Acadiana Theatre

Theatre--Performance (Musical Theatre)

2012-01-24T21:49:00.001-06:00

Tickets are now available for IPAL’s Chicago – the Musical. Performances are Thursday, Friday, Saturday, and Sunday (Matinee) March 9 thru March 25.

You can purchase them in New Iberia at Delaune’s Pharmacy, Paul’s Flower Shoppe, or Accentrics on Main Street. If you are out of town you may contact Robin Bull at 519-4158 or 364-6114 (leave name and phone number) or by emailing her robinbull@hotmail.com

Our Season Ticket holders already have their tickets, and IPAL Members have already received notice of the availability. Please consider joining us in ourMembership Drive in June for our 2012-2013. There is a great Season planned and we need your support so we can maintain and improve our facility and continue outstanding presentations!

Theatre--Performance (Rescheduling)

2012-01-22T23:41:00.000-06:00

A new show night has been added to the AAPA production of RABBIT HOLE and all tickets for the show scheduled for Friday January 20th, 2012 will be honored on Saturday, January 28, 2012. Please call Nathanael Trahan with any questions.

Theatre--Performance (Musical Theatre)

2012-01-22T23:35:00.004-06:00

Lafayette High School puts on its 41st Annual Musical:

ONCE UPON A MATTRESS!

Originated by the Great Carol Burnett, Lafayette High returns with its annual fun, following last year's INTO THE WOODS.

For ticket information, contact Lafayette High School or any cast member. The performances begin February 2nd through the first week of February.

Don't be SHY and we hope to see you there!

Theatre--Auditions

2012-01-22T23:32:00.001-06:00

Acting Audition for Kaleidoscope by Ray Bradbury

Show will rehearse through April and be part of this year's Festival International

Male or Female

Cold reads from the script--no dramatic monologue is required, but would be welcome

Location: Theatre 810. 810 Jefferson St, Lafayette, LA (next door to Carpe Diem)

Time: 3:30pm (e-mail gabriel.nathan@gmail.com if you want to attend late)

Date: Sunday, January 29, 2012

Director: Nathan Gabriel (nathangabrieltheatre.com - visit website to view photos of show be performed in Philadelphia)

Show description: Celebrated sci-fi author Ray Bradbury's Kaleidoscope is the story of astronauts who are thrown from their ship. As they fall through the vastness of space, they talk to one another through their headset radios. Each one deals with the certainty of death in his own unique way and learns what secrets lie in the hearts of those they thought they knew best. This production is a radio-theatre hybrid, adapted for the stage from an old-time radio scripts.

Theatre--Submission (AAPA)

2012-01-18T23:37:00.001-06:00

I have a policy of never reviewing the work of other Acadiana theatre artists and this is not really a review. It is, however, a recommendation. I recommend Nathanael Trahan's production of RABBIT HOLE to every theatre artist in Acadiana. The setting is an actual house furnished just as if the family really lived in it. You will follow the actors from one room to the next almost as if either they--or we--are ghosts. The concentration of the actors is incredible as they negotiate their way around and among the audience while doing business and speaking dialogue as smoothly as if they were truly alone in the house. The use of the setting is a great reminder that theatre means "to see" and not "a place with seats and a stage and stuff." Any space can be a stage with some imagination and commitment as RABBIT HOLE proves. This show is a great demonstration that where there is a will, there is a way. Kudos to all!

It's worth the trip out to Youngsville to see this production--assuming, of course, that you have already seen LIVES OF THE SAINTS at Theatre 810!
---Walter Brown

Theatre--Review (AAPA)

2012-01-18T23:33:00.003-06:00

It happens infrequently, but sometimes playwrights leave instructions with their published plays, an act that can seem either the ultimate in hubris or a necessary guide to directors and casts. With Rabbit Hole, a 2006 Pulitzer Prize-winning play by David Lindsay-Abaire, those instructions definitely fall in the latter category. He recognized that death as the center of play presents a particular challenge, a delicate balance between a thoughtful portrait of death and a maudlin Lifetime TV-movie of the week. On the last page of his script, Lindsay-Abaire provides “a little guidance” to all those who perform his play: avoid the tears; it is crucial advice that director Nathaneal Trahan chose to ignore. Make no mistake, the resulting APAA production is good, but it could have been outstanding.

The elephant in the room in this play is not hidden at all: Becca and Howie, a suburban couple, have lost their only child Danny eight months previously, and the family is still recovering from that loss. Such a death seems all the more tragic than, let’s say, the death of an elderly person who has lived a full life, as the cliché goes. Any death, however, rips a gaping hole in the universe of the lives of the remaining people, and the more intimate the relationship, the more devastating the abyss. Elisabeth Kübler-Ross has written the seminal work On Death and Dying, and retired UL Professor Dr. Sarah Brabant composed Mending the Torn Fabric: For Those Who Grieve and Those Who Want to Help Them, both extremely insightful books on the topic.

Dramas about death are not uncommon; Wit and Tuesdays with Morrie have characters who are dying on stage, but Rabbit Hole deals with the aftermath, with how people cope. Each of the play’s five characters approach the grieving process in different ways. Howie (Michael Cato) does not want to forget his son, but does wish to move on, since he sees his marriage as trapped in limbo. Nat (Jody L. Powell), Becca’s sometimes-coarse mother, sees her daughter desperately ensnared by Danny’s death and tries to push her daughter toward healing. Izzy (Amanda McBride), Becca’s younger, impulsive, self-destructive sister, finds herself an after-thought in this family, a position she frequently holds. She will soon have a child of her own, a sore spot in the family dynamic given Danny’s absence, and she resents that something good in her life is twisted as an attack upon her older, straight-laced sister. The only non-family member is Jason (André Trahan), the unfortunate teen who accidentally hits Danny with his car as the young boy was chasing his dog into the street. He, too, must grapple with the death that he caused, no matter how inadvertent.

Becca’s character, however, is the play’s pivotal focus, and Lindsay-Abaire has made it eminently clear who Becca is: a fiercely in-control woman who has steeled herself against this horrific heartbreak by shutting down emotionally. His play presents an unusual dynamic in that all stereotypes are thrown out: Howie is the man in touch with his emotions, and it is Becca who has locked them away because they understandably cause too much pain. Having lost a son of her own, Nat can empathize with her daughter’s plight. Nat recognizes that Becca is not doing herself any good by shutting out the world, and she even arranges an intervention of sorts to jumpstart her daughter’s emotional life. Becca is the play’s eye-of-the-storm in the middle of a hurricane, whilst all around her are learning to deal with death’s never-ending presence, and the author points that out in his instructive letter. That’s what makes Monique Arabie’s performance as Becca so out of place with the author’s intent. Ms. Arabie is affecting, please understand that, but she is on the verge of tears from the moment she enters the scene, and stays on that note for the entire two hours. It gives her nowhere to go emotionally, and it completely undermines her emotional breakdown in the supermarket where she assaults a mother who is callously disregarding the screaming wails of an unhappy child who wants fruit rollups. It makes a much more powerful impact, as the author intended, when this tightly controlled Becca loses it and lashes out at the world in a manner more appropriate to her ne’er-do-well sister Izzy. Why Trahan as director and Arabie as actress chose this openly emotional route puzzles me, and it doesn’t help that the role has been played by Tony Award-winning Cynthia Nixon and Oscar-nominated Nicole Kidman. Actors sometimes try to imitate the movie actors in famous plays—think Katharine Hepburn in The Lion In Winter—but this is one case where such a study would have provided valuable insight.

Before the reader thinks I did not like this play, perish the thought. The actors did a good job of dancing around this indelicate topic. Michael Cato is particularly good at showing his frustration with his stalled marriage, and it’s ironic that he, who has tried to move on, can’t see Jason, the teenager who killed his son, but his wife Becca is ready and willing to converse with him. Jody L. Powell brings a pro’s touch to the acerbic Nat, and I was inwardly giggling at the inappropriateness of Nat’s lengthy diatribe on the Kennedy family curse, when all else seem to realize the topic of death is verboten. Ms. Powell understands that humor is crucial to both this play and to dealing with death, and her speech in Danny’s room about how people want to help is priceless. Though he has little stage time, André Trahan nicely underplays the nervous youth who has to mix the awkwardness of growing up with the confusing dynamic of ending someone’s life. I particularly appreciated Amanda McBride, whose Izzy was a consistent thorn in everyone’s side. As the invisible younger sister, Izzy wants attention, and McBride never stooped to caricature; the audience genuinely feels for her when her birthday party erupts into a family fight over Becca’s inability to cope. And for all that I’ve harped over the way Becca should be played, Monique Arabie is a talented actress and I look forward to more of her work.

I must marvel at Nathaneal Trahan, however, for choosing to perform this play in a home. Ben Brantley, the New York Times theatre critic whose reviews I read frequently, often sees innovative and modern turns on this age-old art, and now I understand some of what he sees. To follow the characters from room to room did give the play an extra intimacy, and watching Michael Cato view a video of his son was heart-wrenching (Wherever Trahan found that charismatic young boy for Danny in the video, I’ll never know.) Having a play in a house presents unique challenges, however, as in how to end a scene, where in a theatre, the lights’ dimming would provide such a cue. Providing music worked to end each scene, but the play’s final scene needs a few more seconds. Becca and Howie are sitting at the dining room table, finally talking about the critical first steps they have to take. The silent gaps between their lines are as important as the lines themselves, and when they finally grab each other’s hands, it’s not so much a reaffirmation that everything will be all right as it is an acknowledgement that this marriage may not work at all. The other three actors off-stage—well, in this case, in another room—need to give Becca and Howie more time to hold those precious digits, for the night I went, they came out too soon, and the scene’s impact was diminished.

There are three more performances, January 20th, 21st, and 22nd, all at 7:30 pm, and tickets are available by calling 288-6329. There is also a Facebook page that includes clear directions to the home. Bravo to the director and cast for tackling this most difficult play. As one who has experienced death, I know too well the desolation it leaves in its wake. I just wish they had listened a little more to the author’s “little guidance.”
---Vincent P. Barras

Theatre--Performance

2012-01-18T23:29:00.002-06:00

Dance--Auditions

2012-01-15T20:09:00.000-06:00

DANCE CALL:Audition Now!

Audition for the danceproduction, Getting out of Limbo.

Chosen to perform inresidency at the state-of-the-art James D. Moncus Theater at the AcadianaCenter for the Arts.

Tech week: May21-24 Shows: May25, 26, 27.

Featuringmodern/contemporary choreography by Leah Twilley.

Getting out ofLimbo featureseleven life lessons, each represented by a Radioheadsong. The aim of Getting out of Limbo is to generate the same unity that a livemusic concert provides its audience. This performance will give everyone achance to eliminate the glitz and glamour of society and evaluate the value ofpeople.

Date: Friday, January 20, 2012

Time: 6:00-7:30

Location: The Ballet Studio

108 W. Milton Ave Lafayette, LA 70508

*Must be 18 or older*

***Contact choreographerLeah Twilley with questions: lat6161@gmail.com***

Theatre--Performance

2012-01-15T18:56:00.005-06:00

The ball has dropped, the new year is here, and the 2012 season at Opelousas Little Theatre is underway. Our first show of the season is always a Showcase. Showcase is a variety talent show that we at OLT put on to draw local talents from our community as to let them present their specialities on our humble stage. Another prupose is to call attention to our little theatre and to promote the local arts and the talent of the townsfolk. Also, it is a chance to for the directors of the season to pursue castmembers for the upcoming schedule of shows. With this, my seventh Showcase, I can honestly say we have a massively talented group of individuals. Truth be told, our cast is large and most diverse. This year promises to produce one of the most fast-paced and wildly entertaing Showcases in recent memory. On the bill we have actors, dancers, bellydancers, singers, and all are amazing talents with tons of heart and dedication. Young and old, we
form one big dysfunctional family of hilarity and drama that the OLT may not have yet seen. So, if you are a lover of good music, hard laughing, and a little serious drama, you must not miss this chance to see the best that our local community has to offer. Rehearsals are going great and the cast is working hard. The set is fully completed and the theatre is lonesome for large audiences. On a personal note, I'd like to say thank you the OLT board for this opportunity to co-direct Showcase with two other great talents this year. Andy Doucet and Casey Harmon are both seasoned actors and veterans of the OLT and it's been a blast working with them so far and the show hasn't even started yet. Tickets are available at Sebastion Dupre Fine Jewelery, 337-948-4367. The show will run Jan.19, 20, 21, 26, 27, 28 at 7pm. Sunday matinees will run Jan. 22 and 29 at 2pm. For more information feel free to contact me (Walter Duncan McBride) at 337-351-3822

Dance--Performance

2012-01-15T18:52:00.000-06:00

Everyone knows the story of Cinderella as portrayed in books and movies, but no medium quite captures the magic of this inspiring rags-to-riches tale as classical ballet. Experience the enchantment of Lafayette Ballet Theatre’s Cinderella at 7 p.m., Saturday, March 31, 2012, in the Heymann Performing Arts Center.

LBT promises an awe-inspiring evening appropriate for all ages. Principal guest artists from the Pacific Northwest Ballet and the Cincinnati Ballet will join the local cast in presenting the three-act, full-length classical production, set to Sergei Prokofiev’s celebrated score. Tickets – great for Valentine’s Day gifts – are available now through the Heymann Center Box Office and all Ticketmaster outlets.

Tickets are priced as follows: front orchestra, $40; back orchestra, $35; first balcony, $30; back orchestra, $20. Additional Ticketmaster fees may apply. Special group rates are available. Students are eligible for a 50-percent discount on balcony level tickets anytime, or they may opt for the “student rush” special: half off on all seats still available 30 minutes prior to curtain. (Students must present a current school ID at the Heymann Center Box Office to receive the “student rush” discount.) Tickets are available at the Heymann Center Box Office, Monday through Friday, 9 a.m. to 4 p.m.; via phone, 337-291-5555; and online at www.ticketmaster.com.

Lafayette Ballet Theatre is a nonprofit organization offering classical ballet instruction, dance study scholarships, educational programs and quality stage performances to the Acadiana community. LBT’s production of Cinderella is supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the Acadiana Center for the Arts.

For more information on LBT and Cinderella, call -337-262-0444 or visit www.lafayettelallettheatre.org.

Theatre--Auditions (Musical Theatre)

2012-01-15T18:38:00.001-06:00

The Acadia Players present the timeless enchantment of a magical fairy tale is reborn with the Rodgers & Hammerstein hallmarks of originality, charm and elegance. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein'sCINDERELLA was the most widely viewed program in the history of the medium. Its recreation in 1965 starring Lesley Ann Warren was no less successful in transporting a new generation to the miraculous kingdom of dreams-come-true, and so was a second remake in 1997, which starred Brandy as Cinderella and Whitney Houston as her Fairy Godmother. As adapted for the stage, with great warmth and more than a touch of hilarity, the hearts of children and adults alike still soar when the slipper fits. This Enchanted Edition is based on the 1997 teleplay.

Auditions for The Acadia Players Production of Rodgers & Hammerstein’s CINDERELLA will be held at The Grand Opera House of the South in Crowley,LA, January 29,2012, at 1p.m. January 31, 2012 and February 1,2012 at 6 . Casting will include approximately 7 women, 4 men, 12 extras ages 12 and up. Children must be age 12 as of February 1, 2012.

Those wishing to audition must arrive 30 minutes ahead of time complete the required paperwork and be prepared to take a headshot. Please come prepared with a song of choice acapella, with recording(karaoke), or sheet music – 16 measures minimum.

Performances will be held at The Grand Opera House of the South June 14-17, 2012.

Rehearsal schedule will be given at auditions.

For audition and performance information, contact Logan Frederick 337-523-5007 or at lgfred2011@yahoo.com

Theatre--Performance (Musical Theatre)

2012-01-08T22:37:00.000-06:00

Row 1 (left to right) Seth Ransonet, Ashlyn Halpin, Tiana Wiltz, Thomas Luke, Gabby Landry, Nicholas Harrison, Beaux Fisher

Row 2: Noah Delatte, Taylor Luke, Ryley doucet, Leila DeSlatte,

Row 3: Mia Commeaux, Adele Hebert

Seth Ransonet (Samuel, a Pirate of Penzance)

Theatre--Performances

2012-01-06T21:00:00.001-06:00

Rabbit Hole will be performed at 1300 Fortune Rd,. Youngsville January 13th - Jan 15th (Curtain @7:30p) and January 20th - Jan 22nd (Curtain @7:30p)

Join APAA for their very first production! Come be a part of this Innovative play. Follow this family through their house and experience their story as if it were your own. This Pulitzer Prize winning play has not only had a run on Broadway, but has touched the hearts of many.

Tickets are $10 (General Admission). Call for advanced tickets (337) 288-6329

Seats are LIMITED. Only twenty people will be admitted a night. Pre-ordering is available; unclaimed tickets will be resold 15 mins prior to curtain.

Cast List:
Becca- Monique Arabie
Howie- Michael Cato
Izzy- Amanda McBride
Nat- Jody L. Powell

Crew List:
Director- Nathanael Trahan
Producer- Jennifer Hebert
For additional information, contact: Nathanael Trahan, (337) 288-6329 or nathanaeltrahan@aol.com, http://www.facebook.com/events/277993992236708/
Inovative Play Performed in House

Theatre--Article

2012-01-05T23:29:00.002-06:00

Theatre 810, Acting Unlimited , Inc (AUI) and LIVES OF THE SAINTS (AUI's soon to open show) were the focus of a story on Tuesday in the Baton Rouge Advocate.

Theatre--Auditions (Musical Theatre)

2012-01-05T22:28:00.002-06:00

CINDERELLA
Adapted for Stage by Tom Briggs
Book and Lyrics by Oscar Hammerstein II
Music by Richard Rodgers/
From the Teleplay by Robert L. Freedman

OPEN AUDITION
January 29, 2012 at 1p.m. and January 30, 31, 2012 at 6p.m.
The Grand Opera House of the South
505 North Parkerson Ave., Crowley, LA

The Acadia Players present the timeless enchantment of a magical fairy tale is reborn with the Rodgers & Hammerstein hallmarks of originality, charm and elegance. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein's CINDERELLA was the most widely viewed program in the history of the medium. Its recreation in 1965 starring Lesley Ann Warren was no less successful in transporting a new generation to the miraculous kingdom of dreams-come-true, and so was a second remake in 1997, which starred Brandy as Cinderella and Whitney Houston as her Fairy Godmother. As adapted for the stage, with great warmth and more than a touch of hilarity, the hearts of children and adults alike still soar when the slipper fits. This Enchanted Edition is based on the 1997 teleplay.

Auditions for The Acadia Players Production of Rodgers & Hammerstein’s CINDERELLA will be held at The Grand Opera House of the South in Crowley,LA, January 29,2012 from 1p.m. To 3:30p.m. and January 30 & 31, 2012 from 6 to 8:30 pm. Casting will include approximately 7 women, 4 men, 12 extras ages 12 and up. Children must be age 12 as of February 1, 2012.

Those wishing to audition must arrive by 5:30 pm to complete the required paperwork and be prepared to take a headshot. Please come prepared with a song of choice acapella, with recording(karaoke), or sheet music – 16 measures minimum.

Performances will be held at The Grand Opera House of the South June 14-17, 2012.
Rehearsal schedule will be given at auditions.

For audition and performance information, contact Logan Frederick 337-523-5007 or at lgfred2011@yahoo.com

Theatre--Auditions

2012-01-04T12:59:00.002-06:00

V-day Lafayette, a UL chapter organization, is proud to host a production of the VAGINA MONOLOGUES written by Eve Ensler and directed by Kristina Marshall. Open auditions will be held on January 7th and 8th from 1-3:30 pm at Theatre 810. Please have a prepared 1 to 2 minute dramatic/comedic monologue or be prepared to read from a script given
by the director. Everyone is welcome to join! Volunteer for a local cause by supporting your sisters! For more information contact Vdaylafayette@gmail.com.

Theatre--Performance

2012-01-04T12:52:00.000-06:00

AUI will kick off Theatre 810's 2012 performance calendar with LIVES OF THE SAINTS, an evening of riotously funny one-act comedies by one of the contemporary theatre’s brightest comic playwrights, David Ives.

LIVES OF THE SAINTS is an evening of seven quirky, funny and wildly imaginative one-acts by Ives. In SAINTS, Ives’ comic imagination takes audiences to ancient Mesopotamia for the construction of the Tower of Babel, to a wee British vicarage fora twisted “Masterpiece Theatre” murder mystery, to a quirky souvenir shop where a wildly exotic love blooms, and into a TV set where a couple finds themselves lost in a blur of channels. And that’s just half the evening.

Local audiences have experienced Ives’ work in his other one-act evening ALL IN THE TIMING and in his revisionist take on Don Juan, DON JUAN IN CHICAGO. In LIVES OF THE SAINTS, audiences can expect a playful evening of broad physical comedy, whip-smart jokes and ceaselessly imaginative riffs on contemporary culture. There’s something for everyone in LIVES OF THE SAINTS.

LIVES OF THE SAINTS is directed by Cara Hayden, who co-directed AUI’s summer production of A MIDSUMMER NIGHT’S DREAM. The production features performances by Erin Segura, Elaine Kibodeaux, Gerard Ducharme, John Snyder, Martha Diaz, Vincent P. Barras, Cindy Hebert, Phillip Spear, Joseph Diaz, Cody Dunstan, Kaan Dere, Nancy Dere, Anne Dronet and Kathy Arceneaux.

The show will open on Thursday, January 12 at 7:30 and run the following days and times:
Friday, January 13th (dinner theatre) at 7:30
Saturday, January 14th at 8:00 (after Artwalk)
Sunday, January 15th at 3:00
Thursday, January 19th at 7:30
Friday, January 20th at 7:30
Saturday, January 21st at 7:30
Sunday, January 22nd at 3:00 (Dessert and a Play)

All tickets are $10.00. Reservations can be made by telephone at (337) 484-0172 or by email at actingunlimitedinc@gmail.com. Online ticket are available here:
http://lives-autohome.eventbrite.com/
Online purchases for the Dinner Theatre can be made here:
http://livesdinnertheatre.eventbrite.com/
Tickets for the dinner theatre can also be purchased at Bonnie Bell's Bistro.
Online tickets for the Dessert and a Play can be purchased here:
http://www.eventbrite.com/event/2703316693/efblike

Tickets for the Dessert and a Play (only) can be purchased at Carpe Diem Gelato.

For more information, call (337) 484-0172.

NOTE: This show contains adult themes and language. Parental guidance is recommended.

Theatre--Auditions

2012-01-04T12:45:00.005-06:00

Auditions for Steel Magnolias by Robert Harling will be held at the Abbey Players Theatre on Thursday, Jan. 5th from 7 to 9pm, and again on Saturday, Jan. 7th from 2 to 4pm. The play is scheduled to open in February and will be directed by Dianne Moss. There are roles for 6 women ranging in ages from late teens to the 60's. For more information, please call Dianne at (337) 523-9995.

Theatre--Performance (Musical Theatre)

2012-01-04T12:43:00.003-06:00

The UL-Lafayette Opera Theater has announced the cast and production team for its upcoming spring production of GRAND PRE.

Grand Pre´ Cast
Helene LeBlanc – Alex Hollerman
Louis LeBlanc – Jonah Slason
Cecile LeBlanc – Jenee Luquette
Isabelle LeBlanc – Sadie Bekurs

Alice Johnson – Tessa Espinosa
Thom Johnson – Garrett Guidry
Allain Johnson – Jay Broussard

Major Lawrence – Holden Greene
Colonel Winslow – Aren Chaisson

Marie Barillot – Shelby Runyan

Grand Pré production staff
Director – Shawn Roy
Musical Director/Orchestration – David Boudreaux
Set Designer – Duncan Thistlethwaite
Costume Designer – Gina Baronne
Lighting Designer/Tech Director – Ken Harrelson
Stage Manager – Miguel Ochoa

Music by Cody Daigle and Roy Bertucci
Lyrics by Cody Daigle
Book by Cody Daigle

Performance Dates – March 8 – 11, 2012
Ducrest-Gilfry Auditorium
Call 482-6012 for more information
Tickets available at the door only

Theatre--Auditions

2012-01-04T12:39:00.001-06:00

The Evangeline Players will hold open auditions for YOU, THE JURY on Saturday and Sunday, January 21 and 22 from 2-4 PM and on Monday, January 23 from 6:30 to 8:30 PM. Performances in St. Martinville March 16-25 under the direction of Bruce Coen. All roles are open and the director is looking for men and women to play roles ranging from early 20's to 70's.

Auditions will be cold reading from the script.

Auditions will be held upstairs at the Duchamp Opera House located at 200 S. Main St. (corner of Hwy. 39 and Hwy. 96). For more information, call (337) 394-6604.

Editor's Note

2012-01-04T12:31:00.005-06:00

The Blog is back.

Theatre--Auditions

2012-01-04T12:31:00.002-06:00

While final preparations are ongoing for Acting Unlimited's LIVES OF THE SAINTS, Kimberly Johnson-Nagle will be holding open auditions for her upcoming play, A WOMAN'S JOURNEY. The play is a series of 3 one-act shows.

She needs 4 to 5 females etween the ages of 18 to 35+ of different ethnic groups, and three males of approximately the same age range. One male must be black and 18 to 35. The others must be white, one between the ages of 18 to 25 and the other over 35. All are welcome, but by the time of the auditions some roles may be cast.

The show will feature COLORLESS, which won "Best Play" in the 2007 Hub City Theatre Festival. Show dates are February 3rd, 4th, 5th (matinee), 10th, 11th and 12th (matinee).

Audition dates are this Saturday and Sunday, January 7th and 8th, from 4-6:30 pm.

For more information, email kimberlynagle@ymail.com.

Editor's Note

2011-12-10T18:29:00.001-06:00

I am going to be taking a break from this blog for a while. If I return, it won't be for a while.

Thanks to those of you who have been faithful followers, and I hope that some of you have been able to benefit from the information that I published here. Please continue to support local theatre.

Theatre--Review (IPAL)

2011-12-07T22:58:00.001-06:00

A small respite in rehearsals recently has allowed me to become reacquainted with my television set, and the AMC channel was playing A Christmas Carol with the incredible George C. Scott in an emmy-nominated turn as Scrooge. Nearing the end of the show as he stared at his own name etched in marble, he asked pleadingly, “Tell me I may sponge away the writing on this stone!” It was an indelible piece of acting in what has become a Christmas tradition. Many local theatres have embraced, sometimes rather restrictively, adaptations of the Dickens classic, and they are legion. Last year, the Eunice players put on the hysterical The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of A Christmas Carol, a spoof of the work with only five people playing all the parts. Baton Rouge Little Theatre puts on its annual version of the play with no changes except in casting. I know of another spoof titled A Christmas Carol: A Traveling Travesty in Two Tumultuous Acts, where a wretched acting company is putting on their fifteenth annual farewell performance of the play. In a few days time, The Compound will present their adaptation of Dickens’ masterpiece, and last weekend, the Iberia Performing Arts League (IPAL) in New Iberia opened A Carol for Tiny Tim, directed by Donna Berard. It was a welcome change on the old theme, made even more memorable by the return of a beloved veteran on IPAL’s stage. A Carol for Tiny Tim will play four more times, this Thursday through Saturday at 7:30 pm and Sunday at 3:00 pm. Call 364-6114 for tickets.

John R. Carroll’s A Carol for Tiny Tim explores the whole Scrooge situation some fifteen years later. Jacob Marley (Fred Comeaux), still wearing chains but fewer than before, still roams the earth, but now bemoans what has become of Tiny Tim (Ryan Berard), now a dissolute, deceitful young adult. Once Scrooge (an eager Chuck Rogers) saw the error of his ways, he spoiled little Tim rotten, who at first did not take advantage of Scrooge’s guilt, but under the tutelage of an unscrupulous worker Farthingate (Seth Derouen) Tim learns to get everything and anything he wants. In the next fifteen years, he practically bankrupts poor Scrooge, and Tim’s parents (Michael Durand and Faye Tarantino) also coddle and protect him from any serious strain or work. The only one who sees through Tim’s guise is his sister Martha (Alyssa Porche) who would dearly love to expose her little brother’s farce. It’s the perfect set-up for Jacob Marley to appear to the three ghosts of Christmas to come and cause a reversal in the fortunes of Tim. The Ghost of Christmas Past (Allyson Gary) reminds Tim what he once was and how he transformed into the wanton young lad he has become. The Ghost of Christmas Present (Paul David, with a booming voice) shows Tim how his friends really feel about him and how Tim has reduced his benefactor Scrooge to a pauper eating porridge alone in his house on Christmas Eve. Every year, Scrooge eagerly awaits Tim, who always finds a reason not to show. The Ghost of Christmas Future (M. Craig Colwart) shows Tim what will be: Scrooge’s business will close because to support Tim, Scrooge failed to pay the insurance on his brokerage which went up in flames. It’s enough to scare anyone into seeing the errors of their ways and repenting, and naturally, it works. By the end of the play, Tim has spent a day digging ditches so he could earn money to buy gifts for all the people who have supported him those last fifteen years.

In many ways, I felt nostalgic during the production. Five years ago, I had the privilege of playing Ebenezer Scrooge in Scrooge and Marley: A Christmas Carol, and some of the people involved in that play resurfaced in this one. Fred Comeaux, now playing Jacob Marley, was the director who chose me to play the seminal part, and I’ve never thanked him enough. It was only my second play at IPAL and not only was the experience richly rewarding, it was a financial success for IPAL with its huge cast. Opposite me playing Jacob Marley was Craig Colwart, who traded in all those lines from long ago to not saying a word at the Ghost of Christmas Future. I even remember chasing poor Justin Judice off the stage for singing Christmas carols.

I must make this chastising note. I’ve recently noted a disturbing trend that I hope to dispel because it is disrespectful to authors everywhere as well as to publishing companies. I have two programs from the Christian Youth Theatre, and in neither of those programs (Beauty and the Beast Jr. and The Sound of Music) did the company give ANY credit to the author or the lyricists, as if they were unnecessary by-products. John R. Carroll composed the play A Carol for Tiny Tim, and while I don’t know if his name appeared on the poster, his name did not appear anywhere in the IPAL printed program. He has composed more than half a dozen plays and receives royalties for his contribution to the arts. The Dramatic Publishing Company has the rights to license this play and they have this disclaimer printed on all their booklets: “On all programs this notice should appear: ‘Produced by special arrangement with THE DRAMATIC PUBLISHING COMPANY of Woodstock, Illinois.’” This, too, was omitted from the program, unless I missed it somewhere. Both Carroll and the Dramatic Publishing Company should have received mention in the program; it’s a legal requirement that CYT and IPAL should observe.

Overall, the production was nicely staged with multiple levels and it served as a pleasant diversion. Ryan Berard cut an absolutely rubbery figure as the young Tim, and Chuck Rogers looked positively forlorn as the eager Scrooge waiting for Tim to show, knowing full well he most likely will not. But more than anything I was delighted to see Fred Comeaux back on the stage. As one of the founding members of IPAL a dozen years ago, he has directed and starred in many shows, and his absence has been sorely missed. While acting in Scrooge and Marley, I remember Fred took one of the smaller roles of a corrupt man purchasing Scrooge’s stolen merchandize after his demise. He was delightful, and I had asked him then why he didn’t act more. His answer was poignant: he feared he could no longer remember lines like he once did. None of that was on display as he draped across the stage in deathly gray makeup and haunting visage, and his splendid acting made the material seem better than it was. Let us hope we have not seen the last of Fred Comeaux.
---Vincent P. Barras

Theatre--Auditions (Musical Theatre)

2011-12-07T22:24:00.001-06:00

The UL Opera Theater auditions for Grand Pre will be held tomorrow (December 8th) from 5 to 8 at the Ducrest-Gilfry Auditorium at Angelle Hall.

Theatre--Auditions

2011-12-07T16:58:00.001-06:00

Cite Des Arts is announcing auditions for a play called Taste, to be directed by Regina Sullivan. Production will be Feb. 24-March 4th.
.
Set in the Bywater on the eve of carnival season,, Taste tells the story of six young New Orleanians, some locals, some transplants. While cooking a meal in a house that may be under construction or may be under demolition (only time and money will really tell), new friendships sizzle, old ones scorch, and dinner is ultimately served.

They are looking for four males, white, black, and extraterrestrial, between the ages of 18 and 35. They are also looking for two females, white and black, between the ages of 18 and 35.

Actors may bring a monologue, or be prepared to cold read from the script.

Auditions will be Dec 11, 12, 13 from 5:30 - 7pm at Cité des Arts 109 Vine Street, Lafayette, LA

Theatre--Performance

2011-12-06T22:05:00.001-06:00

Hub City Theatre and Storytelling Festival

Acadiana Center for the Arts:

Wednesday, December 7:
7:00 pm OPENING RECEPTION

8:00 Evening Show $5

• 8:00 Portrait of An Artist as Santa Claus- Ken Waldman

• 8:30 Willie & Me, A Reading - Kimberly Nagle
Saturday, December 10:

7:45 Evening Show $10

• 7:45 From Lafayette To The Northern Lights - Ken Waldman

• 9:15 Match, A Production -Wanderlust Theater, New Orleans

Cite Des Arts:

Thursday, December 8:
7:00 pm Evening Show $10

• 7:00 Silk Flowers, A One Woman Show - Jack Sorensen

• 7:45 The American Way, A Reading - John Fiero

• 8:15 Street Corner Medley, A Reading – Austin Sonnier

Friday, December 9:
7:00 pm Evening Show $10

• 7:00 pm Match, A Production - Wanderlust Theater, New Orleans

• 8:00 The American Way, A Reading -John Fiero

• 9:00 Portrait of An Artist as Santa Claus - Ken Waldman

Saturday, December 10:
2:45 Afternoon Show $10

• 2:45 Silk Flowers, A One Woman Show - Jack Sorensen

• 3:30 Night Fears, A Reading - Keith Dorwick

• 4:00 Willie & Me, A Reading - Kimberly Nagle

Theatre--Auditions (OLT)

2011-12-06T19:46:00.001-06:00

OLT is calling all talent to audition for the chance to be in the area's biggest annual talent show, Showcase 2012. What is Showcase? It is a show that allows the local townsfolk to show off their particular talent for the community to enjoy. It may be singing, dancing, acting, comedy, or any sort of live on-stage performance that you're good at, well this is your chance to shine. There are almost no age limits and and all are welcome to try out for the chance to fill a slot on the program.

   Auditions are to be held at the Opelousas Little Theatre building in South City Park, just behind the Central Fire Station in the Donald Gardner Stadium parking lot. There will be two auditions held on Thursday (12/8/11) from 6 to 8pm and on Saturday (12/10/11) from 2 to 4pm. Be prepared with an example of the type of performance that you are seeking to perform.

   Showcase 2012 will be performed at OLT during the last two weekends of January of the new year. So, if you want to be involved in our local community theatre and learn the ropes involved in putting on a live show, don't miss out on your chance to express yourself and have a whole lot of fun while doing so.

   For more information please visit www.opelousaslittletheatre.com , become a fan on Facebook, or call 337-351-3822.

Theatre--Review (Wanderlust Theatre at Burke)

2011-12-06T18:27:00.001-06:00

A good number of high schools assigned William Faulkner’s masterpiece The Sound and the Fury, a dense tome that somehow my school forgot to assign. The tale is told on four different days spanning almost twenty years and from four different points of view, frequently jumping from one to another. Its non-linear style requires particular focus on the part of the reader, and my friend John Maraist lent me his copy that had wonderful notes detailing which day was which. Unfortunately I never got very far before I was lost and gave up on the affair.

Marc Chun’s one act play Match employs a similar narrative style to The Sound and the Fury. Five unnamed characters are sitting on the stage in dissimilar chairs and deliver small sentences, sometimes longer monologues, frequently switching from one character to another. At first, they are all mumbling “I’m sorry” interspersed with other nonsense, but eventually they stop to begin explaining their lives. It’s obvious these five souls are connected somehow, and in the course of the swift fifty minutes, it’s clear who they are and how they are tragically related to one another. Just enough clues are given to start matching up the characters and how these people, who normally might not know each other and never meet, cross each other paths. The revelations are also nicely paced, leaving the audience with curiosity as to why character one is even part of this production, but the tantalizing hints pay off in the end. Chun’s play requires focus on the audience, rather than just being passive receptacles of information. It was a thought-provoking evening that left the audience dwelling on the randomness of life.

To reveal the plot would rob the play of its significance, especially if it is possible for the reader to attend the play. Match, a Wanderlust production, will perform for the Hub City Theatre & Storytelling Festival at Cite Des Arts on December 9th, 2011 at 7:00 pm as well as at the Acadiana Center for the Arts on December 10th, 2011 at 9:15 pm. Suffice it to say that the play revolves around character number three, who is in need of a blood marrow donor—a match as implied by the title—and the other four characters are tied to his struggle. There’s a girlfriend to character number three, a Hollywood star, her press agent, and an apparently random fifth character whose connection is not explained until nearly the last fifteen minutes of the play. Each character has a rich background to share, and the audience appreciates their quirks, their hopes, and their disappointments. There are two very dramatic moments in the play, and one action in particular by character five is quite unexpected but utterly believable. I can’t say things work out in the end; most things in life don’t, but it adds an authentic quality to the play.

Director Elsa Dimitriadis has assembled five actors well-suited to their roles, and to save time I will subsequently refer to the five characters by the actors playing their parts. As character three, M. Brady McKellar gave a sympathetic portrayal of a man waiting for that all perfect match, not only for the blood marrow, but also in his soul-mate, character four. With his thumbs punching through the ragged holes of his sweatshirt, McKellar’s appealing believable as a man who dreams impossible dreams but has the courage to chase them. Jarin Schexnider played character four, Brady’s geeky intelligent girlfriend, and gave the most compelling physical performance. From her hunched shoulders to the position of her feet in those impossibly bright sneakers, one believes she’s a researcher who has doubts about her relationship with Brady. Character two is the Hollywood star who’s a potential match for Brady, and Elizabeth Satterly has the looks to carry off the part and yet look like an actress who can’t get a positive review. David Huynh is character five, the Hollywood star’s press agent, who manages to be both repugnant for his constant manipulation of his star’s career and yet sympathetic because he obviously cares for her, more than she will ever know. It’s his sudden reversal that strikes you most, and yet you understand why he did it, and why humans are perhaps the most complicated creatures on earth. The character who seemed out of place for the longest time was character one, played by Bobby Bender. (I still remember performing with Bobby in Lafayette Community Theatre’s production of Our Town over twenty years ago.) At first, I felt annoyed with Bobby’s portrayal until I understood how well his character is somebody we probably all know and go out of our way to avoid. This unlikable person who intersects the other four lives represents a true person, and not the stereotypes we often see in both movies and plays. It was a fine display of acting.

Plays like this one constructed as they are make it difficult to assess the effectiveness of the director. There is precious little blocking or movement, except subtle shifts in chairs, and I find it hard to differentiate the line between the author’s intent and the director Elsa Dimitriadis’ imput. Every character is talking to either a single person, or in Satterly’s case, a talk show audience, which depending on where you’re sitting robs the audience of some facial expressions; only veteran Bobby Bender used his expressions for the fullest effect. Dimitriadis needs to slow some actors down, particularly Jarin Schexnider, whose verbal responses to her counselor near the end are too quick to have allowed someone to say anything to her. And as much as the gold watch fits David Huynh’s press agent, I would find something not so reflective to the stage lights. At various moments, I thought a white moth has fluttered onto the stage. I would also suggest changing his chair to fit the circumstances of his situation, and while I won’t reveal what situation that was, he would never be sitting on a stool to do what he was doing. There were a couple of moments when the interchanging dialogue suddenly stopped, and it was obvious someone had not jumped on their cue, but those were blessedly few.

Still, those are minor faults in an overall well-constructed play. I look forward to seeing what Dimitriadis does with a more conventional play for tonight she orchestrated a good evening with Marc Chun’s Match. I might even attempt to re-tackle Faulkner’s masterpiece.
--Vincent P. Barras

Theatre--Auditions (Musical Theatre)

2011-12-03T21:44:00.001-06:00

Open auditions for the UL Lafayette Opera Theater's spring production of Cody Daigle and Roy Bertucci's musical, Grand Pre will be held in the Auditorium at Angelle Hall on the UL-Lafayette campus on Thursday, December 8th from 5 pm until 8 pm. Production dates are March 8 - 11, 2012. Bring a musical theatre selection and you will cold read from the script. Rehearsals are Mondays, Tuesdays, Thursdays from 5:30 - 8:30PM and Fridays from 2:30 - 5:30 PM starting January 4.

Theatre--Performance

2011-11-30T16:29:00.001-06:00

Christmas is here in New Iberia ...

The Acadiana Symphony has provided beautiful music and the Christmas Parade has drawn crowds to wonderfully decorated downtown New Iberia, Now it is time to come to IPAL's Christmas presentation A Carol for Tiny Tim by John R. Carroll. This sequel to Dicken's A Christmas Carol is entertainment suited for the entire family and is sure to be a highlight of your holiday season! The wonderful show runs December 1 through December 11 at the Essanee Theater in downtown New Iberia.

Evening performances (Thursday, Friday, and Saturday) begin at 7:30 P.M. with Sunday matinees at 3:00. Advance tickets in New Iberia are available at Delaune’s Pharmacy, Paul’s Flower Shop, or Accentrics on Main Street and tickets will also be available at the door. Information can be obtained by calling the theater at 364-6114, e-mailing ipal@cox.net, or by visiting the IPAL website. All tickets are $10.00 (General Seating).

This performance is supported in part by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council, Funding has also been provided by the National Endowment for the Arts, a Federal agency.

Theatre--Performance

2011-11-29T22:47:00.001-06:00

IPAL's production of A Carol for Tiny Tim opens Thursday, December 1st.

Theatre--Performance

2011-11-29T21:47:00.001-06:00

Theatre--Performance

2011-11-27T22:42:00.001-06:00

CHARLES DICKENS' A CHRISTMAS CAROL

Adapted by members of The Compound

Directed by Alicia Chaisson

Lafayette:

Opening Night Event: December 10 @ 8 p.m.

Regular Performances: December 14, 15, 16, 17, 21, 22 and 23 @ 7 p.m.

Sunday Matinee: December 11 @ 2 p.m.

Theatre 810

810 Jefferson Street, Lafayette LA

Admission: $10.00 may be purchased online at carol.eventbrite.com Phone reservations (which begin December 5, can be made by calling The Compound at 337-247-7028.

Opelousas:

Two Performances ~ December 18 @ 5:00pm and 7:30pm

Delta Grand Theatre

120 S. Market Street

Opelousas, LA 70570

337-407-1806

Admission: $10.00

Tickets on sale now at:

Sebastian-Dupre Fine Jewelry *822 S. Main Street, Opelousas*337-948-4367

Wanda’s Florist – 1224 Creswell Lane, Opelousas*337-948-4459

www.deltagrandtheatre.com

THE PLAY

Charles Dickens' classic tale of humbuggery, hoary apparitions and holiday cheer bursts onto the stage this Christmas season in an all-new theatre adaptation by The Compound.

Created in rehearsal by members of the Compound, under the direction of Alicia Chaisson (William and Judith), this adaptation faithfully recreates the winding road to redemption for the sour Ebenezer Scrooge and the three ghostly apparitions that teach him the meaning of Christmas. A small, versatile cast -- and one busy narrator -- portrays Dickens' cast of familiar characters in a pared-down, fast-paced audience interactive staging.

Everything you know and love about Dickens' classic tale is here... and a whole lot more.

A CHRISTMAS CAROL is the perfect theatre evening for the entire family and a holiday experience you won't forget!

THE CAST

Ebenezer Scrooge.....................................................Duncan Thistlethwaite

Narrator........................................................................Cody Daigle

Bob Crachit, Young Scrooge, et. al..........................Steven Cooper

Jacob Marley, Fezziwig, et. al....................................Aren Chaisson

Christmas Past, Mrs. Crachit, et. al........................Sarah Gauthier

Christmas Present, Belle, et al...............................Martha Diaz

Mrs. Fezziwig, Boy, et al............................................Alicia Chaisson

Get your tickets early and see you at the show!

Theatre--Auditions

2011-11-27T22:40:00.001-06:00

Auditions are Monday, November 28 from 6pm – 8pm at The Delta Grand Theatre (120 S. Market St. Opelousas) Several teens are needed as well as a few adults. For more information, call 337-407-1806.

Theatre--Performance

2011-11-27T21:54:00.001-06:00

The Compound's Submission Smackdown has been postponed indefinitely.

Theatre--Auditions

2011-11-27T21:47:00.001-06:00

This Friday, December 2, 2011 at Cite des Arts, The Tea Sippers

are holding open auditions for Almost an Evening by Ethan Coen from

4:00 to 7:00pm.

No preparation is necessary.

Theatre--Performance

2011-11-26T23:09:00.001-06:00

The Iberia Performing Arts League will present its annual Christmas show Dec. 1 through Dec. 11 at the Essanee Theater in downtown New Iberia. Entitled A Carol for Tiny Tim by John R. Carroll, this “sequel” takes place fifteen years after the miraculous transformation of old Ebeneezer Scrooge. But this time (it is the no longer Tiny Tim), now a spoiled young man, who needs the help. This warm and wonderful show is suited for the entire family. Evening performances (Thursday, Friday, and Saturday) begin at 7:30 P.M. with Sunday matinees at 3:00. Advance tickets in New Iberia are available at Delaune’s Pharmacy, Paul’s Flower Shop, or Accentrics on Main Street. Information can be obtained by calling the theater at 364-6114, e-mailing ipal@cox.net, or by visiting the IPAL website www.iberiaperformingartsleague.com. Tickets may also be purchased at the door. All tickets are $10.00 (General Seating). Supported in part by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council, Funding has also been provided by the National Endowment for the Arts, a Federal agency.

Theatre--Performance

2011-11-23T22:09:00.001-06:00

Wanderlust Theatre Company presents the REGIONAL PREMIERE of MATCH, by Marc Chun

Fri/Sat, Dec 2 & 3 at 7:30 pm at BURKE HAWTHORNE HALL THEATRE, ULL campus. $5 admission at door

MATCH then moves to the Hub City Theatre and Storytelling Festival:
Fri, Dec 9 at 7 pm at CITE DES ARTS
Sat, Dec 10 at 9:15 pm at ACADIANA CENTER FOR THE ARTS
Hosted by the Hub City Theatre & Storytelling Festival
(tickets and weekend passes available at door and at the Cite and ACA websites)

Match, by Marc Chun, tells the stories of five ordinary people, that by extraordinary chance, are woven together to tell one tale of life, death, love, deceit and coincidence.

"...gently but profoundly querying..." NY Times
"Innovative and gripping!" Backstage
"...achingly honest and profound work...must-see theatre!" nytheatre.com

FEATURING:
Bobby Bender
David Huynh
M. Brady McKellar
Elizabeth Satterly
Jarin Schexnider

DIRECTED by:
Elsa Dimitriadis

Theatre--Review (Evangeline Players)

2011-11-19T23:35:00.001-06:00

It’s always amazing when we are searching desperately for something, how we often find other things for which we weren’t looking, but which often warm our heart. I recently was looking for a certificate but instead found a framed picture of Lafayette Community Theatre’s last play, The Diaries of Adam and Eve, in which I played Adam. In 1991, I had first joined LCT in their production of Our Town and found the company delightful, but it always danced on a financial precipice that finally collapsed in 1998. It was a bittersweet experience watching LCT lose its theatre space, and I’ve seen enough theatre companies open and close to recognize that it’s not only disheartening but extremely bittersweet. I, for one, don’t wish to see any more local theatre companies fold.

How heartening to see that the Evangeline Players in St. Martinville are alive and well with their recent production of The Bishop’s Wife, adapted for the stage by Dave McGrath. After a tempestuous season with questionable play selections, I feared for the company in which I had been involved for over ten plays in the last nine years, but director Walter Brown allayed my concerns. The Bishop’s Wife is an infectious little tale that works in spite of its jagged design by Dave McGrath, who obviously took the 1947 movie and translated it scene for scene for the stage. Despite the numerous scene changes, the Evangeline Players and Walter Brown have managed a small miracle.

The tale itself is rather old-fashioned and comes from the same era as It’s a Wonderful Life. In The Bishop’s Wife, an angel Dudley (Steven “Smitty” Smith, Jr.) has been sent to solve the problems of Bishop Henry Brougham (Dylon L. Boudreaux) and his wife Julia Brougham (Adel Catherine Comeaux). In the Bishop’s desire to build a new cathedral, he not only neglects his wife and daughter Debby (Mary Gomez), but he also compromises his principles at the demands of a wealthy, petty widow Mrs. Agnes Hamilton (Carmen deMahy Nicholson). Through the interventions of Dudley, all is set right by the play’s end, as usually happened in such Hollywood movies.

The casting is somewhat uneven, but the leads acquit themselves nicely. Both Smitty Smith and Adel Comeaux make welcome returns to the Evangeline stage in roles that suit them. Though her scenes are few, Carmen Nicholson makes the most of her plumy role as the rich widow Mrs. Hamilton, especially in one heart-wrenching scene where she reveals the true love of her life. Even more delightful was Milton Resweber, who enriches Professor Wutheridge with a warmth reminiscent of Monty Woolley. But I’d be most interested to see the future work of Dylon L. Boudreaux, who at seventeen brought a maturity level to his work not usually seen in someone so young. Though he has much to learn—his frustration seemed a tad forced at times and his timing needs further development—he has the potential to be a talented actor in local theatre.

Though thirteen years have passed since LCT shuttered its doors, I can still recall my final lines as Adam in Mark Twain’s The Diaries of Adam and Eve. While standing above a grave, I placed a single rose at Eve’s tombstone, and said, “Wheresoever she was, there was Eden.” Well, the Evangeline Players created a small slice of heaven on the stage, proving that the rumors of its death are largely exaggerated.
---Vincent P. Barras

Theatre--Performance

2011-11-15T23:04:00.001-06:00

The Evangeline Players' production of The Bishop's Wife continues through this weekend, running Friday, Saturday and Sunday.

Theatre--Performance

2011-11-15T22:35:00.001-06:00

The Acadia Players performances of Christmas Belles
December 1-3, 2011 7:00pm
December 4, 2011 2:00 pm
Historic Rice Theater
Crowley, LA

Tickets are $10 for adults and $5 for senior citizens and students with I.D. and may be purchased at the Crowley Flower Shop at 1414 North Parkerson Ave. in Crowley (337)783-1512 or through www.acadiaplayers.com.

THE STORY: A church Christmas program spins hilariously out of control in this Southern farce about squabbling sisters, family secrets, a surly Santa, a vengeful sheep and a reluctant Elvis impersonator.

It's Christmas-time in the small town of Fayro, Texas, and the Futrelle Sisters—Frankie, Twink and Honey Raye—are not exactly in a festive mood. A cranky Frankie is weeks overdue with her second set of twins. Twink, recently jilted and bitter about it, is in jail for inadvertently burning down half the town. And hot-flash-suffering Honey Raye is desperately trying to keep the Tabernacle of the Lamb's Christmas Program from spiraling into chaos. But things are not looking too promising: Miss Geneva, the ousted director of the previous twenty-seven productions, is ruthless in her attempts to take over the show. The celebrity guest Santa Claus—played by Frankie's long-suffering husband, Dub—is passing a kidney stone. One of the shepherds refuses to watch over his flock by night without pulling his little red wagon behind him. And the entire cast is dropping like flies due to food poisoning from the Band Boosters' Pancake Supper. And when Frankie lets slip a family secret that has been carefully guarded for decades, all hope for a successful Christmas program seems lost, even with an Elvis impersonator at the manger. But in true Futrelle fashion, the feuding sisters find a way to pull together in order to present a Christmas program the citizens of Fayro will never forget. Their hilarious holiday journey through a misadventure-filled Christmas Eve is guaranteed to bring joy to your world.

For performance information, contact Patty Ronkartz at 581-8507.

Theatre--Performance

2011-11-08T08:04:00.000-06:00

Everyone is familiar with Charles Dickens’ classic A Christmas Carol. For its 2011 Christmas show, the Iberia Performing Arts League will present A Carol for Tiny Tim by John R. Carroll. This “sequel” takes place fifteen years after the miraculous transformation of Ebeneezer Scrooge. But this time it is not Scrooge who is in need of holiday help, but (the no longer Tiny) Tim. Now a spoiled young man, Tim uses deceit to collect sympathy and money from family and friends and has grown to be a thoroughly unpleasant young man. Take care in knowing that Tim will learn valuable lessons and once again be able to bring an honest and sincere message of “God Bless us, Everyone” to audiences young and old. This warm and wonderful show is destined to become a classic in itself. Suited for the entire family, the show is directed by Donna Berard, and performances will be Thursdays through Sundays, December 1 through December 11 at the Essanee Theater in downtown New Iberia. Evening performances (Thursday, Friday, and Saturday) begin at 7:30 P.M., with Sunday matinees at 3:00. Advance tickets in New Iberia are available at Delaune’s Pharmacy, Paul’s Flower Shop, or Accentrics on Main Street. Information can be obtained by calling the theater at 364-6114, e-mailing ipal@cox.net, or by visiting the IPAL website www.iberiaperformingartsleague.com. Tickets may also be purchased at the door. All tickets are $10.00.

Theatre--Auditions (Musical Theatre)

2011-11-07T15:47:00.004-06:00

Come one, come all (if you are age appropriate to the show) to auditions for The Rocky Horror Show!! This Thursday, November 10th, at 6:00pm. This year we're changing things up by doing a XXXmas Special! Show Dates are December 15th, 16th, and 17th. Rehearsals will be twice a week... likely Mon and Wed, but that's not set in stone. Be prepared to sing "Rose Tint" for the audition. See you there! If you need more info, call 337-212-4471 or e-mail apes1398@yahoo.com. Thanks!

Theatre--Performance (Musical Theatre)

2011-11-07T15:46:00.002-06:00

The Iberia Performing Arts League’s production of Chicago - the musical has been cast! The show will star Jessica Jouclard as Velma Kelly and Katelyn Stelly as Roxie Hart - Chicago’s two scintillating sinners of jazz! Supporting these two talented ladies will be Billy Walker as Billy Flynn, Rhonda LeBlanc as Mama Morton, Vincent P. Barras as Amos Hart, and Melissa Bowen as Mary Sunshine. Other members of the cast include Kim Parich, Kaci Beaullieu, Amanda Shackelford, Sydni Hart, Erin Segura, Tiffany Porrier, Malori Heinen, Elizabeth Shensky, Anne Marie Richardson, Travis Guillory, Phanat Xanamane, Nathanael Trahan Jenny Gonsoulin, Lindsey Harris, Doc Voorhies, Mike Berry, Kallie Landry, Ryan Berard, Matthew Dugan, Mike Boroto, Casey Dautreuil, Perry Ledet, Mitch Prudhomme, Will Grubbs, Lynn DeRouen, Michael Caffery, Jennifer Reynolds, Cindy Hebert, Cheryl Mack, and Kristie Trahan.

The performances will run March 9 - 25, Thursday, Friday, and Saturday evenings with Sunday matinees at the Essanee Theater in New Iberia. With choreography by Marika Mury, Whitney Willis, Travis Guillory, and Kim Parich, musical direction by Bob Morgan and Lynn DeRouen, and director Katherine Caffery at the helm, Chicago is bound to be a razzle dazzle sensation that will raise the standard of community theater! Stay posted for ticket availability and more information as showtime approaches . . . and all that jazz!

Theatre--Performance

2011-11-06T20:32:00.001-06:00

The Compound's Submission Smackdown has been postponed until December 4th. It will still take place at Theatre 810.

Theatre--Performance

2011-11-06T11:35:00.000-06:00

Everyone is familiar with Charles Dickens’ classic A Christmas Carol. For its 2011 Christmas show, the Iberia Performing Arts League will present A Carol for Tiny Tim by John R. Carroll. This “sequel” takes place fifteen years after the miraculous transformation of Ebeneezer Scrooge. But this time it is not Scrooge who is in need of holiday help, but (the no longer Tiny) Tim. Now a spoiled young man, Tim uses deceit to collect sympathy and money from family and friends and has grown to be a thoroughly unpleasant young man. Take care in knowing that Tim will learn valuable lessons and once again be able to bring an honest and sincere message of “God Bless us, Everyone” to audiences young and old. This warm and wonderful show is destined to become a classic in itself. Suited for the entire family, performances will be Thursdays through Sundays, December 1 through December 11 at the Essanee Theater in downtown New Iberia. Evening performances (Thursday, Friday, and Saturday) begin at 7:30 P.M., with Sunday Matinees at 3:00. Advance tickets in New Iberia are available at Delaune’s Pharmacy, Paul’s Flower Shop, or Accentrics on Main Street. Information can be obtained by calling the theater at 364-6114, e-mailing ipal@cox.net, or by visiting the IPAL website (www.iberiaperformingartsleague.com). Tickets may also be purchased at the door. All tickets are $10.00

The show is directed by Donna Berard and features a talented cast of 40 actors. In leading roles are Fred Comeaux as Jacob Marley, Allyson Gary as Ghost of Christmas Past, Paul David as Ghost of Christmas Present, Craig Colwort as Ghost of Christmas Future, Chuck Rogers as Ebeneezer Scrooge, Ryan Berard as Timothy Cratchit, Michael Durand as Bob Cratchit, and Faye Tarantino as Mrs. Cratchit.

With music, singing and dancing, this is sure to be one of the highlights of everyone’s Christmas 2011.

Supported in part by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council, Funding has also been provided by the National Endowment for the Arts, a Federal agency.

Theatre--Performance

2011-11-05T19:02:00.001-05:00

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. The show will be directed by Cara Hayden. Auditioners will be provided with sides for cold readings at the auditions.

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

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

2011-11-05T11:22:00.001-05:00

Brett Faulkner, Michael Sanchez, Vincent P. Barras, Deborah D. Ardoin, Angelle Driggs

The comedy, A Nice Family Gathering, has opened at Eunice Players’ Theatre but performances continue this weekend and through next week. The two-act heart-warming comedy, written by Phil Olson and directed by Jody L. Powell, is a timely 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”.

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 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 ($10 each/$15 extra for dinner) can be purchased over the phone with Visa and Master Card by calling 457-2156 or 546-0163, or they can be picked up at David Ltd. Hair Salon at 204 S. Second St. in Eunice. More information can be found on EPT’s Facebook page or at www.euniceplayers.blogspot.com.

Theatre--Performance

2011-11-04T01:09:00.000-05:00

The Opelousas Little Theater is proud to close out its 2011 season with Neil Simon's hilarious comedy God's Favorite, co-directed by Casey Harmon and Adam Casey Tate. The show will be performed at the Opelousas Little Theater located in South City Park, behind the fire station. The show dates and times are Nov. 3-5 and 10-12 at 7 PM. We will have two Sunday matinees on Nov. 6 and 13 at 2 PM. Tickets are ten dollars and are available at Sebastien Dupre Fine Jewelery located at 822 South Main St. in Opelousas, by phone 337-948-4367, or can be purchased at the door, day of show. For more information, Contact Casey Harmon @ 337-384-3112. The Opelousas Little Theatre would like to thank you in advance for your continued patronage and support.

Theatre--Auditions

2011-11-02T16:15:00.001-05:00

November 5th and 6th--Auditions for the play Race by David Mamet, directed by Loren Farmer at Cité des Arts.
Cold read from the script, performances Feb 3, 4, 5, 10, 11, & 12.
We need 1 African American Male age 35-45, 1 African American Female age 20-30, 2 Caucasian Males 35-45.

Theatre--Performance (Fundraiser)

2011-11-02T16:13:00.002-05:00

Kat5 Productions, in collaboration with Cité des Arts announces a Special Presentation of It's Not What It Seems on November 3rd as a Fundraiser for NHS, a local organization that provides services for persons with mental illness that are homeless. For a suggested donation of $10.00, folks can see It's Not What It Seems on Thursday, November 3rd at 7:30pm, and all funds raised will be donated to NHS.

NHS provides Assertive Community Treatment, which is a way of delivering a full range of services to people who have been diagnosed with a serious mental illness. ACT's goal is to give consumers adequate community care and to help them have a life that isn't dominated by their mental illness. NHS does serve the homeless as many of our client's are currently homeless and all proceeds will be used for food, clothes, transportation, housing and household items.

Theatre--Auditions (Musical Theatre)

2011-11-02T13:36:00.003-05:00

THE UL LAFAYETTE OPERA THEATER

Will be holding auditions

for its spring 2012 production of

GRAND PRE´

By Cody Daigle and Roy Bertucci

Auditions will be on December 8 starting at 5PM

In the Ducrest-Gilfry Auditorium

The show contains roles for 5 women and 5 men

Production dates are March 8 – 11, 2012

Please bring a musical theatre selection for the audition.

You may be also asked to read.

Good composers to consider are:

Stephen Sondheim Stephen Flaherty

Adam Guettel Jason Robert Brown

Ricky Ian Gordon William Finn

Rehearsals will begin on January 4 and rehearsals will be Mondays, Tuesdays, Thursdays and Fridays Evenings.

Call Shawn Roy at 482-5939 for more information.

Theatre--Performance

2011-11-02T11:54:00.002-05:00

Abbey Players is pleased to announce the cast of its fall production, Baggage by Sam Bobrick.

Phyllis Novak	Chrissy Bass
Bradley Naughton	Dusty Babin
Dr. Johnathan Alexander	Mickey Atchetee
Mitzi Cartright	Lauren Broussard

Tickets will go on sale to the general public November 7th. Members will be getting a pre-order form shortly. The show opens Nov 18th and runs through Dec 10th with a matinee on Dec 4th. Tickets are $15 (except for Patron's Night, 11/18 which is $35 and includes dinner, two drinks and the show).

Two difficult, single people, Phyllis and Bradley, both trying to heal from their respective disappointing relationships, get their luggage mixed up at the airport. After a very disagreeable first encounter, the two decide to help each other get over their heartaches by forcing a friendship that eventually leads to the two discovering that while they may be too difficult for everyone else in the world, they are right for each other.

Theatre--Performance (Musical Theatre)

2011-10-31T22:57:00.000-05:00

Theatre--Auditions

2011-10-29T22:32:00.002-05:00

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

2011-10-29T21:53:00.001-05:00

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)

2011-10-26T13:30:00.000-05:00

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

2011-10-25T12:27:00.000-05:00

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

2011-10-24T21:11:00.000-05:00

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)

2011-10-23T21:39:00.001-05:00

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

2011-10-19T16:55:00.000-05:00

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)

2011-10-16T13:11:00.000-05:00

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

2011-10-12T19:40:00.001-05:00

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

2011-10-11T11:42:00.002-05:00

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

2011-10-11T08:19:00.000-05:00

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.

Theatre--Performance

2011-10-10T22:24:00.003-05:00

The Evangeline Players of St. Martinville will present a play in which the entire cast is comprised of residents of St. Martin parish and/or natives of St. Martinville. The play, The Bishop's Wife, is based on the 1947 Samuel Goldwyn movie and has been adapted for stage by Dave McGrath. The play will be directed by Water Brown. Appearing in the production are Steven "Smitty" Smith as Dudley, Dylon L. Boudreaux as Bishop Henry Brougham, Adel-Catherine Comeaux as Julia Brougham, Mary Gomez as Debby Brougham, Milton Resweber as Professor Wutheridge, Carmen deMahy Nicholson as Mrs. Hamilton, Sierra Bourque as Miss Mildred Cassaway, Patricia Sibley Fournet as the housekeeper, Matilda and Dr. Kenneth L. Fournet in the roles of Mr. Perry and Stevens, the Butler. The play will be performed at the Duchamp Opera House in St. Martinville on November 11 through November 20.

The Bishop's Wife, an uplifting tale for everyone, will surely get you into the Christmas spirit. An Episcopal Bishop, Henry Brougham, has been working for months on plans for a new cathedral which will, hopefully, be primarily paid for by a wealthy, stubborn widow. But as Bishop Henry focuses so intently on procuring this money, he is losing sight of his family and of why he became a clergyman in the first place. Christmas is fast approaching and Dudley, an angel, is sent to help Henry! Dudley does help everyone he meets, but not necessarily in the manner they would prefer. Everyone loves Dudley except Henry, since Henry wonders if Dudley is there to replace him in the church and in his family's affections. Can Dudley get Bishop Henry to see what is truly important in life before it is too late?

Tickets for the performances are available at the Duchamp Opera House (394-6604) or Shamrock Office Supply (394-5574) which are both in St. Martinville, or at the door unless a performance is sold out. Tickets are $10.00. Performances are Friday and Saturday, November 11,12,18, and 19 at 7:30 PM and on Sunday, November 13 and 20 at 2:00 PM.

Theatre--Performance

2011-10-03T22:46:00.005-05:00

FIRE EYE, a new play by Daniel J. Povinelli will be presented by Acting Unlimited, Inc. at the Essanee Theatre in New Iberia. This production, which runs October 13-23, is being hosted by the Iberia Performing Arts League. Thursday, Friday, and Saturday performances are at 7:30 p.m., with Sunday Matinees at 3:00 p.m. Advance tickets are available at Delaune’s Pharmacy, Paul’s Flower Shop, or Accentrics on Main Street, all in New Iberia. Tickets may also be purchased at the door. All tickets are $10.00. Further information and tickets can be obtained by calling the theater at 364- 6114, e-mailing ipal@cox.net, or by visiting the IPAL website www.iberiaperformingartsleague.com

WARNING - This play is not recommended for children due to mature themes and language.

Jack Robertson, Amy Williams, Bruce Coen, Amanda Shackleford

Amy Williams and Bruce Coen

Jack Robertson and Amanda Shackleford

Theatre--Performance

2011-10-03T22:27:00.001-05:00

Theatre--Performance (Musical Theatre)

2011-10-03T15:18:00.001-05:00

The UL Lafayette Opera Theater, under the direction of Shawn Roy, will present a fall production entitled Some Enchanted Evening: The Songs of Rodgers and Hammerstein. The production will take place in Burke Theatre on the UL Lafayette campus on November 3, 4 and 5 at 7:30PM and November 6 at 3:00PM. Admission for the musical is $10 for the general public and free for UL Lafayette Students, Faculty and Staff. There is also a reduced price of $5 for other students with appropriate I.D. The show features songs by one of the greatest songwriting team of the American Musical Theatre, but placed in a contemporary setting. It gives the performers and the audience a chance to listen to these songs with a fresh ear and opens up a new world for younger audiences who may not know these treasures from the Golden Age of Broadway.

The show boasts a small cast of seven young talented UL Lafayette voice students and the musical director for the show is David Boudreaux, an alumnus of the School of Music who recently received his Masters Degree from New York University. Set design is by Duncan Thislethwaite and Lighting Design is by
Ken Harrelson.

Tickets are available at the door only and for more information about the show, please call the School of Music and Performing Arts at 337-482-6012.

Theatre--Auditions

2011-10-02T10:30:00.005-05:00

The Abbey Players will be holding auditions for the leading male character in Baggage at 2 pm today (Sunday, October 2nd).

Theatre--Auditions

2011-10-02T10:29:00.001-05:00

Auditions for the IPAL Christmas show, A Carol for Tiny Tim, will be held today (Sunday, October 2nd) and tomorrow (Monday, October 3rd) at 6 pm.

Theatre--Performance (Musical Theatre)

2011-10-01T22:21:00.002-05:00

Theatre--Performance

2011-10-01T22:19:00.005-05:00

FIRE EYE, a new play by Daniel J. Povinelli will be presented by Acting Unlimited, Inc. at the Essanee Theatre in New Iberia as part of IPAL's regular subscription season. This production runs October 13-23. Thursday, Friday, and Saturday performances are at 7:30 p.m., with Sunday matinees at 3:00 p.m. Advance tickets are available at Delaune’s Pharmacy, Paul’s Flower Shop, or Accentrics on Main Street, all in New Iberia. Tickets may also be purchased at the door. All tickets are $10.00.

Further information and tickets can be obtained by calling the theater at 364-6114, e-mailing ipal@cox.net, or by visiting the IPAL website www.iberiaperformingartsleague.com

WARNING - This play is not recommended for children due to mature themes and language.

Theatre--Auditions

2011-10-01T22:17:00.001-05:00

Abbey Players is looking for a leading man to play in its fall/winter production, Baggage by Sam Bobrick. The rest of the cast is waiting to start rehearsals on Monday (10/3) for our opening night on 11/11.

Call the director at 212-0243 if you're interested.

Where did that piece of luggage go that you couldn't find at the airport?

Two difficult people, Phyllis and Bradley, both trying to heal from their respective disappointing relationships, get their luggage mixed up at the airport. After a very disagreeable first encounter, the two decided to help each other get over their respective heartaches by forcing a friendship that eventually leads them to discover that while they may be difficult for everyone else in the world, they are right for each other.

Keep up with us on Facebook at http://www.facebook.com/AbbeyPlayers and "Like" our page!

Theatre--Performance

2011-09-28T20:53:00.001-05:00

FIRE EYE, a new play by Daniel J. Povinelli will be presented by Acting Unlimited, Inc. at the Essanee Theatre in New Iberia. This production, which runs October 13-23, is being hosted by the Iberia Performing Arts League. Thursday, Friday, and Saturday performances are at 7:30 p.m., with Sunday Matinees at 3:00 p.m. Advance tickets are available at Delaune’s Pharmacy, Paul’s Flower Shop, or Accentrics on Main Street, all in New Iberia. Tickets may also be purchased at the door. All tickets are $10.00. Further information and tickets can be obtained by calling the theater at 364-6114, e-mailing ipal@cox.net, or by visiting the IPAL website www.iberiaperformingartsleague.com .

WARNING - This play is not recommended for children due to mature themes and language.

Former President of the United States, "Noah" Jones is nearing the end of his life--and he's having visions. He believes God has appointed him to cradle humanity through the Great Flood. Always larger than life, Noah finally appears to be cracking up--or is he? His elder daughter, Rachel, and his longtime political strategist, Robert, are convinced it is all an act and that he is actually getting better. But Noah's physician, Elizabeth, believes otherwise. As Noah's predicament grows more amusing--and puzzling--he springs another surprise; he demands a birthday party a year early to celebrate his impending death! Threaded through the comedic interplay of Noah's delusional conversations about the Ark and his preposterous push for a birthday-party-to-end-all-birhday-parties, all must grapple with darker secrets from their interconnected pasts as they struggle to uncover the meaning of true forgiveness.

FIRE EYE had a staged reading at Cape May Stage, a professional theatre across the river from New York City on June 21, 2011. The cast for the New Iberia production, under the direction of Daniel Povinelli, consists of Bruce Coen from Lafayette who plays Former President "Noah" Jones, Amy Williams from Lafayette who plays "Noah"'s daughter, Rachel, Amanda Shackleford who has appeared in two major roles for IPAL as his doctor and friend, Elizabeth, and Jack Robertson of Lafayette who has played major roles for almost every theatre group in Acadiana who plays the longtime confidante, Robert.

FIRE EYE is the second play by Daniel J. Povinelli which AUI has produced. Two years ago, AUI produced the world premier of BEFORE YOU at Cite Des Arts in Lafayette. Bruce Coen and Jack Robertson were also in that production. In addition to writing, directing and acting, Daniel Povinelli is an award winning set and light designer.

Theatre--Class

2011-09-28T20:48:00.002-05:00

AURA is offering a new class:

Fundamentals of Improvisational Theatre: Youth ages 8-14

Wednesdays, October 5, 12, 19 & 26, from 5:30-6:30pm

Price: $45 per student

This class introduces young actors to the basics of Improvisational Theatre. We will introduce and explore the fundamental principles of improvisation through simple short-form games and group exercises. Students will strengthen their mental agility, creativity, ensemble work, and upon completion of this class will be more confident, trusting and graceful on stage. We will utilize classic improv techniques to help each student develop clean and honest characters that they will create using no script, and suggestions from the audience.

For more information, or to register, please call us at (337) 8731548 and leave a message or email us at actingunlimitedinc@gmail.com.

Theatre--Performance

2011-09-26T11:06:00.006-05:00

Coming this October to Cite des Arts from Lafayette High School's Performing

Arts Academy Theatre Arts Department is HOUND. Based on Sir Arthur Conan

Doyle's "The Hound of the Baskervilles", HOUND was written by John Patrick Bray.

HOUND made its world premiere at Cite des Arts on October 4, 2007
and its New York City premiere on June 17, 2009.

Lafayette High's Theatre Department is headed by Blaine Peltier, who directs
the newest showing of HOUND.

The cast has been working since the first week of school on the production.
Showing their dedication and passion for theatre, the Arts Academy students,
lead the show into the hearts and minds of those who sit amongst the audience.

***Don't forget to bring your pipes, coats, and magnifying glasses.***

The performance dates are October 27th & 28th at Cite des Arts, 7:30 PM.

Theatre--Volunteer

2011-09-26T11:04:00.002-05:00

The LAFAYETTE SCIENCE MUSEUM FOUNDATION is announcing a casting call for volunteer performers to participate in its third annual MUSEUM OF FEAR attraction at the LAFAYETTE SCIENCE MUSEUM (corner of Congress Street and Jefferson Street, downtown).

For the last two years we have had a blast scaring the pants off of people. This year we have teamed up with the CHILDREN’S MUSEUM OF ACADIANA (right behind us at the corner of Congress Street and Polk Street) for a double blast of scary fun for all ages.Volunteers may work the entire run if they wish or may schedule a limited number of days and/or shifts.Museum of Fear is performed on the first two Saturdays of October and then the last three Friday, and Saturday nights in October from 7pm to 11pm. Performers report at 6:00 pm for costuming and make up and then perform straight through till 11pm. No 1st/2nd shift business this year.Actual performance dates are Oct 1, Oct 8, Oct 14 & 15, Oct 21 & 22, and Oct 28 & 29.If you would like to help out contact the Museum at 291-5544 and ask for Milton Resweber (stage manager).See also our Facebook page at http://www.facebook.com/#!/pages/Museum-of-Fear/264383543582760

Theatre--Auditions

2011-09-21T13:43:00.002-05:00

Wanderlust Theatre Company is announcing auditions for Match by Marc Chun
Thursday, September 29, 7-9 pm
(Email info@wanderlusttheatre.com for specific 15 minute slot, if you prefer)
Fletcher Hall, #134
ULL Campus
Looking for: Men and women, aged 18-35.
Diversity is encouraged. All welcome.

Sides will be made available at audition. Prepared piece and resume encouraged, but not mandatory.

Match tells the stories of five ordinary people, that by extraordinary chance, are woven together to tell one tale of life, death, love, deceit and coincidence. Performances will be in early December. Rehearsals will be sporadic until closer to opening, and casting/scheduling is being held early to allow for cast members’ other obligations and to offer an extended opportunity for development and memorization. This piece is non-traditional in style and as the story is told non-linearly, will require a strong commitment to memorization.

“Indeed, there's something gently but profoundly querying about 'Match'" – New York Times

“It’s an achingly honest and profound work of theatre…must-see theatre.” – nytheatre.com

“Innovative and gripping!” – Backstage

“A thing of beauty.” – offoffoff.com

If you are interested, but not able to attend this audition, please email info@wanderlusttheatre.com to set up an alternate time. We would be more than happy to hear from you!

Theatre--Auditions

2011-09-20T18:57:00.003-05:00

Abbey Players is pleased to announce auditions for

Baggage by Sam Bobrick

Audition Times: September 26 - 28 at 6:30

Two difficult, single people, Phyllis and Bradley, both trying to heal from their respective disappointing relationships, get their luggage mixed up at the airport. After a very disagreeable first encounter, the two decide to help each other get over their heartaches by forcing a friendship that eventually leads to the two discovering that while they may be too difficult for everyone else in the world, they are right for each other.

The cast consists of 4 characters (2m 2f);
The leads (1m 1f) can be upper 20s to late 30s.
For the two supporting roles,actors can be late 30s to late 40s

If you don't match the above descriptions, but are interested in a role, show up for auditions! Actors do NOT need prior experience to be on stage. All experience levels are welcome to audition.

Rehearsals will start 10/3, Mon - Thr at 7pm until 9pm. The show will open November 11th and run Friday and Saturday until December 3rd with two Sunday matinees on Dec 20th and Dec 27th.

If you have any questions, please feel free to contact the director at 337-212-0243.

Theatre--Auditions

2011-09-20T18:03:00.001-05:00

Plastic Theater of Lafayette is casting Krapp's Last Tape. Krapp's Last Tape is a memory piece and a one man show that depicts an old man reliving his life by means of listening to audio diaries he has been recording for years.

The double bill of Krapp's Last Tape and The Zoo Story will be directed by Keith Dorwick. Both productions will have extensive use of video as an integral part of the set.

Schedule: Actors will be expected to come in to rehearsals off-book or very close to it.

Rehearsals at ULL, from the time the show is cast, until October 16, 2011. The director does not expect long rehearsals or rehearsals every night until tech week, which will be held at Theatre 810 on October 17th through the 19th.

Performances will be held at Theatre 810 on Thursdays, Fridays and Saturdays at 7:30 pm, and October 20-22, October 27-29 and November 3-5, 2011.

Please contact Keith Dorwick at kdorwick@plastictheater.org for more information.

These are the opening performances of the Plastic Theater so come become a part of Lafayette's Theatrical History!

Theatre--Meeting (Plastic Theater)

2011-09-20T14:46:00.001-05:00

The first general meeting (EVER!) of the Plastic Theater is scheduled for next week, Sept 27, 2011, 7 pm to 8:30 pm at Theatre 810, downtown on Jefferson Street (at 810!). Come hear about our first season and what members get! Thanks to our friends at Theatre 810 for use of the space, where we'll soon be producing our very first show!!"

Theatre--Performance

2011-09-20T06:52:00.001-05:00

The last week of Completely Hollywood (abridged) will be presented by The Eunice Players' Theatre.

Tickets are available by calling 337-457-2156 or 337-546-0163. Season ticket holders are encouraged to make their reservations for this show. The show runs Wednesday, Sept. 21, Thursday, Sept 22 and Saturday, Sept. 24 with curtain at 8pm.

Theatre--Performance (Musical Theatre)

2011-09-20T06:37:00.000-05:00

Clue the Musical... directed by Walter Duncan McBride

Music by Galen Blum, Wayne Barker, Vinnie Martucci
Lyrics by Tom Chiodo
Book by Peter De Pietro

CLUE the Musical brings the internationally popular board game to life on stage. This is an interactive musical starting with three audience members selecting one card each from three oversized decks and placing it in an envelope marked "Confidential." The envelope is then left untouched until the end of the production. The chosen cards will determine the ending of the show, which has 216 possible conclusions. These card selections also determine some interchangeable dialogue between certain characters which are delivered as the play unfolds. The audience is given clues as the show progresses that they will use to deduce the outcome on a provided game form. So basically, not only do the audience draw cards to decide the secret outcome, they play the game while the Suspects act on stage. Those who guess correct combination of Suspect, Room, and Murder Weapon will recieve a prize for their efforts...

Opelousas Little Theatre is in full swing as the cast of Clue the Musical rehearses and builds the set for this live on-stage version of everybody's favorite 'whodunit' board game. In addition to that a dinner theatre night is in the works with a limited 50 ticket seating. Clue will also feature an 'independent-living set' operated by OLT's finest backstage ninjas.

The cast of Clue is as follows

Mr. Boddy--Eugene Dupre
Mrs. Peacock--Connie Richardson
Professor Plum--Duncan McBride
Miss Scarlet--Kelly Landreneau
Colonel Mustard-- Andy Doucet
Mrs. White--Bradley Credeur
Mr. Green--Nick Blumrich
Detective-- Taylor LaCalle
Piano Accompaniment-- Debbie Bertinot

Show dates:
Sept. 22,23,24 @ 7pm
Sept. 25 @ 2pm
Sept. 29,30 Oct 1 @ 7pm
Oct. 2 @ 2pm
Dinner Theatre: Sept. 28 @ 6pm

All dates to be performed at The Delta Grand Theatre
in downtown Opelousas.

Tickets can be purchased at the door, day of show or
at in advance at Sebastion-Dupre Fine Jewelery 337-948-4367

For more info, visit www.opelousaslittletheatre.com or check out our Facebook fan page. Also, feel free to contact Director Walter Duncan McBride at 337-351-3822.

Theatre--Review (The Compound at Theatre 810)

2011-09-18T10:17:00.000-05:00

Most great plays begin with a simple conceit born of two famous words etched in a question: what if? What if a college professor and his wife had a secret fantasy son whose life they have melded over several bitter years until the game got out of hand? What if a decent white lawyer in the South defended an unjustly-accused black man? What if a morally upright man defended his religious convictions and defied his King's wishes for a divorce? All of those examples had men at their center, so Cody Daigle has asked this “what if?” question: what if Judith Shakespeare, William's sister, albeit a fictitious one, had written The Tempest, and not William? With this simple question, Daigle has crafted William and Judith, a marvel of a play filled with three delights: a great play, a great cast, and a great director.

The time is 1609-1610, London, and William's sister Judith has arrived at William's doorstep in London, penniless but determined not to be married off in an arranged manner as chosen by her father, even though such arrangements were commonplace in that age. Though disowned by her father, Judith is determined to make a life of her own unfettered by men, though she must impose momentarily upon her brother. William has troubles of his own, however, from two directions. A recent case of writer's block is threatening his career, and his wife Anne has traveled from Stratford to visit her husband to express concerns over their daughter's impending marriage to Thomas Quiney. Though written with the help of John Fletcher, Shakespeare's two most recent plays hardly live up to his demanding standards, but the great Bard finds a solution in the “what if?” scenario mentioned above. It's a fascinating idea, first proposed by Virginia Woolf, and taken to incredible heights by Cody Daigle.

The true genius of a “what if?” situation is that it can completely ignore reality. In actuality, William had no sister named Judith, though he did have one named Joan about the same age as Judith and who outlived him by three decades. William's daughter Judith, hereafter called Jude, was betrothed to Thomas Quiney, but they were not wed until 1616 in the last months of William's life, and his health was failing. Judith, portrayed as a young girl in the production, was actually thirty-one when she married Thomas, a marriage that brought nothing but heartache. The two were excommunicated from the church because Thomas had forgotten to arrange a license to marry during Lent, and Thomas was later charged with “carnal copulation” with Margaret Wheeler, who died giving birth to his son. Truth, as Cody writes, is nothing like the play, and the reality would have made a less interesting one.

I do not jest when I say it's a great play with a great cast and a great director. Alicia Chaisson has a director's touch, placing the actors on stage in a way that both enhances the script and feels utterly natural. No bit of staging feels false, nobody upstages the other—except once, which I will detail later—and every actor, lead or supporting, has at least one great moment. As befits the title, William (Aren Chaisson) and Judith (Sarah Gauthier) form the heart of the play, and the two actors have indelible chemistry. Chaisson is utterly believable as the tormented author nearing the end of his career and his life, but it's Gauthier's Judith that steals your heart. Watching her create this thing of passion, only to have it stolen by, of all people, her beloved brother, was devastating to watch, and Sarah's pained face spoke more than any words could. A delightful Steven Cooper epitomized John Fletcher's boyish eagerness, especially in scenes with Sarah where he asks earnestly where do her words come from? Theatre veteran Duncan Thistlethwaite captures Richard Burbage's overblown actor, and Kate Schneider brings a lovely understated quality to Anne Hathaway. Rounding out the cast was Gerard Ducharme as Thomas Quiney, appropriately slimy and smarmy, and Martha Diaz as Jude, who shines in the role and who inspires Judith to fashion Miranda, a character in The Tempest, on Jude.

The play's the thing, however, and no cast or director would have been assembled without Cody Daigle's words. I have followed his works for some time—I'm still kicking myself for not auditioning for Grand Pré—and this shows what time and experience can do to hone one's art. It was perfectly wonderful when I saw the developmental reading presented earlier this year, and yet he has improved it with a new ending that blends William Shakespeare's last great play with Cody's own. It's a lovely visual not possible in a staged reading, and it was a stroke of genius and a most appropriate ending. Before I forget, I wish to congratulate Duncan Thistlethwaite on another wonderful set of wood paneling in jagged designs, Chad Viator for composing the enchanting incidental score, and Walter Brown for donating the use of so much of his own delightfully-appropriate furniture for the set.

I do have quibbles, minor though they be. Aren Chaisson, a compelling actor who has returned to Louisiana after several years of theatrical experience in New York, sometimes projects as if he were still on that New York stage. It's a bit overwhelming in Theatre 810's intimate atmosphere, but when he tones down, he's charming. Thoroughly delightful in A Midsummer Night's Dream because she slowed her diction and articulated beautifully, Martha Diaz has slightly reverted to speaking too quickly again. I attribute that to exciteness at being in this fine production, but she needs to slow her words again for the audience to fully appreciate her character. The only bit of upstaging comes when Gerard Ducharme approaches Martha during the closing scene. He is playing Ferdinand, the character who falls in love with Miranda, but he stands upstage of her, and we do not see her critical reaction, for in the Shakespeare play, she falls in love with him at a glance. Some of the costumes by Gina Baronne were lovely, especially Judith's with its red as a brilliant color choice, but Anne's costume had dangling threads, Fletcher's vest was too large, and Quiney's coat was oddly bunched in the back. The lighting design, also by Gina Baronne, was flawless, but I would suggest one change. In scene two, Judith reads a letter, while in the last scene William reads one too. When William reads his letter, he is washed with a spotlight, but for Judith, the entire stage seemed lit. For a lovely bit of parallelism, both would benefit from spotlights.

As I write this, I am still haunted by Judith's final words to her brother, and I paraphrase, “As you have erased me, dear brother, so I now erase you.” Though Shakespeare has been dead nearly four centuries, his works and his words live on. I have no idea if Cody Daigle will walk that same path—and I certainly won't be around to know—but wouldn't that be a great “what if?”

---Vincent P. Barras

Theatre--Performance (Musical Theatre)

2011-09-16T16:03:00.003-05:00

Cite’ Des Arts presents

“In His Grace”

By…Jane Martin Billeaudeaux & John Verly Richard

An original amusing musical comedy that follows a wayward Louisiana Preacher, (Brother Lester), who begins his adventure with his 2 crazy cousins and the best of intentions but encounters 3 Temptresses along the way: Greed, Power & Lust. We invite you on this wild journey from Ferriday to New Orleans to follow his rise, fall & (redemption??) All original tunes include Gospel, Rock n’ Roll, Jazz and more. Performances run from Sept. 29^th through Oct. 15^th. , Thurs., Fri. and Sat. @ 7:30 pm with one Matinee, Sunday, Oct 9^th @ 2:00 pm. Tickets can be purchased on line through PayPal @ citedesarts.org or by calling 337-291-1122. “Not to be missed”

Director: Christy Leichty

Musical Director: Glenn Hebert

The Cast….

Brother Lester; (Larry Blount)

The Temptresses; Power (Caroline Helm) , Lust (Jessica LeBlanc), Greed (Chelsea Ellison)

The Narrator; (Daniel Ladmirault)

Ruth; (Heather Michot)

The Cousins; Sonny (Nathanael Trahan) Buck (Michael Cato)

Leona/Choir; (Lisa Shannon)

Brother Melvin: (Christian deBlanc)

Peewee/Choir; (Brian Egland)

The Choir:

(Patsy Bienvenu), (Kara Boudreaux - understudy for Power),

(Kayla Guillot – Sonny’s Girlfriend), (Christopher Joseph), ( Alex Domingue)

The Musicians:

Glenn Hebert; Guitar

Adam Trouard; Piano

Dr. Joseph Butts: Upright Bass

Esther Tyree Grant: Violin/Fiddle

Check us out on Facebook for a video snippet.

http://www.facebook.com/#!/pages/In-His-Grace-The-Musical/133974786686306

Theatre--Auditions (Musical Theatre)

2011-09-15T17:06:00.002-05:00

Cite Des Arts is having open auditions this Saturday (September 17th) 1-5pm and Sunday September 18th) 4:30-6:30 for Rocky Horror Picture Show to be produced Halloween weekend, at Cité des Arts. Actors should be prepared to read from the script and sing something.

Loren Farmer/Blaine Peltier/Christy Leichty directing.

Theatre--Auditions

2011-09-15T17:03:00.001-05:00

Nathanael Trahan is announcing open auditions for Rabbit Hole to be held at Cite Des Arts (109 Vine Street in downtown Lafayette) on Saturday, October 1st (2 to 5 pm) and Sunday, October 2nd (2 to 5 pm).

Please Bring:
-a one minute monologue that you think best showcases your talent.
-Resumes are encouraged but not mandatory.

You may be asked to cold read lines as well as participate in an improvisational game.

ALL POSITIONS WILL BE PAYED!

Cast 2 males and 3 females

Character Descriptions:
Becca— (20s-30s) a grieving mother. Tough and uncompromising, she cannot tolerate insincerity or impracticality.

Howie—(20s-30s) Becca’s husband, a patient man who specializes in pretending everything is fine.

Izzy— (20s) Becca’s younger sister, A perennial party girl who never grew up, Izzy is still trying to find herself.

Nat—(40s-50s) Becca and Izzy’s mother, an opinionated alcoholic with a knack for sticking her foot in her mouth.

Jason—(16-19) a nerdy boy who accidentally killed Becca's young son.

Additional Info:
This play will run January 13th-15th and 20th-22th

Theatre--Performance

2011-09-15T16:58:00.001-05:00

Iberia Performing Arts League and Acting Unlimited Inc. present Fire Eye, a original new play by Daniel Povinelli, at 7:30 p.m. Oct. 13-15, 20-22 with 3 p.m. matinees Oct. 16 and 23 at the Essanee Theater, 126 Iberia St. in New Iberia.

The play stars Bruce Coen, Jack Robertson, Amanda Shackelford and Amy Williams and concerns a former President of the United States, Noah Jones, nearing the end of his life. Noah is having visions, believing God has appointed him to cradle humanity through the Great Flood. Always larger-than-life, Noah finally appears to be cracking up. Or is he? His eldest daughter, Rachel, and his long-time political strategist, Robert, are convinced it’s all an act, and that he’s actually getting better. But Noah’s physician, Elizabeth, believes otherwise.

As Noah’s predicament grows more amusing — and puzzling — he springs another surprise: he demands a birthday party a year early to celebrate his impending death!

Threaded through the comedic interplay of Noah’s delusional conversations about the Ark and his preposterous push towards a birthday-party-to-end-all-birthday-parties, all must grapple with darker secrets from their interconnected pasts as they struggle to uncover the meaning of true forgiveness.

For tickets, call (337) 364-6114.

Auditions--Theatre (Musical Theatre)

2011-09-13T23:07:00.000-05:00

Auditions for IPAL's A Carol for Tiny Tim will be held on Sunday, Oct 2 and Monday, Oct 3 at 6:00 P.M at the Essanee Theatre, 126 Iberia Street , New Iberia , La. The cast of 23 consists of 17 males and 6 females. Speaking roles are open for those in late teens to mature adult age. There are 3 speaking roles for youths aged 10 – 16. The Christmas production director is looking for actors and those wishing to sing in chorus scenes. The production is a “period piece” so there will be costume requirements. The Christmas season production opens December 1, 2011 and closes December 11, 2011 for a total of 8 performances.

A Carol for Tiny Tim by John R. Carroll takes place fifteen years after the miraculous transformation of old Ebeneezer Scrooge, with Jacob Marley finding himself in need to call upon the Spirits of Christmas a second time. This time, however, it is not Scrooge who is in need of holiday help, but (the no longer Tiny) Tim. Now a spoiled young man, Tim uses deceit to collect sympathy and money from family and friends. Take care in knowing that Tim will learn valuable lessons and once again be able to bring an honest and sincere message in “God bless us everyone!” This warm and wonderful sequel to one of the holiday’s most enduring classics is destined to become a classic in itself. It is holiday entertainment well suited for the entire family. Yes, “God bless us, everyone!”

You can get more information by e-mailing, by visiting the website, or calling the theater at 364-6114 and leaving a message. Donna Berard (director) may be contacted at 337-229-6919

for more information.

Theatre--Review (ART)

2011-09-11T00:21:00.000-05:00

In my life I have been fortunate towitness some truly great ninety minute plays, not the least of whichwas God of Carnage in NewYork City just shortly after it had garnered two Tony Awards. I wasnot so fortunate to see Doubt,a play by John Patrick Shanley in which Cherry Jones won a Tony Awardfor her piercing portrayal of Sr. Aloysius, but I have seen the playperformed at the Alley Theatre in Houston and at the Bayou Bijoutheatre in UL's Student Union. The play richly deserved its PulitzerPrize and Tony Award for Best Play, but the Acadiana RepertoryTheatre's production, while it benefits from a fine cast, suffersfrom poor direction. It's a great play aided by gifted actors, and itcould have been so much more.

The play focuseson the tensions between Sister Aloysius Beauvier, the principal of aCatholic school, and Fr. Brendan Flynn, the newly appointed priestassigned to the St. Nicholas parish. It's 1964, where uncertaintyracked both the United States in the midst of its civil rightsstruggle and the Catholic Church in the first fruits of Vatican II.The veteran Sr. Aloysius is deeply suspicious of both the newdirection the church was taking and the new progressive priest whoendorses a warmer version of the faith than she has espoused. In theplay's course, she discovers through one of her new teachers Sr.James that Fr. Flynn has taken an unusual interest in Donald Muller,the school's first African-American student. Armed with hercertitude, she assaults Fr. Flynn, using every weapon in her arsenalto remove the priest from her school and her parish. She issuccessful, but the effort shakes her faith to its core, leaving herwracked with doubt.

JohnPatrick Shanley's lean play uses words in the same manner as JamesGoldman did in The Lion in Winter:they serve as story and as a rich testament to what finely-honedwords can do. The two protagonists battle with words, struggling withthe great moral issues of the 1960s, so it's all the moredisappointing that the actors were placed strangely on the stage. Inthe principal's office, many actors became trapped in their chairs,creating an awkwardness when more dynamic action was needed. It didnot help that the Bayou Bijou lacks the proper depth for a full set,but nearly every actor upstaged each other in a manner thatundermined the intense material. On so many occasions, the audiencemissed crucial facial reactions as the performers turned to face anupstage actor. A simple relocation of chairs would have fixed nearlyall the problems and some more active blocking could have made thisproduction a stellar one. It also baffles me why the principal'soffice was elevated on a platform; it was unnecessary and caused noend of problems as the actors stumbled around it during scenechanges. On two occasions, I feared for the safety of the cast asthey teetered near the edge of the stage trying to walk around theplatform.

The directorGarland J. Theriot assembled a fine cast, and my congratulations goto the actors who managed to create such vibrant characters. ShanaLedet Qualls dominated the stage from the very beginning, and her Sr.Aloysius was a steely mixture of tarnished experiences and, in theend, fragile bravado. Though she only had one scene, KristinaMarshall made Mrs. Muller the most complicated and rich person on thestage. Her sympathetic portrayal of a harried mother was atour-de-force in a small time period. As the naïve Sr. James,Etienna R. Wright gives a nice portrait, but she needed to wait forlaughter to die down as important lines were said. Steven R. Landrygave a nuanced, even underplayed performance as Fr. Flynn, but in thecrucial moment when he must call to Sr. Aloysius with a single word,“Wait,” it wasn't strong enough to signal the victory Sr.Aloysius finally achieved. During Steven's monologue addressingstudents at St. Nicholas, he stood behind the light, casting himselfin shadow, an unusual positioning that served little purpose. Thesefour actors deserve great credit for keeping the play fluid in theface of stolid blocking.

WhenI discovered that Doubt hadbeen made into a movie with the incredible Meryl Streep in the lead,I was elated, only to notice that the movie completely erased the onething that made the play so powerful: the doubt. The play's greatstrength is that nothing is ever proven, and the audience members areleft to decide on their own what really happened. Every person wholeft that theatre was haunted by Sr. Aloysius's final words: “Ihave doubts. I have such doubts.” I wished I had left haunted aswell.

---Vincent P. Barras