Auditions for BEAUTY AND THE BEAST at Fountain Hills Theater announced for December 3 & 4

Fountain Hills Theater announces the auditions for the musical Beauty and the Beast.

       

Music by Alan Menken, Lyrics by Howard Ashman,

Tim Rice. Book by Linda Woolverton

Fountain Hills Theater

11445 N Saguaro Blvd., Fountain Hills, AZ 85268

Saturday, Dec, 3 @ 12pm and Sunday, Dec. 4 @ 6pm

Callbacks (If required) Tuesday, Dec. 6 @ 7:00pm.

Audition sign up 480-837-9661 X 3 or fhtaz.org/auditions

This fun and family friendly musical, adapted from the original Disney film, brings to life the timeless story of a selfish and hot-tempered prince who is turned into a hideous monster and must win the affection of a beautiful, young girl in order to regain his humanity. This musical ‘s classic score includes “Be Our Guest”, “If I Can’t Love Her” and the title song “Beauty and the Beast” and many more. The exuberant musical offers humor, romance, and excitement for all ages. Presented by special arrangement with Musical Theatre International.

Beauty and the Beast is directed by Peter J. Hill, musically directed by Seikai Ishizuka and choreographed by Noel Irick. Beauty and the Beast will play Jan. 27 – Feb. 12, 2023.  

Auditions will be held Saturday, Dec. 3 @ 12:00pm and Sunday, Dec. 4 @ 6:00pm.  Callbacks (If required) Tuesday, Dec. 6 @ 7:00pm. Auditioners are asked to sing 16- 32 bars of a song that best shows off their voice and range, this will be followed by a dance audition.  Early video auditions - which must be submitted prior to Dec. 3 – may be submitted and can substitute for appearing at the Sunday or Monday auditions.  The video should include a song showing off your voice and range and a 1-minute dance routine demonstrating the extent of your dance training.  However, if chosen from a video audition, candidates will be required to appear in person at the callbacks.  Video auditions should be sent to peter@fhtaz.org.  FHT prefers and encourages auditioners to be vaccinated.

Character ages are not set in stone and all roles are open to all ethnicities. Actors should consider roles if they feel they can represent the character.  

Casting for:

Belle - A vibrant, intelligent girl with beauty, who wants more out of the life than an ordinary existence. She is optimistic, fun-loving, caring, and eager to experience life. Gender: female Age to be played as: 20 to 25 Vocal range top: F5 Vocal range bottom: E3 

Beast - A Prince transformed into a terrifying beast for his lack of compassion. He is hot-tempered and commanding, but has a warm, loving heart buried far beneath his gruff exterior. Gender: male Age to be played as: 30 to 40 Vocal range top: F4 Vocal range bottom: A2 

Gaston - The egotistical, ultra-masculine villain determined to marry Belle. He is manipulative yet charming and earnest. Gender: male Age to be played as: 30 to 40 Vocal range top: E4 Vocal range bottom: A2 

Maurice - Belle's loving, eccentric father. A child at heart and inventor in his own world. Gender: male Age to be played as: 55 to 65 Vocal range top: Db4 Vocal range bottom: Bb2 

Cogsworth - A tightly-wound, enchanted mantle clock and the head of the Beast's household. He is uptight, strict, and punctual but also hard-working, faithful, and thorough. Gender: male Age to be played as: 40 to 55 Vocal range top: E4 Vocal range bottom: A2 

Mrs. Potts - A warm-hearted, maternal enchanted teapot. She is loyal, caring, and playful. Gender: female Age to be played as: 45 to 55 Vocal range top: G5 Vocal range bottom: F#3 

Lumiere - A suave, debonair enchanted candelabra. He is a loyal and steadfast servant. Gender: male Age to be played as: 35 to 45 Vocal range top: F#4 Vocal range bottom: F#2 

Chip - An enchanted teacup and Mrs. Potts' darling little boy. He is innocent, playful, and bright-eyed. Gender: male Age to be played as: 7 to 10 Vocal range top: F5 

Vocal range bottom: A3 

Babette - A saucy, enchanted feather-duster, and the object of Lumiere's affections. She is the playful, gorgeous, seductive French maid. Gender: female Age to be played as: 25 to 35 Vocal range top: F5 Vocal range bottom: C4 

Madame De La Grande Bouche - A former opera diva-turned-enchanted wardrobe. She has a caring, refined, larger than life personality. Gender: female Age to be played as: 40 to 55 Vocal range top: D5 Vocal range bottom: C#4 

Lefou - Gaston's bumbling sidekick. He is loyal, energetic, and optimistic, but not quite the brightest guy. Gender: male Age to be played as: 25 to 35 Vocal range top: F#4 Vocal range bottom: B2 

Monsieur D'arque - The scheming proprietor of the local insane asylum. He is a dark, sinister villain who aides Gaston in his plot to marry Belle. Gender: male Age to be played as: 35 to 55 Vocal range top: A4 Vocal range bottom: D3 

Ensemble Roles Gender: female & male Age to be played as: All ages Dance Ensemble Ages: 13 & up: Wolves; Enchanted Objects; Townspeople -Strong Advanced Jazz & Tap Dancers featured prominently throughout the show. Must be able to sing and hold 2 and 3 part harmonies. 

Adult Ensemble Ages: 13 & up: Wolves; Enchanted Objects; Townspeople -Can sing in 2 and 3 part harmonies. Should move well with intermediate dance technique. 

Children’s Ensemble Ages: 8 - 12: Wolves; Enchanted Objects; Townspeople - Can sing well, can take/follow direction and some beginning/intermediate dance movement.

Happy Thanksgiving from PHX Stages!

 

Your first look at RODGERS + HAMMERSTEIN'S CINDERELLA at The Phoenix Theatre Company

CLICK HERE for more information on this production, which runs through January 1 

photos by Billy Hardiman

Talking to Jonathan Hashmonay, who plays Tevye in the national tour of FIDDLER ON THE ROOF

Jonathan Hashmonay 
photo by Joan Marcus

by Gil Benbrook

With dozens of regional productions annually, numerous Broadway revivals, a well regarded film adaptation, and having been translated for many international versions of the show, Fiddler on the Roof is, arguably, one of the most beloved and most frequently produced musicals of all time. 

Based on the tales by Sholem Aleichem and featuring a score with music by Jerry Bock and lyrics by Sheldon Harnick that includes such classic show tunes as "Sunrise, Sunset," "Matchmaker, Matchmaker," "If I Were a Rich Man." "Tradition," and "Do You Love Me?" Fiddler on the Roof tells the story of Tevye, the poor Jewish milkman who has five daughters. The show is set in Russia in the early 1900s and focuses on how Tevye must face changing times as he deals with his strong-willed wife and daughters as well as the non-Jewish residents who also inhabit their small village of Anatevka.

The national tour of the show comes to the Orpheum Theatre, with peformances from December 2-4.

Jonathan Hashmonay who plays Tevye in this production sat down to answer some questions about the show, his character, and how growing up in Israel has informed his portrayal.

Fiddler on the Roof is a classic, beloved musical but for someone who isn’t aware of this show what would you tell them it’s about?

Jonathan Hashmonay: "To me this musical is about Family, Love, Tradition, and the modern world. All of these aspects amalgamate to form a masterpiece that is still relevant today. The constant struggle between modernization and tradition, and the exploration of how love can fit into a world that is unaware of its true meaning, makes for a timeless story."

Jonathan Hashmonay 

What past experience have you had with the musical?

"Certain songs have been with me for as long as I can remember. I can’t even recall when was the first time I heard 'If I Were a Rich Man.' It has always been around. But my first experience with the musical in its true form was in college. We learned about it in History of Musical Theatre class and I immediately fell in love. Later that year my musical theatre program took a trip to NYC and we got to see this production on Broadway! I later saw it 3 more times and brought all of my friends and family to see it. It became my favorite show soon after." 

Tevye is one of the most well-known musical theatre characters. What aspects of the role do you identify with, and which did you least identify with?

"The thing I identify with the most has to be his love for his family. Everything he does, and all that brings him joy in his life are his daughters and his life at home. And I feel the same way about my family. Even though I don’t have kids, my immediate and extended family are all extremely close. And there is nothing in the world that I enjoy more than spending Sabbath dinner with all of us together. I think Tevye feels the same way. 

I don’t think there is an aspect of Tevye that I don’t identify with. As an actor, my job is to look at the character and find ways of understanding and justifying his reasonings and thoughts even if they are not my own. I’ve worked very hard to make sure that I can identify with every nook and cranny of his mind and his choices. If I had to pick one thing, it would be his relationship with Golde. He uses her belief system against her in the dream which ends up backfiring but he maybe should have realized earlier that it would."

You grew up in Israel and are a descendant of holocaust survivors. How did that experience and your family history help in your portrayal?

"That is actually a very difficult question. This show takes place in 1905, before the holocaust took place. My Judaism is highly influenced by the holaucust. I therefore spent countless hours researching and thinking about what it means to be Jewish before the holaucust. However, even with all this research, I wasn’t able to completely disassociate from it. It is part of who I am; it changes the way I look at people, and situations; it changes how I view conflict and struggle. And therefore by association bleeds into my portrayal of Tevye. 

I think about my home country a lot in this show. Especially during the wedding and in Act II. During the scene where the Constable orders the Jews out of Anatevka I think about leaving my home and all of the things I miss about it. My home is with me always on stage. "

The national tour company of Fiddler on the Roof
photo by Joan Marcus

Was there any type of research you did to prepare for the role?

"The production has many books and videos that we used as research. The original Shalom Aleichem stories, a book called 'Life is with People', that talks in great detail about life in the shtetl in the Pale of Settlement, and the documentary 'Miracles of Miracles' are just a small part of the research work that has gone into my preparation. I’ve also interviewed my grandparents, my parents, and any of their friends who had anything to do with the Pale of Settlement or had to go through similar experiences. The hardest part of it all is not having children. Trying to learn about the love and sacrifice that parents feel through other people’s accounts has been incredibly challenging and is an ongoing learning experience. "

What is your favorite moment in the show and why is it your favorite?

"My favorite moment in the show is the Horse Mule argument in the opening number. The intense disagreement that stems from such a seemingly simple event exemplifies on of the most fundamental Jewish traits in my opinion. Each side passionately defending their opinion with such fervor, or 'chutzpah' in Yiddish, and then immediately forgetting about the whole thing and going back to dancing together is the thing I love most about my heritage. I often notice it in my day to day life. I will have an extremely heated discussion with my friends or family and after 20 minutes of intense and seemingly bitter debate, we smile and go have lunch together as if nothing happened. I think that is one of the best ways to learn and grow and is directly related to my Judaism. "

Have you been in any previous productions of the show? If so, how does this production of the show differ from those?

"I’ve never actually been in any other production of Fiddler, so I don’t have any personal experience. However, based on my knowledge of the show I can say that most productions take a more presentational approach where as our production tries to keep everything rooted in reality as much as possible. "

You graduated from Penn State’s musical theatre program. What was your experience like there and what were some of your favorite classes or favorite parts you played there?

"I’ve always been a singer, but I’ve never acted until I got to Penn State in 2015. It was a life changing experience to learn a new art form from scratch at such a high caliber. Therefore, anything to do with the study of acting was my favorite. Of particular interest to me was Shakespeare. The deep analyzation of text and finding subtext between words that are no longer in use was illuminating. 

I think the transition into college life was particularly hard for me. I moved to college from Israel after spending three years as a singer in the IDF Ground Forces Band. My military service, while not as combative, still required a mentality that no one in my program could really understand. Additionally, I was older than everyone there (I started when I was 22). But my teachers and classmates accepted me and taught me how to fit in to this new industry and life. I am extremely grateful for them. "

Jonathan Hashmonay (right) and the national tour company of Fiddler on the Roof
photo by Joan Marcus

Why do you think this show is still relevant today?

"There are aspects of this show that, as long as humanity survives, will be relevant. Traits such as love and the longing for similarity are part of being human and are always relevant no matter the time. However, this show is much more than that. Particularly with the war in Ukraine, and the refugee crisis that it created, a show that lets you see into what it feels like to be kicked out of your home is of particular relevance. Not to mention with the rise of anti-semitism world wide, this story becomes doubly important."

What do you hope audiences will take away from seeing Fiddler on the Roof at the Orpheum Theatre?

"Out of everything that this show is, most of all, I hope that audiences are able to see the power of listening to the other and adaptation and forgiveness. Many characters in this show go through different levels of change and every time they do, their lives become closer to what they want them to be. I think this is a beautiful take away and can be applied to many aspects of life. "

CLICK HERE for more information on this production, which plays the Orpheum Theatre from December 2-4

RUDOLPH THE RED-NOSED REINDEER, JR - Actor's Youth Theatre - December 3-17, 2022

The holiday classic soars off the screen in this Broadway Junior, 60-minute musical adaptation of the beloved television special. Filled with holiday hits like "Rudolph the Red-Nosed Reindeer" and "A Holly Jolly Christmas," Rudolph the Red-Nosed Reindeer™ JR. features all of your favorite characters including Santa and Mrs. Claus, Hermey the Elf, Bumble the Abominable Snow Monster, Clarice, Yukon Cornelius and, of course, Rudolph. It’s an adventure that teaches us that what makes you different can be what makes you special.

Because of his shiny nose, Rudolph doesn't feel like he belongs in Christmas town and sets off to find a place that accepts him. Along his journey, he encounters fellow misfits, only to realize that home is where he has belonged the whole time. When a storm threatens to keep Santa's sleigh from taking flight, it's up to Rudolph to save Christmas!

Director: Xelha Castrejon

Music Director: Elise Stoffer

Choreography: Connor Olden

Stage Manager: Bianca Caglia

 

Shows Dec 3rd-Dec 17th

Tickets: aytaz.org

 

Gold Cast:

Sam: Olive VanSlyke

Santa: Krisha Sorensen

Mrs. Clause: Sadie Holdeman

Donner: Jack Galli

Mrs. Donner: Katelyn Kovesdy

Young Rudolph: Miles VanSlyke

Rudolph: Marlee Rae Olson

Bumble Snow Monster: Abbie Morgan

Boss Elf: Emily Freedman

Hermey: Isabella Steele

Fireball: Giselle Quintero

Clarice: Matilda Dwyer

Coach Comet: Abby Morgan

Clarice's Father: Ivory Van Tassel

Yukon Cornelius: Elise Steele

King Moonracer: Vienna Jones

Charlie in the box: Jenna Bruder

Dolly: Milly Dee Stearman

Cowboy: Brooklyn Peterson 

Spotted Elephant: Kinley Carothers

Train: Miles VanSlyke 

Plane: Rosalind Quintana

Bird Fish: Madyson Meeks

Herald Reporter: Abby Morgan

Chicago Reporter: Nolan Lopez

Daily News Reporter: Ivory Jones

Daily News Reporter: Natalie Stola

Chronicle Reporter: Jaylee McNabb

Elves: Sadie Holdeman, Katelyn Kovesdy, Giselle Quintero, Jack Galli

Reindeers/Yearlings/ Misfits: Ivory Jones, Jenna Bruder, Natalie Stola, Milly Dee Stearman, Jaylee McNabb, Brooklyn Peterson, Kinley Carothers

 

Silver Cast:

Sam: Khloee Day 

Santa: Marlee Rae Olson

Mrs. Clause: Giselle Quintero

Donner: Nolan Lopez

Mrs. Donner: Hailey Klatt

Young Rudolph: Rosalind Quintana

Rudolph: Charly-Belle Ramierz

Bumble Snow Monster: Abbie Morgan

Boss Elf: Vienna Jones

Hermey: Brendan Lucas

Fireball: Sadie Holdeman

Clarice: Claire Theodore

Coach Comet: Abby Morgan

Clarice's Father: Ivory Van Tassel

Yukon Cornelius: Marco Morales

King Moonracer: Elise Steele

Charlie in the box: Natalie Stola

Dolly: Jaylee McNabb

Cowboy: Brooklyn Peterson 

Spotted Elephant: Kinley Carothers

Train: Miles VanSlyke 

Plane: Rosalind Quintana

Bird Fish: Madyson Meeks

Herald Reporter: Abby Morgan

Chicago Reporter: Nolan Lopez

Daily News Reporter: Ivory Jones

Daily News Reporter: Jenna Bruder

Chronicle Reporter: Milly Dee Stearman

Elves: Sadie Holdeman, Katelyn Kovesdy, Giselle Quintero, Jack Galli

Reindeers/Yearlings/ Misfits: Ivory Jones, Jenna Bruder, Natalie Stola, Milly Dee Stearman, Jaylee McNabb, Brooklyn Peterson, Kinley Carothers

Auditions for ONCE MORE INTO THE BREACH: A Modern Adaptation of Henry V at Maricopa Community Theater announced for December 6

Maricopa Community Theatre is thrilled to bring an original work to the stage. Once More into the Breach is a modern-day adaptation of William Shakespeare’s Henry V.

Auditions will be held on December 6th at 7 pm at the Maricopa Community Center. Please prepare a 1 – 2 minute contemporary dramatic monologue.

Ages 18 and up.

Rehearsals will be Monday – Thursday from 7 pm – 9 pm, beginning December 8. Performances will be February 1st – 4th at 7 pm. A detailed rehearsal schedule will be provided at the first rehearsal.

For more information - www.maricopacommunitytheatre.org/auditions 

It's our 8th Anniversary of Launching! Thank you for making PHX Stages the Top Source for Theatre News and Information in Phoenix!

Auditions for WILLIAM SHAKESPEARE'S LAND OF THE DEAD at TheaterWorks announced for December 3 & 4

William Shakespeare's Land of the Dead Auditions

Performances March 31-April 23, 2023

Ricky Araiza - Director

Ashley Gennaro - Stage Manager

WHERE: 

TheaterWorks- 10580 N 83rd Drive Phoenix, AZ 85345

WHEN: 

Auditions will take place Saturday, December 3 from 5pm-9pm and Sunday, December 4 from 10am-2pm. 

WHO: 

Actors who are 16+. 

We acknowledge that many roles fall on the gender binary, but however limiting the descriptions are, we invite transgender, genderqueer, gender non-conforming, non-binary performers to read for the roles, cisgender or otherwise, they most identify with. We encourage actors of all races/ethnicities, body types, gender, physical abilities to audition. Unless a role specifies in the script, we will keep characters open to all backgrounds. We will not be limiting ourselves to casting historically accurate. Please let us know if you have any questions, concerns, or if there are any accommodations we can provide.

WHAT: 

Actors must prepare a comedic monologue no longer than 2 minutes. You may be asked to do some improvisation as well. 

CALLBACKS:

Callbacks will be held on Sunday, December 11 from 5pm-9pm. All sides will be provided before the callbacks. Emails will be sent to all auditioners as soon as the callback list is finalized.

ADDITIONAL INFORMATION:

CLICK HERE for more information and to sign up for an audition time

PLEASE NOTE THAT THERE IS A TBD EXTENSION APRIL 27-30, 2023. 

Stipends will be available for all performers. There are no AEA contracts available for this production. There is no fee to audition. There is no fee to participate if cast.

Paige Productions' Winter Camps and Shows!

Winter Break Camp 

Carnival & Show

Ages 5-15

9:00 am - 3:00 pm

Two-Week Option*  

Mon-Thurs, Dec 19-29, 2022

First-Week Only*       

Mon-Thurs, Dec 19-22, 2022

Second-Week Only* 

Mon-Thurs, Dec 26-29, 2022

*No Class Fridays

The Spongebob Musical: Youth Edition

Ages 5-15

Jan 2 - Feb 20, 2023

Hammered: A Thor & Loki Play 

(Marvel Spotlight)

Ages 5-15

Feb 20 - Apr 1, 2023

Disney's High School Musical Jr.

Ages 5-15

April 2-May 13, 2023

CLICK HERE for more information and to register

Auditions for ESA NENA RIE, ESA NENA LLORA, ESA NENA NO HACE NADA at Phoenix College announced for November 21 & 22

Audiciones

lunes, noviembre 21, 5:00 - 8:00 pm (la última empieza a las 7:45 pm - por favor llega antes de 7:30 para llenar los papeles)

Martes, noviembre 22, 5:00 - 8:00 pm (la última empieza a las 7:45 pm - por favor llega antes de 7:30 para llenar los papeles)

Callbacks

miercoles, noviembre 23, 5:00 - 8:00 pm

Donde: Geoffrey Eroe Black Box en Phoenix College

1202 W. Thomas Road

(favor de entrar en medio de los edificios F y T)

•Van a leer partes del texto de la obra, improvisar con otros actores y objetos - favor de vestirse para mover!! 

•Ensayos van a comenzar el 28 de noviembre y serán cuadrados con los horarios del elenco 

•Fechas de las presentationes February 9-12, 2023

•Para mas información: Christina Marín @ christina.marin@phoenixcollege.edu

Auditions

Monday, November 21 from 5:00 - 8:00 pm (last audition begins at 7:45 pm - please arrive by 7:30 to fill out paperwork)

Tuesday, November 22 from 5:00 - 8:00 pm (last audition begins at 7:45 pm - please arrive by 7:30 to fill out paperwork)

Callbacks

Wednesday, November 23 from 5:00 - 8:00 pm

Location: Geoffrey Eroe Black Box at Phoenix College

1202 W. Thomas Road

(please enter through the door between the F and T buildings)

•Come prepared  to read sides from the play and improvise with other actors and physical objects - dress to move!

•Rehearsals begin Monday evening November 28 and be scheduled according to cast availability

•Performance dates are February 9-12, 2023

•For more information please contact the Program Director Christina Marín @ christina.marin@phoenixcollege.edu

Review Highlights: HEAD OVER HEELS - ASU Music Theatre and Opera

The Cast
photo by Reg Madison Photography

 

highlights from local critics reviews - (click link at bottom of each review to read complete review)

Click here for more information on this production that runs through November 20

"You'd think that using the bouncy, 1980s pop tunes that were recorded by the all-girl group The Go-Go's as the songs for a musical based on a 16th-century prose would seem to be a bit of a disconnect. However, the upbeat tunes work extremely well for the charming Head Over Heels, which has a modern sensibility as it celebrates love in all shapes, forms and genders. Arizona State University Music Theatre and Opera is presenting the local premiere of the musical that had a short Broadway run in 2018 in a sharply directed and smartly cast production that makes for a funny, feel-good show and a welcome and quite moving celebration of love...a musical with a refreshing open-mindedness about gender and sexuality. In addition to it being a show with a modern sensibility and having important lessons about tolerance, the need to be yourself, and accepting others for who they truly are, no matter their gender, sexual identity, or sexual preference, it's also a whole lot of fun." 
- Gil Benbrook, TalkinBroadway.com (click here to read the complete review)

Arizona Theatre Company Opens Submissions for National Latine Playwrights Award

Arizona Theatre Company is excited to announce submissions for the 2023 National Latine Playwrights Award window submission is open from now through Thursday, Dec. 15.  

“ATC has long led the country in its celebration of Latine playwrights, predicting the importance of a play, or a playwright, ahead of national trends,” said ATC Playwright-in-Residence Elaine Romero. The track record for our winners keeps us reading and advocating for our writers each year. Our increased award amount shows our theatre’s devotion to our playwrights. Our winners have penned a love letter to Latine life.”

La Egoista, by 2022 NLPA winner Erlina Ortiz, will be produced this season at Actor’s Theatre of Lousiville. Other notable recent winners include Charise Castro Smith, co-writer of Disney hit “Encanto” (Golden Globe, Winner, Best Motion Picture, Animated,) Benjamin Benne for “Alma,” produced by Center Theatre Group (winner of American Blues Theater's Blue Ink Playwriting Award,) and Eliana Pipes for “Dream Hou$e” (winner of the Kendeda National Graduate Playwriting Fellowship.)

Established in 1995, the National Latine Playwrights Award is unique in both its longevity and prescience. Of the past 27 recipients, 25 have gone on to productions across the United States and around the world.

To be eligible, Latine playwrights must live in the United States, its territories, or Mexico. Scripts may be in English, Spanish, or a combination of the two (Spanish scripts must be accompanied by an English translation). Plays must be unpublished, professionally unproduced, and not currently under option at the time of submission. The winner of the National Latine Playwrights Award will receive $2,500 and the option of a developmental workshop at Arizona Theatre Company. The selection process for the award includes a national panel.

Full-length and one-act plays, with a minimum of 50 pages, on any subject will be accepted.

The winner will be notified by June 15, 2023. Application requirements include:

Submissions of a single script can be sent via email to NLPA@arizonatheatre.org.

Include a cover letter of no more than one page describing the play’s developmental history and how the play fits into the playwright’s broader career trajectory.

ATC’s long history of recognizing Latine voices is echoed in its embrace of new work that does not neatly comport to genre, form, or subject. 

THE DROWSY CHAPERONE - Limelight Performing Arts - December 9-18, 2022

Winner of five Tony Awards, including Best Book and Best Original Score, The Drowsy Chaperone is a loving send-up of the Jazz Age musical, featuring one show-stopping song and dance number after another.

With the houselights down, a man in a chair appears on stage and puts on his favorite record: the cast recording of a fictitious 1928 musical. The recording comes to life and The Drowsy Chaperone begins as the man in the chair looks on. Mix in two lovers on the eve of their wedding, a bumbling best man, a desperate theatre producer, a not-so-bright hostess, two gangsters posing as pastry chefs, a misguided Don Juan and an intoxicated chaperone, and you have the ingredients for an evening of madcap delight.

Hailed by New York Magazine as "The Perfect Broadway Musical," The Drowsy Chaperone is a masterful meta-musical, poking fun at all the tropes that characterize the musical theatre genre. 

The show runs Dec. 9 - Dec. 18 at Studio 3 Artspace.

Ticket link: https://limelight.ticketleap.com/chaperone

Video preview of THE CHILDREN at Theatre Artists Studio

CLICK HERE for more information on this production, which runs through December 11

Your first look at CLUE, THE MUSICAL at Scottsdale Community College

CLICK HERE for more information on this production, which runs through November 19

Cast announced for A CHRISTMAS STORY, THE MUSICAL at Scottsdale Desert Stages Theatre

CLICK HERE for more information on this production, which runs through December 18

Jean Shephard - JC Kovac

Ralphie - Jace Wilson

Old Man - Rob Allocca

Mother - Marisa Tualla/Courtney Jacobs

Randy - Maddie Ahler

Miss Shields - Kiley Bishop

Scut Farkus - Haizy Kovac

Grover Dill - Maya Mircic

Mrs. Schwartz - Kelly Swope

Santa - TBA!

Flick  - Ezz el-Deen Ahsan/Emery Kutz

Schwartz - Anik Bhow/Natalie Arko

Esther Jane - Harlow Miller/Campbell Carr

Mary Beth - Valorie Nelson/Samantha Arko

Nancy - Gianna Wilson/Sofia Ghelfi

Adult Ensemble - Alex Palacios, Bella Swope, Carley Meier, Esteban Valenzuela. Maria Kovac, Lorenzo Escudero, Maddie Sue Miller, Porter Carr

Youth Ensemble - Emily Ahler, Rachael Thaler

A CHRISTMAS STORY THE MUSICAL, directed by Dan Ashlock, music-directed by Kent Campbell, and choreographed by Maddie Sue Miller, opens at Desert Stages Theatre on Friday, November 18, and runs through Sunday, December 18.  

Your first look at HEAD OVER HEELS at ASU Music Theatre and Opera

CLICK HERE for more information on this production, which runs through November 20

photos by Reg Madison

Arizona Theatre Company Names Matt August Artistic Director

Arizona Theatre Company today announced that Matt August has been named the Kasser Family Artistic Director of the 55-year-old professional theatre company. An artistic leader, distinguished director and educator with more than 27 years of theatre experience, August has worked in diverse markets including Broadway, Off-Broadway, and LORT (League of Resident Theatres) and Regional Theatres as well as with national tours, international venues, festivals and higher education.

“We’re delighted to have Matt on board as we continue our legacy and forge ATC’s next chapter,” said ATC Executive Director Geri Wright. “Matt brings a wealth of theatre experience, connections, creativity, and innovative and thoughtful work to ATC.”

A seasoned theatre professional who has directed more than 90 plays, productions and events in the last two decades including several national and international tours, August’s work includes a broad-spectrum, commercial aesthetic that encompasses plays, musicals, contemporary classics, holiday spectacles, new works, theatre for youth, opera and Shakespeare.

He directed the Broadway premiere of How the Grinch Stole Christmas! The Musical in 2006 and again in 2007, breaking Broadway box office records. He subsequently directed the show’s national tours from 2010 to 2019 and again in 2021 and 2022, as well as its international UK Tour in 2019. The Grinch played three times at Madison Square Garden, twice at the Grand Ole Opry and at the Pantages Theatre in Los Angeles.

No stranger to ATC, August directed 2016/2017’s King Charles III and 2015/2016’s Discord, which he describes as two of his favorite projects and both of which received rave reviews.

“It’s a new era for Arizona Theatre Company, and I am thrilled for the opportunity to partner with Executive Director Geri Wright as we steward ATC toward its unlimited potential,” said August. “As the Official State Theatre of Arizona, we will be producing work that will delight audiences and illuminate imaginations with work that dares to dream who we are, and what we can become together.”

August most recently and throughout the pandemic served as Assistant Professor of Directing at Utah’s largest university – Utah Valley University – an experience that further honed his skills as an artistic leader, mentor and director. He has mentored several upcoming directors through the Drama League Fellowship and the Stage Directors and Choreographers Foundation, guest taught/lectured at universities and colleges throughout the country and served on the Drama League Directing Fellowship selection committees and several SDC Board Nominating committees and Steering committees. He also sat on the Artistic Advisory Board for the Independent Shakespeare Company in Los Angeles.   

August notes that early in his career he was honored to apprentice under Tony Award-winning director Jack O’Brien for four years, as well as many other iconic directors and Artistic Directors. He served as Staff Repertory Director for the Acting Company in New York, is a Drama League Fellow, received the Phil Killian Directing Fellowship from Oregon Shakespeare Festival and was a finalist for the TCG Alan Schneider Director Award. He is committed to continuing to mentor and nurture new and emerging artistic voices in his new role at ATC.

Today’s announcement comes after a nationwide search by Arizona Theatre Company’s Board of Trustees and leadership, said Char Augenstein, Board of Trustees Chair.

“The Board of Trustees is delighted to bring Matt on as ATC’s next Artistic Director,” Augenstein notes. “His enthusiastic energy and passion for Arizona Theatre Company, its audiences and our communities undoubtedly will serve us well.”

August holds an M.F.A. from California Institute of the Arts and a B.F.A. from the University of Colorado.

For more information about ATC’s current and upcoming season and other updates, please visit atc.org.

Your first look at A DOLL'S HOUSE, PART 2 at Phoenix College

CLICK HERE for more information on this production, which runs November 17-20

photos by Mary Weisse