Omni Artiste Productions,Inc will hold auditions for the upcoming November production of Spirit North by Leslie Lee. This is a story of a black defense attorney who brilliantly wins successful acquittals for his clients that place him in profound conflict with his wife and family. It will be directed by Dr. Alex Marshall. The show requires two African American males (one in his late 30s to early 40s and one in his 70s) and two African American females (both in their 30s to early 40s). The audition will also require reading excerpts from the script.
WHEN: OCTOBER-11--2-4PM
OCTOBER 12--4-6PM
OCTOBER--13--6-8PM
WHERE: CITE DES ARTS
Tuesday, September 30, 2008
Theatre--Review Addendum
The first paragraph was accidentally left out of the review of Hedwig And The Angry Inch. The second paragraph is in response to comments about this review which I think do deserve to be addressed.
Cody Daigle is one of the few performers in Acadiana who can sell tickets on his own name regardless of the project or the venue. If you don't already know why this is the case, his performance as Hedwig is a convincing demonstration. I would particularly recommend aspiring actors pay attention to Cody's use of his voice which encompasses virtually his entire vocal range from top to bottom; all of his dynamic range from pianissimo to fortissimo and a variety of tempos from slow to fast. Very few American actors use their voices as adroitly. When delivering lines by more than one character he makes each person vocally utterly distinct in accent and tonality.
Mea Culpa: I have a hearing impairment and it may be that my difficulty understanding the songs is a purely personal problem. Also, in response to complaints about my remark that there are really only two reasons to see the show let me add two more reasons. This is a genuinely unique theatre piece and we may not get another chance to see it live on stage. Sure, you could rent the film--but it's not the same thing.
---Walter Brown
Cody Daigle is one of the few performers in Acadiana who can sell tickets on his own name regardless of the project or the venue. If you don't already know why this is the case, his performance as Hedwig is a convincing demonstration. I would particularly recommend aspiring actors pay attention to Cody's use of his voice which encompasses virtually his entire vocal range from top to bottom; all of his dynamic range from pianissimo to fortissimo and a variety of tempos from slow to fast. Very few American actors use their voices as adroitly. When delivering lines by more than one character he makes each person vocally utterly distinct in accent and tonality.
Mea Culpa: I have a hearing impairment and it may be that my difficulty understanding the songs is a purely personal problem. Also, in response to complaints about my remark that there are really only two reasons to see the show let me add two more reasons. This is a genuinely unique theatre piece and we may not get another chance to see it live on stage. Sure, you could rent the film--but it's not the same thing.
---Walter Brown
Monday, September 29, 2008
Theatre--Performance
Mac Stearns, the director of the IPAL production If It's Monday, This Must be Christmas!, has announced the cast and crew of the show:
Harry Monday... Mike Berry
Titus Harrigan... Donald Voorhies
Loretta Mondello... Carmen Nicholson
Scarlet Kloontz... Erin Segura
Trixie O’Brien... Blythe Bull
Louie Grandville... Michael Durand
Carson Page... Travis Guillory
Penny Harrigan... Sarah Leonard
Mildred Wolensky... Kristin Anderson
Harold... Matthew Lasseighe
Opaline Lampbert... Martha Gilfoil
Polly Brogan... Isabell Gilfoil
Lieutenant Brogan... Mike Boroto
Stage Manager... Matthew Dugan
Harry Monday... Mike Berry
Titus Harrigan... Donald Voorhies
Loretta Mondello... Carmen Nicholson
Scarlet Kloontz... Erin Segura
Trixie O’Brien... Blythe Bull
Louie Grandville... Michael Durand
Carson Page... Travis Guillory
Penny Harrigan... Sarah Leonard
Mildred Wolensky... Kristin Anderson
Harold... Matthew Lasseighe
Opaline Lampbert... Martha Gilfoil
Polly Brogan... Isabell Gilfoil
Lieutenant Brogan... Mike Boroto
Stage Manager... Matthew Dugan
Theatre--Audition
Auditions for Oklahoma!, this season’s IPAL musical presentation, will be held at the Essanee Theater in New Iberia on Sunday, November 2nd from 2-5 p.m., and Monday, November 3rd from 5:30-7 p.m. The production will be directed by Don Voorhies. Auditions for all parts are open, and those wishing to obtain materials in advance may call Don Voorhies (364-1975), IPAL (364-6114), or e-mail the production team at ipaloklahoma@cox.net. Audition material is also available at the Essanee Theater on October 6th-9th between 6 and 7 p.m.
Theatre--Review
Fearless, cool, ferocious are just a couple of words that passed through my mind after seeing this thrilling show. From the opening chords to the final notes, I was hooked. Hedwig and the Angry Inch is a bold piece of theatre that has understandably drawn comparisons to The Rocky Horror Show. I don’t want to give too much of the shows plot away because I believe it is best to be ignorant about certain plot points before seeing it so I’ll be brief. Hedwig and the Angry Inch tells the story of a young boy from East Berlin who moves to the U.S. after a botched sex change and a quickie marriage to an American G.I. (You’re hooked already; I can feel it.) Hedwig‘s marriage quickly dissolves and she finds catharsis in rock and roll. She even mentors a young kindred spirit to rock superstardom. Lonely and bitter, the “internationally ignored” Hedwig tells her story in a serious of flashbacks through the course of the evening. I think this is all I will say about the plot so you can be just as surprised by the developments in Hedwig’s bitingly funny story as I was when I saw it.
Like all great rock gods, Hedwig bears her soul through her songs. And it doesn’t hurt that Hedwig is portrayed by none other than Cody Daigle. He doesn’t just play Hedwig, he is Hedwig. He struts around the stage bedazzled in a sparkly mini skirt. He sings. Oh, yeah, and he does this all in five inch platform heels (to witness this is worth the price of admission alone). But don’t let this fool you into thinking Daigle takes the easy road and plays Hedwig as merely a stereotypical drag queen. Oh, no. He really delves into Hedwig’s psyche and what he is able to do is present a fully formed human being who longs for love and acceptance that has eluded her all her life.(Bravo, Cody). He is joined onstage by Sarah Gauthier as Yitzhak. She was one of my favorite parts of the show. I loved watching all her reactions to the events of the evening. Sarah has probably the hardest jobs an actor can have because she has to stay engaged while saying very little. It takes a true actor to capture and hold an audience with just a look or a gesture (So, Brava, Sarah on a job done exceptionally well). Also to be commended is the awesome rock band that is the cherry on top of the sundae that is this great show. My hat is off to Duncan Thistlethwaite and Cara Hayden for an awesome show. I can imagine all the hard work that was put in on this show and trust me it is on full display. I have never seen a show running as tight as this one was on opening night. If you feel after reading this review that maybe Hedwig might be a little too subversive for you then I should let you know the audience at Friday’s performance was a mixture of all ages and all left singing the praise of this glorious show. Catch this show before it ends its run at the end of October. Please believe me; you will be glad you did.
---Gabe Ortego
Like all great rock gods, Hedwig bears her soul through her songs. And it doesn’t hurt that Hedwig is portrayed by none other than Cody Daigle. He doesn’t just play Hedwig, he is Hedwig. He struts around the stage bedazzled in a sparkly mini skirt. He sings. Oh, yeah, and he does this all in five inch platform heels (to witness this is worth the price of admission alone). But don’t let this fool you into thinking Daigle takes the easy road and plays Hedwig as merely a stereotypical drag queen. Oh, no. He really delves into Hedwig’s psyche and what he is able to do is present a fully formed human being who longs for love and acceptance that has eluded her all her life.(Bravo, Cody). He is joined onstage by Sarah Gauthier as Yitzhak. She was one of my favorite parts of the show. I loved watching all her reactions to the events of the evening. Sarah has probably the hardest jobs an actor can have because she has to stay engaged while saying very little. It takes a true actor to capture and hold an audience with just a look or a gesture (So, Brava, Sarah on a job done exceptionally well). Also to be commended is the awesome rock band that is the cherry on top of the sundae that is this great show. My hat is off to Duncan Thistlethwaite and Cara Hayden for an awesome show. I can imagine all the hard work that was put in on this show and trust me it is on full display. I have never seen a show running as tight as this one was on opening night. If you feel after reading this review that maybe Hedwig might be a little too subversive for you then I should let you know the audience at Friday’s performance was a mixture of all ages and all left singing the praise of this glorious show. Catch this show before it ends its run at the end of October. Please believe me; you will be glad you did.
---Gabe Ortego
Sunday, September 28, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts has announced the cast for its upcoming production of Cat on a Hot Tin Roof (opening October 20th). The cast is as follows:
Big Daddy: Larry Deslatte
Big Momma: Denis Hodge
Brick: Ed Verdin
Maggie: LaDaisha Bowles
Gooper: Ricky Pellerin
Mae: Erin Segura
Rev. Tooker: Tyra Yanber
Dr. Baugh: Christian Glorioso
Lacey: Carolyn Higdon
Sookie: Christina Bertrand
Daisy: Emilie Miller
Brightie: Skyla Guidry
Small: Quenton Johnson
Dixie: Bailey Stovall
Buster: Tate Granger
Sonny: Alex Guidry
Trixie: Rebakah Deslatte
Big Daddy: Larry Deslatte
Big Momma: Denis Hodge
Brick: Ed Verdin
Maggie: LaDaisha Bowles
Gooper: Ricky Pellerin
Mae: Erin Segura
Rev. Tooker: Tyra Yanber
Dr. Baugh: Christian Glorioso
Lacey: Carolyn Higdon
Sookie: Christina Bertrand
Daisy: Emilie Miller
Brightie: Skyla Guidry
Small: Quenton Johnson
Dixie: Bailey Stovall
Buster: Tate Granger
Sonny: Alex Guidry
Trixie: Rebakah Deslatte
Theatre--Review
Cite Des Arts (located at 3rd and Vine in Lafayette, 291-1122) is currently presenting two cult musicals in repertoire through October 31. They are Hedwig And The Angry Inch and The Rocky Horror Show. Be aware that these shows run on alternating days of the same weekend. Hedwig runs Oct. 2 and 3; 9 and 11; 16 and 17; 23 and 25 and 30 and 31. Rocky Horror runs Oct 4; 10; 18; 24; 31 and Nov 1. The 18th and 24th of October there is an 8 pm performance and a midnight performance and on the 31st of October you can see a double bill--Hedwig at 8 pm and Rocky at midnight.
Lafayette has two genuine cult performers--that is, performers whose personae are bigger draws than the roles they perform. Shane Guilbeau is one and Cody Daigle is the other. There are really only two reasons to see Hedwig And The Angry Inch at Cite Des Arts--you are a Cody Daigle fan and/or you are already a fan of Hedwig. If you are a Cody fan, you already know what you are going to get and you will not be disappointed. If you are Hedwig fan, you will probably want to refresh your memory of the show before attending this production. The spoken portions of the show are fine but the lyrics are lost in a wall of sound. It's very difficult to sing with crisp diction but even if the diction were Gilbert and Sullivan perfect the band is really too loud to hear either of the singers. I would suggest using the projection screen on the set to flash the lyrics in the same way that a karaoke machine works. The lyrics carry the most important messages in the show and if you miss them all you are left with is the plot.
Hedwig And The Angry Inch was written by John Cameron Mitchell with music and lyrics by Stephen Trask. The show was developed over a period of years through workshops and partial performances at various venues in New York City. During this time it developed a cult standing which was cemented by a successful Off-Broadway run and then a film starring John Cameron Mitchell, the original Hedwig. This is not a slipshod script--it has been honed and polished in front of a variety of audiences. Pay attention--you'll be glad you did.
Hedwig has more on its mind than a blonde wig. It is filled with pop culture references, philosophical debates and puns which range from groaners to bon mots. In fact, I would recommend a quick refresher on gnosticism before seeing the show. Check out Plato and The Symposium on the genesis of human love as well. This is a show with real intellectual heft but you will have to act as your own guide.
Briefly, the story is this. Hansel Schmidt is a young man living in East Germany just before the fall of the Berlin Wall. He is desperate to escape to America and the chance comes in the person of an American soldier who will marry Hansel and take him to the US. However--Hansel will have to become Hedwig. The operation is botched and Hedwig is left neither male nor female. Circumstances make it more prudent to assume the female role which Hedwig does for the rest of her life.
In America, Hedwig (Cody Daigle) soon finds herself abandoned by her husband and working odd jobs and odder jobs to support herself. The two jobs which change the course of Hedwig's life are baby-sitting and singing in a local dive. Hedwig begins a relationship with the adolescent brother of a child she baby-sits. She tutors the boy in love, philosophy and rock music. Soon they are performing together and before long they have separated. Using songs he has written with Hedwig, the boy becomes a rock star known as Tommy Gnosis. Hedwig then becomes his shadow, going on her own less successful tour with her band, THE ANGRY INCH. Hedwig performs in dives adjacent to Tommy's concert halls and arenas. Hedwig is accompanied by her husband, Yitzhak (Sarah Gauthier), a former drag queen whom Hedwig forces to maintain a male persona. Eventually, fate reunites Hedwig and Tommy as a car crash literally fuses them into one person again. Was there ever really a Tommy or this all symbolism? Decide for yourself. The ending has generated reams of discussion and the authors are far too smart to explain what doesn't need explaining.
The set is just a performance venue with a couple of microphones, a projection screen and a place for a three-person band consisting of Barry Bihm, Shaun Gachassin and Duncan Thistlewaite (who also acted as musical director). The lighting is evocative and acts both to enhance the mood of each number and to define the purpose of the area. The use of animated sequences projected on the screen to further the story is nice and I wouldn't have objected to seeing a lot more of it. The animation for The Origin Of Love is really appealing and effective.
Costumes and makeup are a matter of personal taste. I thought the Hedwig looked a bit like Divine in one of Madonna's cast-off outfits. This Hedwig is a drag queen, not a woman. The costume for Yitzhak, however, does effectively disguise the fact that the role is played by a woman. Sarah Gauthier looks like every disaffected grunge boy you see hanging around downtown. It's an astonishing transformation visually and her body language and facial expressions never give the game away. Yitzhak is a man, not a woman in drag.
This is just a two person show. Hedwig is clearly the star and Yitzhak functions in a decidedly secondary capacity. He provides backup vocals and some help with costumes and props. His main function, though, is to act as a reverse image for Hedwig. This means that Yitzhak spends most of his time hanging around and not doing anything much. Sarah Gauthier does this splendidly. She never detracts from Hedwig and she never drops out of the moment. Cody may be the diamond but Sarah is the all important setting. The band also provides solid support both musically and visually.
The overall production is under the supervision of Cara Hayden, Cody Daigle's longtime collaborator. Theirs is a well-honed partnership. Cara guarrantees that the show looks sharp and moves at a good pace.
The show is definitely for adults due to subject matter and language. Use judgment about bringing anyone under 16. However--the show is also adult in the best sense. It poses grownup questions about identity, love and meaningfulness. How much do we make ourselves and how much does fate make us? What is the point of Life or Death? And--should blue eye shadow be a felony or merely a misdemeanor?
---Walter Brown
Lafayette has two genuine cult performers--that is, performers whose personae are bigger draws than the roles they perform. Shane Guilbeau is one and Cody Daigle is the other. There are really only two reasons to see Hedwig And The Angry Inch at Cite Des Arts--you are a Cody Daigle fan and/or you are already a fan of Hedwig. If you are a Cody fan, you already know what you are going to get and you will not be disappointed. If you are Hedwig fan, you will probably want to refresh your memory of the show before attending this production. The spoken portions of the show are fine but the lyrics are lost in a wall of sound. It's very difficult to sing with crisp diction but even if the diction were Gilbert and Sullivan perfect the band is really too loud to hear either of the singers. I would suggest using the projection screen on the set to flash the lyrics in the same way that a karaoke machine works. The lyrics carry the most important messages in the show and if you miss them all you are left with is the plot.
Hedwig And The Angry Inch was written by John Cameron Mitchell with music and lyrics by Stephen Trask. The show was developed over a period of years through workshops and partial performances at various venues in New York City. During this time it developed a cult standing which was cemented by a successful Off-Broadway run and then a film starring John Cameron Mitchell, the original Hedwig. This is not a slipshod script--it has been honed and polished in front of a variety of audiences. Pay attention--you'll be glad you did.
Hedwig has more on its mind than a blonde wig. It is filled with pop culture references, philosophical debates and puns which range from groaners to bon mots. In fact, I would recommend a quick refresher on gnosticism before seeing the show. Check out Plato and The Symposium on the genesis of human love as well. This is a show with real intellectual heft but you will have to act as your own guide.
Briefly, the story is this. Hansel Schmidt is a young man living in East Germany just before the fall of the Berlin Wall. He is desperate to escape to America and the chance comes in the person of an American soldier who will marry Hansel and take him to the US. However--Hansel will have to become Hedwig. The operation is botched and Hedwig is left neither male nor female. Circumstances make it more prudent to assume the female role which Hedwig does for the rest of her life.
In America, Hedwig (Cody Daigle) soon finds herself abandoned by her husband and working odd jobs and odder jobs to support herself. The two jobs which change the course of Hedwig's life are baby-sitting and singing in a local dive. Hedwig begins a relationship with the adolescent brother of a child she baby-sits. She tutors the boy in love, philosophy and rock music. Soon they are performing together and before long they have separated. Using songs he has written with Hedwig, the boy becomes a rock star known as Tommy Gnosis. Hedwig then becomes his shadow, going on her own less successful tour with her band, THE ANGRY INCH. Hedwig performs in dives adjacent to Tommy's concert halls and arenas. Hedwig is accompanied by her husband, Yitzhak (Sarah Gauthier), a former drag queen whom Hedwig forces to maintain a male persona. Eventually, fate reunites Hedwig and Tommy as a car crash literally fuses them into one person again. Was there ever really a Tommy or this all symbolism? Decide for yourself. The ending has generated reams of discussion and the authors are far too smart to explain what doesn't need explaining.
The set is just a performance venue with a couple of microphones, a projection screen and a place for a three-person band consisting of Barry Bihm, Shaun Gachassin and Duncan Thistlewaite (who also acted as musical director). The lighting is evocative and acts both to enhance the mood of each number and to define the purpose of the area. The use of animated sequences projected on the screen to further the story is nice and I wouldn't have objected to seeing a lot more of it. The animation for The Origin Of Love is really appealing and effective.
Costumes and makeup are a matter of personal taste. I thought the Hedwig looked a bit like Divine in one of Madonna's cast-off outfits. This Hedwig is a drag queen, not a woman. The costume for Yitzhak, however, does effectively disguise the fact that the role is played by a woman. Sarah Gauthier looks like every disaffected grunge boy you see hanging around downtown. It's an astonishing transformation visually and her body language and facial expressions never give the game away. Yitzhak is a man, not a woman in drag.
This is just a two person show. Hedwig is clearly the star and Yitzhak functions in a decidedly secondary capacity. He provides backup vocals and some help with costumes and props. His main function, though, is to act as a reverse image for Hedwig. This means that Yitzhak spends most of his time hanging around and not doing anything much. Sarah Gauthier does this splendidly. She never detracts from Hedwig and she never drops out of the moment. Cody may be the diamond but Sarah is the all important setting. The band also provides solid support both musically and visually.
The overall production is under the supervision of Cara Hayden, Cody Daigle's longtime collaborator. Theirs is a well-honed partnership. Cara guarrantees that the show looks sharp and moves at a good pace.
The show is definitely for adults due to subject matter and language. Use judgment about bringing anyone under 16. However--the show is also adult in the best sense. It poses grownup questions about identity, love and meaningfulness. How much do we make ourselves and how much does fate make us? What is the point of Life or Death? And--should blue eye shadow be a felony or merely a misdemeanor?
---Walter Brown
Friday, September 26, 2008
Theatre--Review
Ray Blum's review of All the Great Books, abridged produced by the Eunice Players appears in the Friday, September 26th edition of the Daily Advertiser.
Theatre--Article
Cody Daigle, who opens tonight as the main character in Hedwig and the Angry Inch at Cite Des Arts, has written an article about his experiences with the show and with creating the character of Hedwig. The article appears in the Friday, September 26th edition of the Daily Advertiser.
Thursday, September 25, 2008
Theatre--Performance
The Abbey Players' production of I Love You, You're Perfect, Now Change is opening on Friday, September 26th. This lighthearted celebration of the mating game tackles the truths and myths behind the contemporary conundrum known as "the relationship". A frothy, fun look at the absurdity of love, this clever musical revue reveals the difficulties of connecting with another person, no matter what the age.
The charming concoction, directed by Dianne Moss, scales the dizzying spectrum of romance and its many forms, from dating to marriage, the agonies and triumphs of dealing with in-laws and newborns, trips in the family car, and pick-up techniques of the geriatric set.
I Love You, You’re Perfect, Now Change pays tribute to those who have loved and lost, to those who have fallen on their face at the portal of romance, and to those who have put on a brave face, mustered their courage, and dared to ask, "So, what are you doing on Saturday night?"
For more information or for tickets, check www.abbeyplayers.com.
This is an adult musical comedy with adult situations and may not be appropriate for children.
The charming concoction, directed by Dianne Moss, scales the dizzying spectrum of romance and its many forms, from dating to marriage, the agonies and triumphs of dealing with in-laws and newborns, trips in the family car, and pick-up techniques of the geriatric set.
I Love You, You’re Perfect, Now Change pays tribute to those who have loved and lost, to those who have fallen on their face at the portal of romance, and to those who have put on a brave face, mustered their courage, and dared to ask, "So, what are you doing on Saturday night?"
For more information or for tickets, check www.abbeyplayers.com.
This is an adult musical comedy with adult situations and may not be appropriate for children.
Theatre--Performance
There was an error in the schedule on the right bar of the blog. Hedwig and the Angry Inch opens on Friday, September 26th (which was correctly noted in the post itself) at Cite Des Arts.
Please excuse the error. Again, Hedwig opens Friday, September 26th.
Please excuse the error. Again, Hedwig opens Friday, September 26th.
Performance--Article
The Daily Advertiser has a photo gallery up of pictures from Cite Des Arts' presentation of Artistic Voices: On the Edge.
Monday, September 22, 2008
Dance--Performance
Elisa Monte Dance opens the PASA Series at 7:30 p.m. on Saturday October 11 with the world premier of Elisa Monte's latest choreographic work, Zydeco! Monte's spirited choreography, set to the vibrant beats of live music by Jeffery Broussard and the Creole Cowboys, in a unique marriage of modern dance and live music. The program also includes Monte's Pigs and Fishes--commissioned by Alvin Ailey for his legendary troupe--and Run to the Rock, set to Nina Simone's interpretation of the popular gospel song, "Sinnerman".
Pasa and Elisa Monte Dance will also present a performance for students at 10:30 am on October 9th at Angelle Hall on the UL campus.
For more information, or to purchase tickets, please contact PASA at (337) 237-2787.
Pasa and Elisa Monte Dance will also present a performance for students at 10:30 am on October 9th at Angelle Hall on the UL campus.
For more information, or to purchase tickets, please contact PASA at (337) 237-2787.
Theatre--Performance
DiscoProdutions and Cite Des Arts have announced the cast list for their production of The Rocky Horror Show, which will begin its run on October 4th.
The cast is:
Blaine Peltier (Frank-n-Furter)
Ryan Broussard (Brad)
Charlee Halphen (Janet)
Andrew Hunter II (Rocky)
Mindy Menard (Riff-Raff)
Sarah Gauthier (Magenta)
April Peltier (Columbia)
Heath Swain (Eddie/Dr. Scott)
Erin Broussard (Narrator)
Erik Schneider (Corsette)
Ashley Culpepper (Corsette)
For more information, call Cite Des Arts at 291-1122.
The cast is:
Blaine Peltier (Frank-n-Furter)
Ryan Broussard (Brad)
Charlee Halphen (Janet)
Andrew Hunter II (Rocky)
Mindy Menard (Riff-Raff)
Sarah Gauthier (Magenta)
April Peltier (Columbia)
Heath Swain (Eddie/Dr. Scott)
Erin Broussard (Narrator)
Erik Schneider (Corsette)
Ashley Culpepper (Corsette)
For more information, call Cite Des Arts at 291-1122.
Theatre--Performance
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Cite des Arts is proud to announce its upcoming production of the cult hit rock musical, Hedwig And The Angry Inch by John Cameron Mitchell and Stephen Trask.
Born a boy named Hansel whose life's dream is to find his other half, Hedwig reluctantly submits to a sex change operation in order to marry an American G.I. and get over the Berlin Wall to freedom. The operation is botched, leaving her with the aforementioned "angry inch". Finding herself high, dry and divorced in a Kansas trailer park, she pushes on to form a rock band and encounters a lover/protégé in young Tommy Gnosis, who eventually leaves her, steals her songs, and becomes a huge rock star.
Through a collage of songs, flashbacks and animation, Hedwig tells her life
story.
Hedwig runs in repertory with Discoprodution’s revival of last year’s hit, The Rocky Horror Show. Hedwig has been called the spiritual heir to Rocky Horror, combining driving rock tunes, androgyny, and a biting sense of humor to craft a thoroughly engaging evening of theatre.
Directed by Duncan Thistlethwaite and Cara Hayden, Hedwig stars Cody Daigle and Sarah Gauthier in the lead roles of Hedwig and Yitzhak.
The show also spotlights a team of five UL animation students and a graphic designer from Southeastern University, who have contributed original animation sequences and still projections to the project. Their efforts lend the production a unique visual component not seen on local stages.
Hedwig And The Angry Inch runs September 26 through November 1, in repertory with Rocky Horror. Contact the theatre for specific show dates in the repertory.
Hedwig And The Angry Inch contains adult language and adult content. This show is not appropriate for audiences under high school age.
For more information, call 291-1122.
Friday, September 19, 2008
Announcement
I just wanted to make sure that everyone knew that comments are always welcome on this blog. All comments are moderated, so that I have absolute editorial control over what gets published. Please feel free to leave whatever comments you want to about the content of the blog, corrections if they are necessary, or information about the posts.
Thanks!
Thanks!
Theatre--Review
Theatre in the last decade has become increasingly difficult to criticize as it has moved from a structured art form to something more amorphous. This structure once involved an argument of some sort illustrated by the working out of a plot. In some cases the argument would be reinforced by the use of a subplot. Dialogue was a tool and not an end in itself. Dialogue which has escaped the prison of formal literary structure must now find alternate means of suppot.
This support now comes from designers who must create an aesthetically coherent vision for the audience and from actors who have to hold the audience's attention by a combination of personality and craft which must be compelling on their own terms without reference to the material of the script. The task of the director becomes largely one of creating mood and rhythm.
The problem for the critic is that any response is highly colored by personal taste. Objective criticism is limited to a discussion of technique and a general reaction to the attractiveness of the cast.
Having laid my cards out on the table, here is my response to the two one-act plays by Austin Sonnier currently playing at Cite Des Arts.
Overall, the production feels rushed. Although the sets work adequately and the set dressing in both cases is quite nice, the overall effect is still somewhat tentative, as if we were seeing a sketch rather than a painting. The lighting design is adequate except that it left Sheryl Ned as the narrator of Heads And Tales to wander about in darkness while the lights drew our attention to a completely unoccupied part of the stage. This is the second production I have seen at Cite which left actors to fend for themselves in murky conditions. If this is a choice, perhaps it should be rethought. Generally speaking, actors benefit from being visible.
On the plus side, however, director Maureen Brennan has assembled a very appealing cast which is long on charm and warmth. She has the good fortune to be able to draw from a cadre of experienced performers, many of whom have worked together before at Cite Des Arts and other local theatres.
Heads And Tales is really more of a short story than a play. The plot, which is a pretty good ghost story, is essentially narrated rather than acted out. This leaves the cast with not much to do, really, although they do it very appealingly. Bria Hobgood and Nyoki McKeith are an attractive couple of roommates who tell a scary story about the haunting of their rented house. Alessandra de Melo Batista and Jack Robertson are infernal bureaucrats and Jack Sorenson is...well, he is literally a two-faced devil. Unfortunately, he also plays audience to the girls' story and it is unclear whether he is listening to his own story or is simply playing a role for which no other actor could be found.
The second play, Greezy Spoon Cafe/Funeral Parlor, concerns just that--a small cafe which seems to double as an embalming room. In any case, a body has been embalmed and is currently being stored in the freezer of the kitchen while the undertaker awaits payment for his services. This could be tricky, since the deceased left his life insurance to his niece as a nest egg to launch her singing career in New York City. This leaves the widow with no money to pay for a funeral. Somehow, the niece must be persuaded to part with the loot against her own interests. This leads to some clever conniving which is resolved far too quickly and easily, resulting in a climax which comes at the midpoint of the show. The rest of the time is filled in with pointed remarks about the damage Katrina has done to the New Orleans music scene.
The cast includes Patricia Cravins as the forceful widow, John Bess as her twin brother (and father of the beneficiary). The chanteuse is played by Erika Fox, who sings "Cold Sunday" like the pro she is. The proprietor of the cafe (and also the undertaker) is played by Paul Batiste and the cook is played by Joshua Broussard. Tasia Riggs rounds out the cast.
Cite Des Arts has made a laudable commitment to presenting Black Theatre on a regular basis. Watch the Cite website for other opportunities to see the many talented Black theatre artists in Acadiana. They are well worth your support.
---Walter Brown
This support now comes from designers who must create an aesthetically coherent vision for the audience and from actors who have to hold the audience's attention by a combination of personality and craft which must be compelling on their own terms without reference to the material of the script. The task of the director becomes largely one of creating mood and rhythm.
The problem for the critic is that any response is highly colored by personal taste. Objective criticism is limited to a discussion of technique and a general reaction to the attractiveness of the cast.
Having laid my cards out on the table, here is my response to the two one-act plays by Austin Sonnier currently playing at Cite Des Arts.
Overall, the production feels rushed. Although the sets work adequately and the set dressing in both cases is quite nice, the overall effect is still somewhat tentative, as if we were seeing a sketch rather than a painting. The lighting design is adequate except that it left Sheryl Ned as the narrator of Heads And Tales to wander about in darkness while the lights drew our attention to a completely unoccupied part of the stage. This is the second production I have seen at Cite which left actors to fend for themselves in murky conditions. If this is a choice, perhaps it should be rethought. Generally speaking, actors benefit from being visible.
On the plus side, however, director Maureen Brennan has assembled a very appealing cast which is long on charm and warmth. She has the good fortune to be able to draw from a cadre of experienced performers, many of whom have worked together before at Cite Des Arts and other local theatres.
Heads And Tales is really more of a short story than a play. The plot, which is a pretty good ghost story, is essentially narrated rather than acted out. This leaves the cast with not much to do, really, although they do it very appealingly. Bria Hobgood and Nyoki McKeith are an attractive couple of roommates who tell a scary story about the haunting of their rented house. Alessandra de Melo Batista and Jack Robertson are infernal bureaucrats and Jack Sorenson is...well, he is literally a two-faced devil. Unfortunately, he also plays audience to the girls' story and it is unclear whether he is listening to his own story or is simply playing a role for which no other actor could be found.
The second play, Greezy Spoon Cafe/Funeral Parlor, concerns just that--a small cafe which seems to double as an embalming room. In any case, a body has been embalmed and is currently being stored in the freezer of the kitchen while the undertaker awaits payment for his services. This could be tricky, since the deceased left his life insurance to his niece as a nest egg to launch her singing career in New York City. This leaves the widow with no money to pay for a funeral. Somehow, the niece must be persuaded to part with the loot against her own interests. This leads to some clever conniving which is resolved far too quickly and easily, resulting in a climax which comes at the midpoint of the show. The rest of the time is filled in with pointed remarks about the damage Katrina has done to the New Orleans music scene.
The cast includes Patricia Cravins as the forceful widow, John Bess as her twin brother (and father of the beneficiary). The chanteuse is played by Erika Fox, who sings "Cold Sunday" like the pro she is. The proprietor of the cafe (and also the undertaker) is played by Paul Batiste and the cook is played by Joshua Broussard. Tasia Riggs rounds out the cast.
Cite Des Arts has made a laudable commitment to presenting Black Theatre on a regular basis. Watch the Cite website for other opportunities to see the many talented Black theatre artists in Acadiana. They are well worth your support.
---Walter Brown
Theatre--Review
Ray Blum's latest review, of Austin Sonnier's Greezy Spoon and Heads and Tales, is in the September 19th edition of the Daily Advertiser.
Wednesday, September 17, 2008
Theatre--Performance
Tickets to the Acadia Players' production of The Bridge to Terabithia may be purchased now at the Crowley Flower Shop on North Parkerson Ave. Performances are scheduled for Thursday, September 25th & Friday, September 26th at 9 a.m and Friday, September 26 & Saturday, September 27th at 7 p.m. and Sunday, September 28th at 2 p.m. at the Crowley Rice Theater.
Tuesday, September 16, 2008
Theatre--Presentation
Cité des Arts continues with our community arts and education program, Artistic Voices. This program is sponsored in part by the State of Louisiana Division of the Arts and the Acadiana Arts Council. Four artists from contrasting artistic disciplines are brought together in a panel discussion to discuss the creative process.
•Wednesday, September 17th at 7:00pm:
THE CREATIVE PROCESS AND INSPIRATION :
Don Brasseaux (Sophisticated Furniture and Art from salvaged material)
David Egan (Musician/Songwriter)
Trish Ransom (jewelry, fish and other creatures from found objects and recycled material)
and Cedric Watson (Musician/Songwriter).
Facilitated by Herman Fuselier.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
•Thursday, September 18th at 7:00pm:
THE CREATIVE PROCESS AND HUMOR
A.D. Dugar (Film/Theatre)
Shane Guilbeau (Theatre)
Annie Hendrix (Hand-Sculpted Clay)
and Jim Phillips (Children’s Education/Music).
Facilitated by Jack Reedy.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
•Wednesday, September 17th at 7:00pm:
THE CREATIVE PROCESS AND INSPIRATION :
Don Brasseaux (Sophisticated Furniture and Art from salvaged material)
David Egan (Musician/Songwriter)
Trish Ransom (jewelry, fish and other creatures from found objects and recycled material)
and Cedric Watson (Musician/Songwriter).
Facilitated by Herman Fuselier.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
•Thursday, September 18th at 7:00pm:
THE CREATIVE PROCESS AND HUMOR
A.D. Dugar (Film/Theatre)
Shane Guilbeau (Theatre)
Annie Hendrix (Hand-Sculpted Clay)
and Jim Phillips (Children’s Education/Music).
Facilitated by Jack Reedy.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
Theatre--Performance
Cite des Arts is proud to announce its upcoming production of the cult hit rock musical, Hedwig And The Angry Inch by John Cameron Mitchell and Stephen Trask.
Born a boy named Hansel whose life's dream is to find his other half, Hedwig reluctantly submits to a sex change operation in order to marry an American G.I. and get over the Berlin Wall to freedom. The operation is botched, leaving her with the aforementioned "angry inch". Finding herself high, dry and divorced in a Kansas trailer park, she pushes on to form a rock band and encounters a lover/protégé in young Tommy Gnosis, who eventually leaves her, steals her songs, and becomes a huge rock star.
Through a collage of songs, flashbacks and animation, Hedwig tells her life story.
Hedwig runs in repertory with Discoprodution’s revival of last year’s hit, The Rocky Horror Show. Hedwig has been called the spiritual heir to Rocky Horror, combining driving rock tunes, androgyny, and a biting sense of humor to craft a thoroughly engaging evening of theatre.
Directed by Duncan Thistlethwaite and Cara Hayden, Hedwig stars Cody Daigle and Sarah Gauthier in the lead roles of Hedwig and Yitzhak.
The show also spotlights a team of five UL animation students and a graphic designer from Southeastern University, who have contributed original animation sequences and still projections to the project. Their efforts lend the production a unique visual component not seen on local stages.
Hedwig And The Angry Inch runs September 26 through November 1, in repertory with Rocky Horror. Contact the theatre for specific show dates in the repertory.
Hedwig And The Angry Inch contains adult language and adult content. This show is not appropriate for audiences under high school age.
For more information, call 291-1122.
Born a boy named Hansel whose life's dream is to find his other half, Hedwig reluctantly submits to a sex change operation in order to marry an American G.I. and get over the Berlin Wall to freedom. The operation is botched, leaving her with the aforementioned "angry inch". Finding herself high, dry and divorced in a Kansas trailer park, she pushes on to form a rock band and encounters a lover/protégé in young Tommy Gnosis, who eventually leaves her, steals her songs, and becomes a huge rock star.
Through a collage of songs, flashbacks and animation, Hedwig tells her life story.
Hedwig runs in repertory with Discoprodution’s revival of last year’s hit, The Rocky Horror Show. Hedwig has been called the spiritual heir to Rocky Horror, combining driving rock tunes, androgyny, and a biting sense of humor to craft a thoroughly engaging evening of theatre.
Directed by Duncan Thistlethwaite and Cara Hayden, Hedwig stars Cody Daigle and Sarah Gauthier in the lead roles of Hedwig and Yitzhak.
The show also spotlights a team of five UL animation students and a graphic designer from Southeastern University, who have contributed original animation sequences and still projections to the project. Their efforts lend the production a unique visual component not seen on local stages.
Hedwig And The Angry Inch runs September 26 through November 1, in repertory with Rocky Horror. Contact the theatre for specific show dates in the repertory.
Hedwig And The Angry Inch contains adult language and adult content. This show is not appropriate for audiences under high school age.
For more information, call 291-1122.
Monday, September 15, 2008
Theatre--Auditions
Auditions for the IPAL spring production of Rodgers and Hammerstein's Oklahoma! will be held at the Essanee Theatre on November 2nd and 3rd. For more information call Donald "Doc" Voorhies at (337)364-1975.
Theatre--Auditions
IPAL is having open auditions for their Christmas play, If It's Monday, This Must Be Christmas. Auditions are Monday, September 16th (tonight) at 6 pm at the Essenee Theatre located at 120 Iberia St. in New Iberia. (the block between Main St. and St. Peter St.)
They need 5 men, 6 women and 1 boy and 1 girl about 9 years old. If you are interested but cannot make the audition tonight, call Mac Stearns at 365-8898.
They need 5 men, 6 women and 1 boy and 1 girl about 9 years old. If you are interested but cannot make the audition tonight, call Mac Stearns at 365-8898.
Theatre--Review
Full disclosure--the author of this review is the light board operator for That's The Spirit. He only runs the lights and had no part in any rehearsal or creative decision prior to the dress rehearsal. He had seen no part of the show until two days before it opened.
That's The Spirit is the title of the Tim Kelly comedy/thriller currently playing at the Essanee Theatre in New Iberia. It could also be a rousing cheer for a director, cast and crew that has overcome the trials of Job to put the show on. After surviving the upheavals of actors and crew who left the cast and had to be replaced, director Donna Bernard then had to postpone the opening for Hurricane Gustav. However, the show did open on Friday night despite the weather and will also run this coming weekend, September 19th-21st.
Tim Kelly is a one-man writing factory who creates shows for community theatres. He understands the desires of his audiences and performers for family friendly shows which don't run too long for smaller children to sit through. That's no backhanded compliment--everyone who has been to a play or movie understands the value of finishing the show before young attention spans are exhausted.
Tim Kelly also understands the limitations of amateur casting which usually result in a mix of very experienced pros and complete beginners who don't know stage right from stage left. His characters range from the wacky to the normal and include roles for the skilled and less-skilled actor. In other words, he writes characters that beginners can succeed in playing but he also writes characters that can engage the talents of more proficient actors.
That's The Spirit concerns the murder of psychic Jenny Davenport who owned the Laurel Canyon home of the Great Marvel, a Houdini-like magician of the early part of the last century. Since her murder, the house has been left in trust to her young niece, Irene Lockwood (Carolyn Broussard). Along with the house comes Ruby, a sassy housekeeper with a secret (Barbie Delhomme) and the next-door neighbor, Wayne Hopkins, a self-obsessed television star with a secret (Alex Bonin). And soon enough, Irene is visited by Claire Voyant, a psychic friend of the late Jenny Davenport who has a secret (Leigh Simmons). Claire wants to help the police discover who killed Jenny and she plans to do so by using three other psychics to help her contact the spirit of the Great Marvel. (You may be asking yourself, why not contact JENNY? Well--because the Great Marvel has already left a special telephone which he will use to contact the living (really!) and Jenny has not been so foresighted.)
In due course, the other three psychics appear. There is Bella Donna (Michael Weber), who never makes a move without consulting her adviser Chester, a wooden dummy with a mouth; Anne Boleyn (Amy Price), who channels Henry the Eighth's second wife and has a phobia about axes and lastly, Estelle Slater--The One With The X-Ray Eyes (Martha Gilfoil). Looking at the ceiling, Estelle can see the pile of dirt that Ruby has swept under a bedroom rug. Estelle may have a secret, herself.
And then there is Victoria Greenstreet (Alaina Comeaux)--a sinister rare book dealer who makes house calls at one in the morning and who may hold the key to the motive for Jenny's death.
Trying to bring order to the chaos is Police Lieutenant Chad Prindle (Mile Berry), a policeman with a secret. He is assisted by Detective Bud Frazer (Ryan Berard). Bud is an amateur magician who is enthralled by the legend of the Great Marvel and who has no sedrets at all. Then, there is Scotti Nelson (Kristen Anderson), a park ranger with a secret. And lastly, the area is haunted by Juanette the Hermit (Ivy Fauntleroy)--a homeless person with a secret.
Will all the secrets be revealed? Will the Killer be unmasked? Will the Great Marvel call home from the ether?
The cast has continued to tighten up the show throughout the weekend and it plays pretty smoothly. Leigh Simmons stepped into the leading role of Claire Voyant in a week but you would never know it. I also give her fellow actors credit for reacting to her as if she had always been in the role. It's not easy to adjust to a new actor who will have different timing, different line readings--a whole different feel on stage. This cast is a real ensemble.
The set is well-designed with a very nice job of set decoration. The costumes are witty and appropriate to the characters. All the actors wear microphones, so the audience can easily hear every word.
Shows like this are tricky because it is essential to create a real world which is then invaded by beings from another planet. Everyone loves the scenery-chewing eccentrics, but it is the lower key "real" people who have the harder job. It is very tempting, yet fatal, to go a little over the top. Fortunately, Donna Bernard and her cast avoid this trap. Irene, Ruby and the officers of the law stay firmly on the ground and anchor the over-the-top performances of Juanette and the psychics.
Keep an eye on the team of Mike Berry and Ryan Berard. They have a great chemistry as the old dog and the young puppy.
You'll enjoy the scene in which the killer reveals all. It's a fine bit of psychotic emoting by.....aaauughhhh!
---Walter Brown
That's The Spirit is the title of the Tim Kelly comedy/thriller currently playing at the Essanee Theatre in New Iberia. It could also be a rousing cheer for a director, cast and crew that has overcome the trials of Job to put the show on. After surviving the upheavals of actors and crew who left the cast and had to be replaced, director Donna Bernard then had to postpone the opening for Hurricane Gustav. However, the show did open on Friday night despite the weather and will also run this coming weekend, September 19th-21st.
Tim Kelly is a one-man writing factory who creates shows for community theatres. He understands the desires of his audiences and performers for family friendly shows which don't run too long for smaller children to sit through. That's no backhanded compliment--everyone who has been to a play or movie understands the value of finishing the show before young attention spans are exhausted.
Tim Kelly also understands the limitations of amateur casting which usually result in a mix of very experienced pros and complete beginners who don't know stage right from stage left. His characters range from the wacky to the normal and include roles for the skilled and less-skilled actor. In other words, he writes characters that beginners can succeed in playing but he also writes characters that can engage the talents of more proficient actors.
That's The Spirit concerns the murder of psychic Jenny Davenport who owned the Laurel Canyon home of the Great Marvel, a Houdini-like magician of the early part of the last century. Since her murder, the house has been left in trust to her young niece, Irene Lockwood (Carolyn Broussard). Along with the house comes Ruby, a sassy housekeeper with a secret (Barbie Delhomme) and the next-door neighbor, Wayne Hopkins, a self-obsessed television star with a secret (Alex Bonin). And soon enough, Irene is visited by Claire Voyant, a psychic friend of the late Jenny Davenport who has a secret (Leigh Simmons). Claire wants to help the police discover who killed Jenny and she plans to do so by using three other psychics to help her contact the spirit of the Great Marvel. (You may be asking yourself, why not contact JENNY? Well--because the Great Marvel has already left a special telephone which he will use to contact the living (really!) and Jenny has not been so foresighted.)
In due course, the other three psychics appear. There is Bella Donna (Michael Weber), who never makes a move without consulting her adviser Chester, a wooden dummy with a mouth; Anne Boleyn (Amy Price), who channels Henry the Eighth's second wife and has a phobia about axes and lastly, Estelle Slater--The One With The X-Ray Eyes (Martha Gilfoil). Looking at the ceiling, Estelle can see the pile of dirt that Ruby has swept under a bedroom rug. Estelle may have a secret, herself.
And then there is Victoria Greenstreet (Alaina Comeaux)--a sinister rare book dealer who makes house calls at one in the morning and who may hold the key to the motive for Jenny's death.
Trying to bring order to the chaos is Police Lieutenant Chad Prindle (Mile Berry), a policeman with a secret. He is assisted by Detective Bud Frazer (Ryan Berard). Bud is an amateur magician who is enthralled by the legend of the Great Marvel and who has no sedrets at all. Then, there is Scotti Nelson (Kristen Anderson), a park ranger with a secret. And lastly, the area is haunted by Juanette the Hermit (Ivy Fauntleroy)--a homeless person with a secret.
Will all the secrets be revealed? Will the Killer be unmasked? Will the Great Marvel call home from the ether?
The cast has continued to tighten up the show throughout the weekend and it plays pretty smoothly. Leigh Simmons stepped into the leading role of Claire Voyant in a week but you would never know it. I also give her fellow actors credit for reacting to her as if she had always been in the role. It's not easy to adjust to a new actor who will have different timing, different line readings--a whole different feel on stage. This cast is a real ensemble.
The set is well-designed with a very nice job of set decoration. The costumes are witty and appropriate to the characters. All the actors wear microphones, so the audience can easily hear every word.
Shows like this are tricky because it is essential to create a real world which is then invaded by beings from another planet. Everyone loves the scenery-chewing eccentrics, but it is the lower key "real" people who have the harder job. It is very tempting, yet fatal, to go a little over the top. Fortunately, Donna Bernard and her cast avoid this trap. Irene, Ruby and the officers of the law stay firmly on the ground and anchor the over-the-top performances of Juanette and the psychics.
Keep an eye on the team of Mike Berry and Ryan Berard. They have a great chemistry as the old dog and the young puppy.
You'll enjoy the scene in which the killer reveals all. It's a fine bit of psychotic emoting by.....aaauughhhh!
---Walter Brown
Sunday, September 14, 2008
Dance--Performance
Joshua Hart of the Elite School of Performing Arts in Lafayette has choreographed and will be performing in a dance performance presented by his company, Cornerstone Dance Company. The performance will benefit the ALS Association of Louisiana.
WHAT: Manic Suppression
WHEN: 5 p.m. Sept. 21
WHERE: Angelle Hall, St. Mary Boulevard, UL campus, with a gala to follow at Petroleum Club of Lafayette
COST: Advance tickets, $15; at the door, $20, benefitting the ALS Association of Louisiana
INFORMATION/TICKETS: www.alsalouisiana.org
WHAT: Manic Suppression
WHEN: 5 p.m. Sept. 21
WHERE: Angelle Hall, St. Mary Boulevard, UL campus, with a gala to follow at Petroleum Club of Lafayette
COST: Advance tickets, $15; at the door, $20, benefitting the ALS Association of Louisiana
INFORMATION/TICKETS: www.alsalouisiana.org
Saturday, September 13, 2008
Theatre--Performance
There is an article about the Eunice Players' production of All the Great Books, Abridged at eunicetoday.com.
Theatre--Performance
The cast for the UL-Lafayette Department of Performing Arts fall production has been finalized. The cast is:
Kayty Lamson
Greta Trosclair
Elizabeth Satterly
Clayton Shelvin
Michael Cato
David Huyhn
Peter Falcone
Brian Egland
Derrick Turner
Hendrick Mettysen
The show is tentatively scheduled to run October 22nd through the 26th.
Kayty Lamson
Greta Trosclair
Elizabeth Satterly
Clayton Shelvin
Michael Cato
David Huyhn
Peter Falcone
Brian Egland
Derrick Turner
Hendrick Mettysen
The show is tentatively scheduled to run October 22nd through the 26th.
Theatre--Review
The show must go on! And it did. Despite the efforts of Gustav and Ike, September 11th saw the delayed premier of two original one-act plays by Austin Sonnier, Jr. Directed by Maureen Brennan, and presented at Cite’ des Arts, the opening night audience witnessed Heads and Tales and Greasy Spoon, two atmospheric and humorous one-act plays written by local musician, author, and playwright. Though a native of Lafayette, Sonnier’s mother is from New Orleans and he is obviously deeply attached to the (once and future) great city. It showed in these two idylls to life in very different parts of that city.
Sonnier’s Heads and Tales is a ghost story of sorts. It is very much in the spirit of stories I heard from older relatives I once visited in New Orleans –stories about Marie Laveau and voodoo, about Delphine LaLaurie and her haunted house, about the door at the top of the stairs in my aunt’s house that I had better not open. Heads and Tales deals with a house on St. Charles Avenue haunted by none other than the devil himself. Presented largely in a narrative expository style, the story involves activities in the house over a hundred year period. As one of the characters says, in this house “If it ain’t strange, it ain’t normal.” Brennan’s direction was quite restrained allowing the Sonnier’s words and story itself to draw the audience into the goings-on. Of particular note was Sheryl Ned, who as the Speaker, interacted with the audience in a series of extensive monologues. The middle of these had the audience applauding her bravado presentation. Jack Sorenson played three characters (Sam/Devil/David) yet successfully delineated each of them.
Sonnier’s The Greasy Spoon tells the story of a very different place … a 9th Ward eatery now reopened since Katrina. In a plot reminiscent of Nunsense, Uncle Roland has died and is stored in the freezer with the chicken and sausage…and needs to be buried. Employees and relatives of the Café’s owner (played wonderfully by Paul Batiste) scheme ways to do so via a plot in “The Jefferson’s Meet Lucy” mode. Here, Brennan’s direction is much more flamboyant and the audience responded by laughing throughout. Erika Fox, as “Sonny,” delivered a great torch song as part of the show adding to everyone’s enjoyment, and Patricia Cravins as “Whale Tail” Watson really caught the spirit, voice, and character of N’awlns. But to me stealing the show was Joshua Broussard, as James “Honeyboy” Smith, restaurant cook and schemer extraordinaire. His characterization was right on, from voice to movements to attitude. His stage “business” … eating out of a plate, searching for a cigarette, charming Sonny Jones … was amazing and always added dimension to his character.
Of course, a word about the set (by Duncan Thistlethwaite). I went to the lobby at intermission and upon returning could hardly believe it was the same theater! It took a while to realize that the black flats were the same, but a whole new world had been created. With but simple furniture everything was different, but the same.
This was New Orleans, after all.
---Donald "Doc" Voorhies
Sonnier’s Heads and Tales is a ghost story of sorts. It is very much in the spirit of stories I heard from older relatives I once visited in New Orleans –stories about Marie Laveau and voodoo, about Delphine LaLaurie and her haunted house, about the door at the top of the stairs in my aunt’s house that I had better not open. Heads and Tales deals with a house on St. Charles Avenue haunted by none other than the devil himself. Presented largely in a narrative expository style, the story involves activities in the house over a hundred year period. As one of the characters says, in this house “If it ain’t strange, it ain’t normal.” Brennan’s direction was quite restrained allowing the Sonnier’s words and story itself to draw the audience into the goings-on. Of particular note was Sheryl Ned, who as the Speaker, interacted with the audience in a series of extensive monologues. The middle of these had the audience applauding her bravado presentation. Jack Sorenson played three characters (Sam/Devil/David) yet successfully delineated each of them.
Sonnier’s The Greasy Spoon tells the story of a very different place … a 9th Ward eatery now reopened since Katrina. In a plot reminiscent of Nunsense, Uncle Roland has died and is stored in the freezer with the chicken and sausage…and needs to be buried. Employees and relatives of the Café’s owner (played wonderfully by Paul Batiste) scheme ways to do so via a plot in “The Jefferson’s Meet Lucy” mode. Here, Brennan’s direction is much more flamboyant and the audience responded by laughing throughout. Erika Fox, as “Sonny,” delivered a great torch song as part of the show adding to everyone’s enjoyment, and Patricia Cravins as “Whale Tail” Watson really caught the spirit, voice, and character of N’awlns. But to me stealing the show was Joshua Broussard, as James “Honeyboy” Smith, restaurant cook and schemer extraordinaire. His characterization was right on, from voice to movements to attitude. His stage “business” … eating out of a plate, searching for a cigarette, charming Sonny Jones … was amazing and always added dimension to his character.
Of course, a word about the set (by Duncan Thistlethwaite). I went to the lobby at intermission and upon returning could hardly believe it was the same theater! It took a while to realize that the black flats were the same, but a whole new world had been created. With but simple furniture everything was different, but the same.
This was New Orleans, after all.
---Donald "Doc" Voorhies
Thursday, September 11, 2008
Theatre--Announcement
There have been a number of mandatory and voluntary evacuation orders issued for parishes in the Acadiana area. The weather in the area is forecast to deteriorate rapidly over the next 24 hours. If you plan to try to attend a play, please call ahead of time to make sure that the theatre is open and the show is still on.
Stay safe.
Stay safe.
Theatre--Performance
October of 2008 will forever be known as "Rocktober" in Lafayette when The Rocky Horror Show! opens the lab at Cite des Arts downtown. Performance dates are "Rocktober" 4th, 10th, 18th, 24th, and November 1st at 8PM. Midnight performances are scheduled for Roctober 18th, 24th and on Halloween night following Cite's production of Hedwig and the Angry Inch. All tickets for The Rocky Horror Show are $15. Props are FREE!
For additional information and to reserve tickets, please call Cite des Arts at 291-1122. Due to the limited performances of this production, tickets will go fast!
PLEASE DO NOT WAIT. RESERVE YOUR TICKETS NOW!
(It will be a night you will remember for a very -
l o n g . . .
time!)
For additional information and to reserve tickets, please call Cite des Arts at 291-1122. Due to the limited performances of this production, tickets will go fast!
PLEASE DO NOT WAIT. RESERVE YOUR TICKETS NOW!
(It will be a night you will remember for a very -
l o n g . . .
time!)
Tuesday, September 9, 2008
Theatre--Audition Update
This is an update with more information about the Acadia Players' production of Contempt of Court. This is an adult production intended as dinner theatre at the Crowley Town Club. Performance dates will be November 8th at 7 pm and November 9th at 3 pm. Admission is $25.00, and advance tickets will be available beginning October 1st at either the Crowley Flower Shop (337-783-1512) or the Crowley Town Club (337-783-1432).
Monday, September 8, 2008
Theatre--Classes
There are still spaces in the classes taught by Walter Brown at Cite Des Arts.
The teen class, which will meet every Monday, begins at 3:30 pm and run until 4:30 pm.
The class for younger children (ages 12 and under) begins at 3:00 pm on Mondays--immediately before the teen class.
The adult class, also to be held at Cite Des Arts on Monday, begins at 6:30 pm and ends at 8:00 pm.
For more information, or to register for the classes, contact Walter Brown by phone at 235-6284 or by e-mail at wfj5552@cs.com.
The teen class, which will meet every Monday, begins at 3:30 pm and run until 4:30 pm.
The class for younger children (ages 12 and under) begins at 3:00 pm on Mondays--immediately before the teen class.
The adult class, also to be held at Cite Des Arts on Monday, begins at 6:30 pm and ends at 8:00 pm.
For more information, or to register for the classes, contact Walter Brown by phone at 235-6284 or by e-mail at wfj5552@cs.com.
Theatre--Auditions
Auditions for Contempt of Court to be performed by the Acadia Players are set for September 10th, 11th, 17th and 18th at 7 pm. The show will be under the direction of Bonnie Morgan. For more information on ages for the show and the location of the audition, please call 783-0208.
Theatre--Performance
Cité des Arts presents Greezy Spoon and Head And Tales, two originalone-act comedies, written by local playwright, historian and musician,Austin Sonnier, Jr. and directed by Maureen Brennan.
Greezy Spoon is a comedy set at the Greezy Spoon, a combination local diner and funeral parlor based in New Orleans. The story introduces us to the charactersthat pass through those doors.
Head And Tales tells the tale of a historic home in Uptown New Orleans. The young girls now renting this once palatial home are eager to leave before another Friday the thirteenth unleashes its furies. Little do they know how
close they are to main players in this century old tale…
WHEN: September 11-20, 2008 at 7:30pm
WHERE: Cité des Arts, 109 Vine St., downtown Lafayette between Jefferson
St. and Third St.
COST: $15 Adults, $10 Senior Citizens and Students
Greezy Spoon is a comedy set at the Greezy Spoon, a combination local diner and funeral parlor based in New Orleans. The story introduces us to the charactersthat pass through those doors.
Head And Tales tells the tale of a historic home in Uptown New Orleans. The young girls now renting this once palatial home are eager to leave before another Friday the thirteenth unleashes its furies. Little do they know how
close they are to main players in this century old tale…
WHEN: September 11-20, 2008 at 7:30pm
WHERE: Cité des Arts, 109 Vine St., downtown Lafayette between Jefferson
St. and Third St.
COST: $15 Adults, $10 Senior Citizens and Students
Theatre--Performance
Van Reed, Kevin Miller, and Kevin Courville hit the stage to present "All the Great Books (abridged)by Reed Martin and Austin Tichenor at the Eunice Players' Theatre. Directed by Debi L. Crawford, this is the second show of the theatre's 39th season.
The two-act comedy re-educates the audience on their literary knowledge of the world's greatest classics. Who needs The Illiad and The Odyssey when there's The Idiodyssey? The classic, Little Women, is boring until the coach explains it as a play-by-play football diagram. Why should anyone read Charles Dickens' novels when it's presented as a soap opera? No need to read the 1500 page War and Peace when it can be reduced to a 10 minute dramatic presentation. This fast-paced comedy will leave you laughing in the aisles.
Show dates are:
Saturday, September 13 at 7:00
Sunday, September 14 at 2:00 (matinee)
Monday, September 15 at 6:00 - Dinner Theatre*
Tuesday, September 16 at 7:00
Wednesday, September 17 at 7:00
Thursday, September 18 at 7:00
Friday, September 19 - NO SHOW
Saturday, September 20 at 7:00
All seats are $10. Tickets may be purchased at the door or by calling Louis Wright's Store at 337-457-3330 (Monday through Friday 9:00 to 5:00) or 337-457-2156 Monday through Saturday. All tickets must be paid in advance by check only; no credit cards accepted. The theatre is located at 121 S. Second St. in Eunice.
*Dinner is served at 6:00 at Nick's Restaurant next door to the theatre. The show starts in the theatre at 7:00. The menu is steak with appropriate side dishes; dessert is served at intermission. Ticket price is $15 in addition to the $10 for the price of the show.
The two-act comedy re-educates the audience on their literary knowledge of the world's greatest classics. Who needs The Illiad and The Odyssey when there's The Idiodyssey? The classic, Little Women, is boring until the coach explains it as a play-by-play football diagram. Why should anyone read Charles Dickens' novels when it's presented as a soap opera? No need to read the 1500 page War and Peace when it can be reduced to a 10 minute dramatic presentation. This fast-paced comedy will leave you laughing in the aisles.
Show dates are:
Saturday, September 13 at 7:00
Sunday, September 14 at 2:00 (matinee)
Monday, September 15 at 6:00 - Dinner Theatre*
Tuesday, September 16 at 7:00
Wednesday, September 17 at 7:00
Thursday, September 18 at 7:00
Friday, September 19 - NO SHOW
Saturday, September 20 at 7:00
All seats are $10. Tickets may be purchased at the door or by calling Louis Wright's Store at 337-457-3330 (Monday through Friday 9:00 to 5:00) or 337-457-2156 Monday through Saturday. All tickets must be paid in advance by check only; no credit cards accepted. The theatre is located at 121 S. Second St. in Eunice.
*Dinner is served at 6:00 at Nick's Restaurant next door to the theatre. The show starts in the theatre at 7:00. The menu is steak with appropriate side dishes; dessert is served at intermission. Ticket price is $15 in addition to the $10 for the price of the show.
Friday, September 5, 2008
Theatre--Performance
The cast for the UL-Lafayette Opera Theatre's production of Secrets Every Smart Traveler Should Know has been announced. The cast is:
Nathan Abbott
Brandon Breaux
Stacy Broussard
Kevin Credeur
Martha Diaz
Ruth Diaz
Alex Hollerman
Jared LeBlanc
Jenee Luquette
Nicholas Manzo
Kristina Marshall
Sasha Massey
Evan Melancon
Lindy Waldmeier
The show, based on Wendy Perrin's travel book of the same name, is a musical revue style show with songs and sketches and takes a look at different comic situations dealing with travel.
Performance dates are October 9th, 10th, and 11th at 7:30pm and October 11th and 12th at 3PM. The show will be performed at Fletcher Hall, the Art and Architecture building on the UL-Lafayette campus. Tickets are available at the door only--$10 for the general public and free for UL-Lafayette faculty, staff and students.
For more information, call 482-6012
Nathan Abbott
Brandon Breaux
Stacy Broussard
Kevin Credeur
Martha Diaz
Ruth Diaz
Alex Hollerman
Jared LeBlanc
Jenee Luquette
Nicholas Manzo
Kristina Marshall
Sasha Massey
Evan Melancon
Lindy Waldmeier
The show, based on Wendy Perrin's travel book of the same name, is a musical revue style show with songs and sketches and takes a look at different comic situations dealing with travel.
Performance dates are October 9th, 10th, and 11th at 7:30pm and October 11th and 12th at 3PM. The show will be performed at Fletcher Hall, the Art and Architecture building on the UL-Lafayette campus. Tickets are available at the door only--$10 for the general public and free for UL-Lafayette faculty, staff and students.
For more information, call 482-6012
Thursday, September 4, 2008
Theatre--Performance Postponed
Due to the aftermath of the hurricane and some cast still being out of area, the IPAL production of That's the Spirit will not be opening this week-end. The Big Brother/Big Sister fundraiser has been postponed as well. The show will open the second weekend of September. All tickets bought in advance will be honored at another showing. Donna Berard, the director, says that the theater did not have power yet.
Any further information will be posted as soon as it is received.
Any further information will be posted as soon as it is received.
Theatre--Article
There is an article on villeplattetoday.com about the Eunice Players' theatre production of All the Great Books, abridged. The show is scheduled to open on September 13th, although since Hurricane Gustav it would be prudent to check with the theatre before the show.
Theatre--Performance Postponed
The Cite Des Arts' production of Greezy Spoon and Head And Tales, two original one-act comedies, written by local playwright, historian and musician, Austin Sonnier, Jr. and directed by Maureen Brennan, has been postponed. The show will open next weekend instead.
WHEN: September 11th, 12th, 13th, 18th, 19th and 20th, 2008 at 7:30pm
WHERE: Cité des Arts, 109 Vine St., downtown Lafayette between Jefferson St. and Third St.
COST: $15 Adults, $10 Senior Citizens and Students
WHEN: September 11th, 12th, 13th, 18th, 19th and 20th, 2008 at 7:30pm
WHERE: Cité des Arts, 109 Vine St., downtown Lafayette between Jefferson St. and Third St.
COST: $15 Adults, $10 Senior Citizens and Students
Theatre--Performance
The IPAL production of That's the Spirit is scheduled to run the first 3 week-ends in September. The play is an entertaining, off-the wall, cockeyed, whodunit spoof. The situations are absurd and the characters are bizarre.
There is no new information on whether or not the show will open this weekend.
There is no new information on whether or not the show will open this weekend.
Dance--Audition
Lafayette Ballet Theatre invites area dancers to audition Sunday, Sept. 7, for its December full-length ballet production of The Nutcracker. Auditions will take place at Angelle Hall, located at the corner of St. Mary Blvd. and McKinley Street on the UL Lafayette campus.
To qualify for audition, a dancer must be at least 8 years old; have completed at least one year of ballet study; and be studying ballet currently in an established dance program. Audition times vary according to the dancer’s age and skill level, as follows:
▪ Beginner and Intermediate Levels, ages 8-10: 1-3 p.m.
▪ Intermediate and Advanced Levels, ages 11-14: 3-5 p.m.
▪ Advanced (no pointe work), ages 15-adult: 5-5:30 p.m.
▪ Advanced Pointe (pre-professionals/professionals): 5:30-7 p.m.
Beginning/Intermediate level dancers should arrive one half hour prior to the start of the audition period listed. Advanced level dancers should arrive at least one hour in advance. All dancers should wear ballet attire and be prepared to stay for the duration of the audition period as listed on the schedule. A $20 registration fee is required of all dancers ages 8 to 17 at the time of audition. Please make checks payable to Lafayette Ballet Theatre or bring exact change.
Lafayette Ballet Theatre—-along with internationally acclaimed guest artists—-will present performances of the holiday classic The Nutcracker Saturday, December 6th, and Sunday, December 7th, at the Heymann Performing Arts Center.
For more information, visit www.lafayetteballettheatre.org or call 337-262-0444
To qualify for audition, a dancer must be at least 8 years old; have completed at least one year of ballet study; and be studying ballet currently in an established dance program. Audition times vary according to the dancer’s age and skill level, as follows:
▪ Beginner and Intermediate Levels, ages 8-10: 1-3 p.m.
▪ Intermediate and Advanced Levels, ages 11-14: 3-5 p.m.
▪ Advanced (no pointe work), ages 15-adult: 5-5:30 p.m.
▪ Advanced Pointe (pre-professionals/professionals): 5:30-7 p.m.
Beginning/Intermediate level dancers should arrive one half hour prior to the start of the audition period listed. Advanced level dancers should arrive at least one hour in advance. All dancers should wear ballet attire and be prepared to stay for the duration of the audition period as listed on the schedule. A $20 registration fee is required of all dancers ages 8 to 17 at the time of audition. Please make checks payable to Lafayette Ballet Theatre or bring exact change.
Lafayette Ballet Theatre—-along with internationally acclaimed guest artists—-will present performances of the holiday classic The Nutcracker Saturday, December 6th, and Sunday, December 7th, at the Heymann Performing Arts Center.
For more information, visit www.lafayetteballettheatre.org or call 337-262-0444
Wednesday, September 3, 2008
Hurricane Gustav
Today is Wednesday, September 3rd and my internet connection has just been restored (along with my phone service). My home still does not have power, although I have seen power trucks in the vicinity, which may or may not mean anything.
What the above means is that I will be late in providing information about this weekend's shows--and if the meteorologists I've seen are right, may have trouble with next weekend's shows as well.
I will try to have updated information posted as soon as possible. If you have information about any show opening this weekend, please forward it to me.
Thanks, and I hope you all came through the hurricane without problems.
What the above means is that I will be late in providing information about this weekend's shows--and if the meteorologists I've seen are right, may have trouble with next weekend's shows as well.
I will try to have updated information posted as soon as possible. If you have information about any show opening this weekend, please forward it to me.
Thanks, and I hope you all came through the hurricane without problems.
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