play format. It’s an also an examination of how a tragedy can affect a small town resided of people of all ages, backgrounds, and upbringings. The play never forms a side, but instead allows perspectives and emotions from residents when an act of evil can happen suddenly overnight and rock the foundation of a community."
How does this show speak to you?
Chávez: "As a director, I often seek out or prefer to direct shows that have some kind of profound message. The Laramie Project is one of these plays. Through the content, it’s a play that has not only the ability to move people, but to also bring about a call to action. For many, this incident that happened 22 years ago is a just a faded memory, but for many others it is a stark reality. It is a reminder that incidents like the murder of Matthew Shepard are still happening and that we as a society must take action in order to prevent such atrocities from happening.
Rockwell: "Theatre has the facility to entertain, but it also has the profound ability to affect and welcome change. The Laramie Project did just that for me. If the abhorrence and rage shown to those in the LGBTQ community bothers me so much as a straight man, how must it affect those who are the fabric of the community? While life in the United States has improved significantly for the community in the (20) years since The Laramie Project premiered, we continue to face a long road ahead in regards to improvement.
Can you tell us a little about how this production will be different than a typical stage version of the show?
Chávez: "In a typical stage version of this show you usually have small cast that plays the 60+ residents of Laramie. Although initially we wanted to do the same thing and have a small cast play multiple roles, we decided that we would instead utilize as many actors as we possibly could. There are a few that double roles, but for the most part, actors are playing a singular role. We obviously didn’t have the liberties of a stage, set, or costumes, so with what resources we had available, we set up different locales or shot on location, had actors provide costume pieces, and so forth. The Laramie Project easily lends itself to this type of minimalistic, bare bones production. This script is really more about the content rather than the frills. In addition to that, since the pandemic hit, we have all seen many a virtual live play, but we wanted The Laramie Project to be different in presentation. We didn’t want people just reading from a script looking out into the void, we wanted to be innovative and give actors a chance to be able to utilize their theatrical skills outside of a virtual setting. We have all been looking for an outlet of some sort with theatres being closed, so we also wanted this to be a chance for actors to scratch that itch."
Rockwell: "This is virtual storytelling. It’s cinematic in nature, but our focus was equal components story and performance. We didn’t have the luxury of a hefty film budget and we certainly didn’t feel it had to be edited like a modern blockbuster. You won’t see boxes on a computer screen of people sitting and reading dialogue off a screen. You won’t have technical setbacks in the middle of the read, or pets or kids or loved ones photo-bombing in the background. We’re using the beauty of cinema to convey, ultimately, a theatrical experience."
Why the decision to co-direct the show and how were responsibilities handled?
Why the decision to co-direct the show and how were responsibilities handled?
Chávez: "When MET began talking about producing this show, I knew I wanted to be part of it. This is one show I have been wanting to direct for some time. Then, we discussed the timelines and logistics of the show. There was a very quick casting and short turn around for the production to “go up”. With all other life obligations, I knew this was not something I would be able to do alone. So I started talking to Van and a co-directing team was born. We then proposed the idea to MET and the rest, as they say, is history. Regarding responsibilities, it was very evenly distributed. Although I’ve known Van for years, this was my first collaboration with him and I could not have asked for a better co-director. We both saw eye to eye on most everything and knew exactly what we wanted to do with the show. We both are extremely collaborative and flexible, so tasks were always distributed evenly, and if I wasn’t able to do something, he would take it on and vice-versa. There were never arguments or major disagreements, it was always about the integrity of the show. This is just something I simply could not have done without him, Travis our stage manager, or David our video editor, both who also performed in the production."
Rockwell: "Between filming and rehearsals and research and casting and marketing, etc.; it was an extremely difficult fleet to take on individually. Chris and I met nearly every single day to discuss how we would achieve the final result you’ll be seeing, from how we would rehearse, work with the cast, how we’d film and schedule, and ultimately; how we would edit it. We had (3) weeks to pull it off and I don’t recall Chris and I having a day off. I’m incredibly grateful and honored to be involved with the project and working with Chris. Chris was extremely collaborative, as I am. This made it so much easier. It was the first occasion we worked together and I was amazed at how much we agreed on things, were on the same page about everything, and jumped in whenever an opportunity called. There was never any hierarchy – we came to work and our passion for the story never swayed, despite exhaustion and hot Arizona summers. We were both flexible and collaborative, but knew precisely what we wanted and how we wanted to go about it. It was remarkable how alike we were on all aspects. We also had a blessing of help from our Stage Manager Travis and our Editor David Chorley to help make this journey go swimmingly."
What can you tell us about the cast for this show?
Chávez: "The cast for this show is top notch. It’s like a “who’s who” in Phoenix theatre. A few actors playing multiple roles makes sense on stage, because those character shifts can be performed easily with a costume change, a lighting element, or other stage “magic”. Additionally, for one actor to play multiple roles, there is hardly any time to be off stage if any. In casting the 40+ actors, it made things easier on them in that although there was a quick crunch time, it was very little time commitment for them. That usually equated to an hour directing session and an hour of film time in most cases. Seeing one person in each of the roles (with a few exceptions) also gives us a better sense of realism, instead of theatricality, which was what we were going for. What also made this production special is that we had the unique opportunity to be able to utilize actors who, previously but no longer, reside in Phoenix, by coaching them virtually, and having them film their scenes themselves. "
Rockwell: "This was a wonderful group of folks who all just killed it, rehearsing and performing (for the camera). Like the community in the script, everybody involved cast-wise had some emotion to the material and couldn’t wait to share it with the audience. The play is normally done with (8) people playing an array of characters. We gathered a community of our own to tell the story, and it makes the experience all more real that (40) or so performers were involved to make it more impactful. If you don’t end up feeling something at the end of the performance; I encourage yourself to get checked out by a shrink or some professional."
Why do you think this show is still relevant today?
Chávez: "Matthew Shepard’s death occurred 22 years ago and despite this tragedy, the LGBTQ community still continues to fight for hate crime legislation and equal rights. There are hate crimes and attacks that still continue to happen daily to LGBTQ individuals and other marginalized communities. All because one groups ideals don’t align with their own. Yes, we as society have come a long way in the fight and struggle for equality, but that fight is far from over, and will probably never be. This show has many parallels to the social injustices that are happening in our world right now and is just as important now as it was when it first premiered."
Rockwell: "This is an essential story to not just engage in, but present to the public (especially in such a disquieting moment in our society where hate continues to be a tradition despite our small steps to be better each and every day). Not only because it features some captivating theatre techniques Chris and I could explore on film in a virtual platform; and solid acting from local performers in the Phoenix Metropolitan area. It’s a piece which makes you feel something. And it’s my hope it’ll make one strive to be a better person, in some capacity."
What do you hope audiences will take away from your production of this play?
Chávez: "This is a play that will stick with you long after you have watched it. I hope that lingering feeling will start some much needed dialogue about what needs to be done so that all people will be treated equally and not be persecuted for simply being who they are and living their truth. The LGBTQ+ community has come under scrutiny for far too long for just living their lives. We in the LGBTQ+ community just want to know that we can live as freely and safely as we were meant to be. All in all I hope this piece will move you and in some sense, perpetuate some much needed societal change."
Rockwell: "My hope is our production will initiate a dialogue/discussion on the drive home or at the dinner table, as well as show our LGBTQ friends they are loved and accepted."
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