Theatre--Performance (Musical Theatre)

Theatre--Auditions

AUI/AURA is holding open auditions for David Ives' The Lives of the Saints on Sunday, November 6th (3 to 5 pm) and Monday, November 7th (6 to 8 pm) at Theatre 810. Auditioners will be provided with sides for cold readings at the auditions.

The shows will run for 2 weeks in January (January 12-22).

The Lives of the Saints is a collection of short one act plays. Here are the summaries:
THE STORIES: ENIGMA VARIATIONS. Zany hijinks as a pair of lookalikes named Bebe W.W. Doppel-gängler solve an identity crisis with the help of Dr. William W. Williams and his nurse Fifi, who may or may not be Aphrodite the Goddess of Love. Or is she a male gym-teacher in a dress? (3 men, 2 women.) THE MYSTERY AT TWICKNAM VICARAGE. A body on the carpet, three ridiculous Masterpiece Theatre-style suspects and a bumbling Scotland Yard detective solve philosophical quandaries as they investigate: Who killed Jeremy Thumpington-Fffienes? (3 men, 2 women.) BABEL'S IN ARMS. Two blue-collar Mesopotamian construction workers are handed a provocative task: Build the Tower of Babel—or else. How many stones does it take to get to heaven, anyway? (3 men, 2 women.) SOAP OPERA. A washing-machine repairman falls in love with a picture-perfect washer. Should he tell his girlfriend Mabel? Is the washer two-timing him with a dryer? Stay tuned. (3 men, 2 women.) LIVES OF THE SAINTS. A tender and gently comic meditation. Two women preparing a funeral breakfast in a church basement muse on life, death, and the meaning of Polish jokes—and along the way achieve a kind of sanctity. (3 men, 2 women.) ARABIAN NIGHTS. Utterly normal Norman walks into utterly ordinary Flora's shop looking for a souvenir of his travels and together they find whirlwind romance, spurred on by a wacky translator. (1 man, 2 women or 2 men, 1 woman.) CAPTIVE AUDIENCE. A cautionary fable tells how Rob and Laura face a menace in their living room: a television that talks back to them and threatens to swallow them whole. (2 men, 2 women.)

For more information, call Acting Unlimited at 873-1548 or email actingunlimitedinc@gmail.com.

Theatre--Performance

10 plays. 4 rounds. 1 winner.
Let the smackdown begin.

The Compound must really trust its audience: YOU are picking our next project.

Welcome to "Submission Smackdown," an interactive event that gives you a voice in our new play development program. Ten plays submitted to The Compound from playwrights around the globe will battle it out in four rounds of head-to-head combat. One play will emerge victorious, and it will receive a staged reading by The Compound. Submission Smackdown is part of The Lab, The Compound’s new play development program, which aims to help emerging playwrights develop their plays through readings and workshops.


Q: WHEN AND WHERE IS THIS SMACKDOWN?
A: November 12 at 8 p.m., following Second Saturday ArtWalk, at Theatre 810 downtown.

Q: HOW MUCH IS THIS SMACKDOWN?
A: Pay what you roll. Each patron rolls a die, and whatever you roll, you pay. So, your admission is 1-6 bucks. How lucky are you?

Q: HOW DOES THIS SMACKDOWN WORK?
Ten plays will compete in the smackdown. In the first round, the audience will select eight of those plays for competition by title alone. We'll put those eight plays into our smackdown brackets.

In the second round, we'll read the playwright's cover letters, selling their plays to us. The eight will be whittled down to four.

In the third round, we'll read the play's one-page synopsis. The four plays will be whittled down to two.

In the fourth round, we'll perform the ten-page sample scenes from the final two plays. The audience picks a winner, and we'll perform that winning play as a staged reading in an upcoming event.

Q: IS THAT ALL WE'LL EXPERIENCE AT THIS SMACKDOWN?
A:Oh, no. We've got more surprises up our sleeves. But you'll have to join us to find out about them. It's going to be a rowdy good time with some exciting new plays.

SUBMISSION SMACKDOWN takes place on November 12 at 8 p.m. at Theatre 810 downtown (next to Carpe Diem). Admission is "pay what you roll" and all tickets will be sold at the box office prior to curtain. For more info, visit http://thecompoundtheatre.wordpress.com.

SEE YOU AT THE SMACKDOWN!!

Theatre--Auditions (Musical Theatre)

Chicago-The Musical is coming to New Iberia.  The legendary Broadway play will be presented by the Iberia Performing Arts League in performances March 9 to March 25, 2012. Auditions for the show will be held Saturday November 5th and Sunday November 6th from 1:00 to 3:00 p.m.. at the Essanee Theater, 126 Iberia Street in New Iberia. The audition is an open audition as no parts have been pre-cast. IPAL seeks a cast consisting of approximately 20 males and 20 females. Female leads such as Velma and Roxie and male leads such as Billy Flynn require strong singing and dancing skills! But there are a host of parts for male and female singers, dancers and actors or any combination thereof! No special preparation is needed for the audition, but for those interested, audition materials may be picked up at the Essanee Theater on Sunday, Oct. 30 between 3:00 p.m. and 5:00 p.m.

Further information can be obtained by e-mailing to ipal@cox.net, by visiting the website
www.iberiaperformingartsleague.com, calling the theater at 364-6114 and leaving a message, or by contacting Katherine Caffery (director) directly at 337-256-0604 for more information.

Theatre--Performance

The Evangeline Players will present Dave McGrath's stage adaptation of the 1947 MGM classic film THE BISHOP'S WIFE for six performances.  The show was first performed December 2008 by the Performance with Passion Players at the Eatontown Playhouse in Eatontown, New Jersey.  The play runs November 11-20 with 7:30 PM performances on November 11, 12, 18 and 19 and 2:00 PM performances on November 13 and 20.  Tickets are $10.00 and reservations can be made through Shamrock Office Supply (394-5574) or the Duchamp Opera House (394-6604) or purchased at the door.  The Opera House is located at 200 S. Main St. in St. Martinville at the intersection of Hwy. 31 and 96.

The story concerns an angel named Dudley (Steven "Smitty" Smith) who is sent from Heaven to help an Anglican Bishop named Henry Brougham (Dylon Boudreaux) in a moment of personal crisis.  Dudley finds himself drawn to the possibility of human life and love by his attraction to the bishop's wife, Julia (Adel Comeaux) and his fondness for Debby, Julia and Henry's daughter (Mary Gomez).

Henry's life is being complicated by the interference of a wealthy widow, Agnes Hamilton (Carmen Nicholson).  Eventually, he turns to Prof. Wutheridge (Milton Resweber), an old family friend, for some much needed advice.

The cast also includes Patricia Sibley Fournet as Matilda, the housekeeper, Sierra Ann Bourque as Mildred Cassaway, the bishop's secretary and Dr. Kenneth Fournet as Mr. Perry, the Cathedral architect and as Stevens, Mrs. Hamilton's butler.

Theatre--Performance

As the Eunice Players’ Theatre closes its 42nd season, Jody L. Powell brings to the stage A Nice Family Gathering by Phil Olson, a two-act heart-warming comedy fit for the Thanksgiving season.

As the players take the stage, the audience finds the Lundeen family gathered for the first Thanksgiving since Dad died.  His presence, however, is felt by middle son, Carl, as Dad beseeches him to tell his wife of 35 years that he loved her.  The situation gets complicated by Carl’s own feelings of neglect, and when Jerry, Dad’s old golfing buddy, shows up to dinner as Mom’s “date”.

Rehearsals are underway and the cast of stage veterans and those stepping on the Eunice stage for the first time are already creating characters that will have audiences laughing one minute and tearing up the next.

Current EPT board member Brett Faulkner fills Dad’s ghostly shoes.  A regular set builder for EPT, Brett started onstage in To Kill a Mockingbird at EPT and later won the Best Actor Irving Award for the title role in Jake’s Women”.  He was most recently seen in Fiddler on the Roof and Moonlight and Magnolias.

Deborah D. Ardoin of Eunice has the role of Dad’s widow, Helen.  Debbi is an audience favorite in comedic and dramatic roles as indicated by her many Irving Awards including most recently Best Actress Awards for playing Martha in Who’s Afraid of Virginia Woolf? and Annie in Misery.  Her favorite comedic roles include Sister Amnesia in Nunsense, and Chick in Crimes of the Heart, all at EPT.  She is a member of Acadiana Repertory Theatre and Cite des Arts’ improv group, both based in Lafayette.

Vincent P. Barras of Lafayette, playing Carl, is a veteran of over 50 plays throughout Acadiana but this is his first time on the EPT stage.  Vincent has held prominent roles in many plays including Henry Higgins in My Fair Lady, Stage Manager in Our Town, and Fagin in Oliver!.  He has also directed numerous plays.

Carl’s older brother, Michael, is played by Michael Sanchez of Eunice.  This marks his second show with EPT having previously been seen in Moonlight and Magnolias.

Angelle Driggs of Eunice has the role of Jill, Michael’s wife.  Angelle won a Best Supporting Actress Irving Award for her performance in Over the River and Through the Woods.  A graduate of Oliva Dodd’s Studio of Dance, Angelle’s dance skills were prominently featured in EPT’s Grease and Godspell.

Also a graduate of Oliva Dodd’s Studio of Dance is Sarah Soileau of Eunice, making her stage debut as Stacy, the youngest member of the Lundeen clan.  Sarah has previously assisted with backstage duties on Who’s Afraid of Virginia Woolf?.

John D. Kittles of Eunice steps in as Jerry.  John made his debut on the EPT stage in the lead role in last season’s What the Bellhop Saw and has since been seen in Crowley’s Pandemonium Theatre’s production of A Flea in Her Ear.

Humor drives the play through family situations that everyone will find familiar - including sibling rivalry and odd dinner fare - but at the story’s heart lies the touching realization that letting loved ones know they are truly loved is a necessity for eternal peace.

Evening performances will be held November 3, 5 and 9-11 at 7:00 p.m.  A matinee will be held Sunday, November 6 at 2:00 p.m.  Dinner theatre (with steak and trimmings) is scheduled for Tuesday, November 8 at 6:00 p.m. at Nick's on Second St., with the performance immediately following.  Individual tickets for the show will be on sale soon.  More information can be found on EPT’s Facebook page or at www.euniceplayers.blogspot.com.

Theatre--Review (CYT)

The Golden Age of musical theatre ranges from the 1940s until the 1960s, and it produced an incredible range of memorable musicals, including My Fair Lady, Oklahoma, The Music Man, Fiddler on the Roof, Gypsy, West Side Story, South Pacific, and The Sound of Music. Most were converted into movies, but not all were successful. As a disciple of both movies and musical theatre, I’ve often wondered if there’s a rule concerning movie adaptation of musicals: is one automatically better than the other? The simple answer seems to be that it depends. In the case of Cabaret, the musical is infinitely better than its movie counterpart, which eliminated crucial elements of the Kander and Ebb story on its way to the silver screen. The Sound of Music ironically falls into the other category. The Rodgers and Hammerstein musical is a disjointed collection of scenes linked by legendary songs that make the audience forgive the plot’s choppy structure; the movie expanded characters and scenes in ways that improved the play. It also didn’t hurt to have the beloved Julie Andrews in the celebrated role of Maria Von Trapp, the real-life counterpart whose life experiences formed the basis of the play and movie.

Recently, CYT (Christian Youth Theatre) presented The Sound of Music at Angelle Hall with a cast of four score and five. I have now seen two CYT productions—Beauty and the Beast, Jr. last May was the other—and both shows highlight particular strengths and weaknesses of the CYT system in Lafayette. Both productions promoted musical excellence with nice choreography and incredibly striking sets, but they do so at the expense of character development. When the music and lyrics take center stage, the play soars; when the book takes over, the book being the non-musical portion of the play, the actors become flat and bland, simply reciting lines without the requisite feelings and emotions. CYT has proven that it can assemble a fine cast of singers, but what they need most now is a character coach who can bring life to the characters when they’re not singing. (Plus a word of legal advice: it is a mandatory requirement to list the authors of any play or musical on both posters and programs, usually in a font no smaller than 50% of the title. Not once in the program is any credit given for the music by Richard Rodgers, the lyrics by Oscar Hammerstein II, and the book by Howard Lindsay and Russel Crouse. It’s a grievous and potentially litigious oversight that I hope is corrected in future productions.)

CYT employs a cast of actors ranging from ages four to eighteen, and in this cast, Sarah Fruge as Maria was the anchor holding the play together. [Full disclosure: several cast members attend Lafayette High School, where I am employed as a teacher, but I do not teach any of those students except Timothy Theriot.] As its most seasoned stage member, Fruge moved naturally on stage, adapted beautifully to the music, had good chemistry with fellow cast members, and brought a certain warmth to her portrayal of Maria. In her scenes with the Von Trapp children—Christine Soileau (Liesl), William Sciambra (Freidrich), Celia Theriot (Louisa), Bret Chalpin (Kurt), Sophia Brazda (Brigitte), Carlin Sekhani (Marta), and Meghan Colomb (Gretl)—an ambiance prevails that forms the heart of the play. When the group sang “Do Re Mi,” “So Long Farewell,” and “My Favorite Things,” the audience basked in their warmth, reminding everyone what good theatre should be. Linda Riley as the Mother Abbess possessed an incredible voice of immense range, and her “Climb Every Mountain” brought rapturous applause.

When the music stopped, however, so did some of the play’s momentum, and I am uncertain whether it’s the fault of the book or the CYT system of using teenagers as directors. Directing shows requires fortitude and a wealth of experience that teenagers lack through no fault of their own; they are simply too young. Though I am certain she tried her best, Kallie Broussard as director and choreographer left many of her actors on stage without purpose. Choreography and singing are her strengths, and should she direct future productions, she needs to consider what to do with the characters in the non-musical portions. The nuns who didn’t care for Maria showed little in their voices or mannerisms to support such disdain. Even Riley as the Mother Abbess came across as lackluster when simply conversing with Maria or other nuns. Though he sings well, Rex Jones as George Von Trapp began as a pinched-voice jerk, but morphed too quickly into a good-natured father without a plausible conversion. Timothy Theriot has a touching scene with Christine Soileau in “Sixteen Going On Seventeen,” but his conversion into a Nazi soldier is abrupt, but again, that could be the fault of the book. Triston Lavergne as Max provided a good mix of self-serving wit, but the book did a disservice to Rebecca Guidry as the Baroness Elsa. Guidry did what she could, but would have had a more rewarding character with the lines from the adapted movie.

In some ways, the venue limited the production’s success. Scene changes that would have lasted less than thirty seconds on a New York stage where an entire set can come up from the floor or down from the ceiling took much longer in Angelle Hall, and the attempts to have characters wander across the stage only alleviated the problem slightly. Most of the lighting choices were appropriate, but the lighting was too dark at the beginning of the scene in Maria’s bedroom during the thunderstorm. CYT did a remarkable job costuming so many people, but the Nazi outfits gave problems. Some characters’ sleeves were considerably longer than the arms inside them, and not all of the marching Hitler Youth had the necessary black boots. And yet, most people with any heart in their chests would feel these complaints melt away when characters like Gretl (Meghan Colomb) say “I thought this was God’s house,” as the Nazis search for them in the vaults of the Abbey. With the right cast, audiences can forgive lots of things.

There is one moment where everything gelled perfectly, and that scene came in Act I. When a thunderstorm forces the Von Trapp children to seek refuge in Maria’s room, a magical momentum took over as the eight actors on stage became a cohesive whole. Their interactions seemed natural, the choreography unforced, the lighting appropriate, the music lovely. In that one scene, the audience glimpsed the power that CYT can forge in presenting musical theatre. My only hope is that CYT can harness their strengths and magnify that magic to the point where it lasts for the entire musical.
---Vincent P. Barras

Theatre--Performance

The UL Lafayette School of Music and Performing Arts invites you to An Evening with Edgar Allan Poe. Enter the wonderfully creepy world of Edgar Allan Poe with six faithful adaptations of some of his most haunting works. This collection of short plays represents Poe at his most horrifying: The Purloined Letter, The Oblong Box, The System of Dr.Tarr and Professor Fether, The Fall of the House of Usher and The Cask of Amontillado. The production will also tour to Lake Charles for the Kennedy Center Louisiana State American College Theater Festival.


The performances will be held at Burke Hawthorne Theater at UL-Lafayette from Wednesday, October 26th through Saturday, October 29th.  Wednesday, Thursday and Friday night performances are at 7:30 pm and the Saturday matinee is at 2 pm.  


There will also be a special school performance on Thursday, October 27th at 10:30 am.  Tickets for the school performance are $7.


For more information, or to reserve tickets (in particular for the school performance), please call 482-6357.

Theatre--Review (AUI at IPAL)

In July 2007, I attended David Storey's In Celebration, a 1969 play that's been revived only once since its debut. The revival's only noteworthy feature was the presence of Orlando Bloom in the cast, a fact which filled the audience with a majority of teenage girls. I fully understood why the play had not been revived in nearly four decades: it felt like a first draft of a promising play. For that entire evening, I watched one missed opportunity after another play itself out, while its cast did its best to maneuver a meandering script that never seemed to resolve anything. I had that same feeling watching Fire Eye, a AUI production being performed at the IPAL's Essanee theatre in New Iberia. This play, written and directed by Daniel Povinelli, was a garbled experience filled with disjointed words and largely miscast actors, and as a whole, nothing in Fire Eye ever gelled into a cohesive whole. (Fire Eye will run until October 23rd and tickets are available by calling the IPAL theatre at 364-6114.)


Some authors prefer their plot points not be disclosed, but it isn't really possible to reveal the plot for there isn't much of one and it's not entirely clear what takes place in the course of two and a half hours. There is an ex-president named Noah Jones (Bruce Coen) who has done something unspeakable in the past, though it is not clear until Act II what that is, and who now believes he is the biblical Noah who built the ark. Jones is also dying of some disease, never specified, and is treated by a doctor named Elizabeth (Amanda Shackelford), who may or may not have had a relationship with the ex-president. Jones has been out of office for an indeterminate amount of time, but though he has not shuffled his mortal coil, he is capable of putting together one last hurrah, a “death day” as it were, filled with macabre activities like guessing how people in the past have died or what their final words were. As president, he is aided by his daughter Rachel (Amy Williams) who is friends with Elizabeth, but in what way is obscure, and by a political aide named Robert (Jack Robertson), but what office he filled before is also left unexplained. Rachel may also have had a relationship with Robert, or not, as symbolized by an awkward missed kiss. There are numerous references to the president's wife and a second daughter named Sarah, but their departure to some unnamed city—maybe European, maybe not—is never explicated. In so many ways, this play was a frustrating maze of implied information often kept at a tantalizing distance from the audience, left to wander aimlessly with no guide. Leaving an audience in an overwhelming state of befuddlement is a cardinal sin that can only be laid at the footstep of the author. 


There were myriad oddities in the play that prevented the audience from putting the pieces together. At several instances, the lighting was changed in unsubtle manners to emphasize some important line, but it seemed to show disdain for the audience as if they were incapable of understanding the play's important points. Suddenly Jones is highlighted in demonic red overtones or Rachel is bathed in a green light that makes her look like Elphaba from Wicked. Eventually the audience understands that her green appearance symbolized a dream sequence—I think—and Rachel is actually now her sister Sarah, but it's all quite confusing when Sarah is played by the same actress as Rachel. The quick number of lighting changes in the first scenes gives the unintended impression of a dress rehearsal where the lighting technician is testing which lights should be on stage for the final product later. At first, I thought the stage was its strongest asset, but as time passed, I realized the stage appeared as cluttered as the play, with five sometimes unrelated items crammed on a single shelf, and way too many distracting wall items that detracted from an already unfocused play. At one point, the president removes several stage props off the stage to make room for a picture, but his reasoning that there was too much light in the room might explain his removing the lamp, but not the mirror or the elephant head from the wall. Even scene changes, though expertly done, baffled me as when a bit of dry ice was used to dissipate in the darkness of the change. By the time the scene resumed, the smoke effect was gone, leaving one to wonder if that was intentional or not. The soundtrack repeatedly used the song “When Johnny Comes Marching Home,” with ever-changing lyrics and no apparent link to the plot. Even the wound on Bruce's shoulder, wonderful though it looked, was another cause of consternation. From where did he get it? Was it self-inflicted? Is it a symbol of whatever illness Jones is suffering? So many questions, and no answers in sight.


The cast struggled valiantly in their handling of the most bewildering material I've ever seen, and none of the actors really seemed suited to their roles. Bruce Coen gives 110% as Noah, but was critically hampered by his script which he carried throughout the entire play. Even community theatre has some minimum standards, and the only acceptable excuse I've seen for carrying a script on stage was when an actor had just taken over the role in the last couple of days. That script became a permanent crutch that even Bruce with his talent could not overcome, and it caused no end of maneuvering problems as he attempted to hold alcohol flasks, letters, and even undress himself for the doctor to treat him. Amy Williams and Amanda Shakelford do their level best to create credible human beings, but so much about their characters is so often incomprehensible that they come across as ships without anchors. The talented Jack Robertson salvages much of his part with his frenetic energy, but is still miscast in his role as Robert. The four characters draw little sympathy from the audience, who cannot forge any bond with these four disjointed souls because Povinelli has provided so little information about them. Povinelli’s direction also promoted little chemistry among the characters, essentially leaving them to give four almost entirely isolated performances in a vacuum.


It is not in my nature to write negative reviews, and perhaps I should have resorted to a resounding silence toward the play. The old adage—if you haven't anything good to say, say nothing at all—might apply, but when left with so many questions and so few answers, I was as lost as the four brave characters on the stage. Daniel Povinelli is a talented actor who has written the much better Before You, another AUI production, and his performance in Life Is a Dream was commendable. In many ways, I found Fire Eye a promising first draft that hasn't been finished yet, for it weaves a largely cryptic series of scattered events and inexplicable situations. In its present form, it’s a mess whose saving graces are its cast and its intelligent words, though they are haphazardly designed. The ex-president spoke many lines that seemed more about the play itself that the situations inside it. At one point, Jones uttered, “This just doesn't make any sense.” After two and a half hours of Fire Eye, I completely agree.
---Vincent P. Barras

Theatre--Auditions

Audition for a Festival International comedy event!

PAID GIG

One day of performing on January 26th. Small amount of rehearsal.

Audition at 2pm on Sunday October 16th at Theatre 810 (810 Jefferson Street). Be there at 2.

Director: Nathan Gabriel (www.nathangabrieltheatre.com)

Both men and women wanted! All ages. Be prepared to do a little improv.

Theatre--Performance

The Performing Arts Society of Acadiana (PASA) welcomes to The Heymann Performing Arts Center, Aquila Theatre, performing William Shakespeare’s Macbeth, Thursday, November 10, 2011 at 7:30 pm, sponsored by Preis & Roy.  Patrons are invited to attend a scholar-led, Creative Conversation with Aquila Cast Members at 6:30 pm, within the Heymann Center’s mezzanine. Tickets are available through The Heymann Center Box Office or www.ticketmaster.com.  UL students and faculty receive 50% off, with a valid UL ID, while additional discounts are available for those attending in groups of ten or more.  All promotional purchases are available through the Heymann Box Office only. 

In Aquila Theatre’s depiction of Macbeth, “Fair is foul and foul is fair,” where nothing is as it seems and men combat their own madness and fates.  The play follows principal character, Macbeth — the victorious Scottish general, as he chances upon three mysterious witches during his journey home from war. The witches offer an intriguing prophesy, tempting Macbeth with the promise that he will one day become King of Scotland. Upon hearing the news, Lady Macbeth urges her husband into murderous action, and what follows is a wild and maddening descent into war, insanity and demons. 

This work has enjoyed considerable success and notoriety as a cursed play, often superstitiously referred to as “the Scottish play” by those who fear to utter the name Macbeth within the confines of a theater.  Led by founder and Artistic Director, Peter Meineck, this stellar cast of British and Scottish actors has a wealth of expertise in Shakespearean language and provides an authenticity of performance style.  “Gleefully engaging … almost unbearably fun,” says The New York Times about this acclaimed British-American, touring theater company.   

A daytime performance for middle and high school students will be held at The Heymann Center on November 10, 2011 at 10:30 am.  Student tickets are $7.00 each and include ten free tickets for teachers or chaperones having registered their classes by October 20, 2011.  The final day to register classes is November 2, 2011.  Contact PASA at             337-237-2787       ext. 201 for more information. 

Included community outreach activities will be hosted by the UL School of Performing Arts and led by Aquila Company Members.  Ancient Greeks/Modern Lives: Poetry-Drama-Dialogue, an hour long master class, will focus on program themes connecting modern life with the ancient Greeks and will incorporate masks, movement and performance.  Participants should wear comfortable, loose clothing and be prepared for basic movement.  Immediately following will be a scholar-led repertoire of selections from Homer’s Odyssey, Sophocles’ Ajax, Euripides’ Herakles, and Trojan Women and Aeschylus’ Persians.  All activities will take place at UL’s Burke Theatre, from 5:00 – 6:30 pm on Wednesday, November 9, 2011and are open to the public.  US Veterans are encouraged to attend.  Registration is free, but limited. Contact PASA at             337-237-2787       ext. 201 to register.

Dance--Performance/Master Class

Complexions Contemporary Ballet’s main stage performance will take place at 7:30 p.m. on  October 13, 2011 at The Heymann Performing Arts Center.  In an effort to support its commitment to education, PASA will also present interactive outreach programs.  Hosted by the U.L. Department of Performing Arts, a day-long residency will take place on October 12, 2011 and include:

·         A daytime performance for middle and high school students, held in U.L.’s Angelle Hall at 10 a.m.  Tickets for the student performance are $7.00 each and class reservations will be accepted until October 11, 2011.   Those wishing to register their classes are encouraged to visit pasa-online.org to download a registration form, or call PASA at 237-2787 ext. 201 for more information.

·         A master class led by Complexions’ company members, held within U.L.’s McLaurin Hall.  Open to the public, the class is intended for intermediate to advanced dancers seeking to sharpen their skills through direct instruction with touring members.  Registration is limited, but included with the purchase of a ticket to the main stage performance.  Otherwise, the cost of attendance is $10.00, and those wishing to register should contact PASA at             337-237-2787      ext. 201.

Creative conversation will also be held prior to Complexions’ main performance, at 6:30 p.m. within the Heymann Center’s mezzanine, October 13.  Patrons will have an opportunity to chat with Co-Artsitic Director, Dwight Rhoden, in a forum setting, led by local choreographer, Paige Krause.  This thirty minute discussion will primarily focus on Rhoden’s experiences and roles throughout his time with Complexions.

Tickets are available for purchase through The Heymann Center Box Office or ticketmaster.com.  This performance is part of PASA’s 2011/2012 Dance Series and available within the PICK 3 Promotion.  Additional discounts, available through direct purchase at The Heymann Box Office only, of 50% off are applicable for UL students and faculty presenting a UL ID and up to 40% savings for group purchases of ten or more.  Dance conservatories making group reservations of ten or more will also receive 2 complementary tickets with purchase.  Single ticket prices range from $28.00 - $48.00, relative to the patron’s choice of seating.