Showing posts with label Teche Theatre for the Performing Arts. Show all posts
Showing posts with label Teche Theatre for the Performing Arts. Show all posts
Tuesday, May 3, 2011
Theatre--Auditions (Musical Theatre)
The Teche Theatre for the Performing Arts will be holding open auditions for Gypsy on Tuesday, May 10th from 7 to 10 pm.
Tuesday, May 25, 2010
Theatre--Performance
The Teche Theatre for the Performing Arts in Franklin (501 Main Street) is doing The Graduate on May 27th, 28th and 29th, along with June 1st at 7:00 PM with a matinee performance May 30 at 2:00. Tickets are $10.
Monday, May 10, 2010
Theatre--Audition (Musical Theatre)
The Teche Theatre for the Performing Arts is holding auditions for its summer musical (which will not be named until after auditions) on Tuesday, May 11th at 7 pm and Wednesday, May 12th at 5:30 pm. A short prepared monologue and the song of your choice would be appreciated but is not required.
Thursday, April 1, 2010
Theatre--Announcement
Teche Theatre for the Performing Arts has become a partner with Barnes & Noble to promote theatrical art and art education. On May 21st, 2010, Barnes & Noble will conduct a Book Fair on behalf of the Teche Theatre in Lafayette including online sales and donate a percentage of the sales from that day to the Teche Theatre. Vouchers will be given to the Teche for its dispersal to ensure proper credit for the May 21st Book Fair. Also, the Teche will premier excerpts from its upcoming spring production of The Graduate at Barnes & Noble that day. Voucher info will be given out shortly.
Wednesday, March 24, 2010
Theatre--Performance
The Teche Theatre for the Performing Arts has announced the cast of The Graduate.
Mrs. Robinson--Debbie Box
Benjamin Braddock--Christian Glorioso
Elaine Robinson--Morgan James
Mr. Robinson--Tony Scelfo
Mrs. Braddock--Judith Allian
Stripper--Ladaisha Bowles
Waiteress/Hotel desk clerk--Emilie Miller
Priest/Man in bar--Melvin Coleman
There is still a need for a man in his 40's to play Mr. Braddock.
Tuesday, March 9, 2010
Theatre--Auditions
The Teche Theatre for the Performing Arts in Franklin is announcing open auditions for The Graduate. Auditions will be held on Wednesday, March 17th at 6 pm. Persons auditioning must be 17 years old and older. A prepared piece is not required to audition as parts of the actual script will be provided at the audition.
The story surrounds the life of Benjamin Braddock, recent college graduate and prodigal son, who returns home and promptly becomes embroiled in an affair with the wife of his father's business partner but soon finds he is falling in love with her daughter, Elaine. The principle characters, three male and three female, needed for this production are Benjamin Braddock, Mr. Braddock, Mr. Robinson, Mrs. Robinson, Elaine Robinson, and Mrs. Braddock. However, there are also a few ensemble roles as well.
Production dates will be May 27th, 28th, 29th, 30th and June 1st.
Wednesday, September 30, 2009
Theatre--Performance
The Teche Theatre for the Performing Arts in Franklin will present November by David Mamet in November. The production dates are Tuesday, November 3rd, Wednesday, November 4th, Saturday November 7th, Sunday, November 8th and Tuesday, November 10th. Shows on November 3rd, 4th, 7th and 10th will begin at 7:30 pm. The Sunday show is a matinee and will begin at 3 pm.
Tickets will be available at the Fad (337-828-2486) beginning on October 26th.
Tickets will be available at the Fad (337-828-2486) beginning on October 26th.
Monday, October 20, 2008
Theatre--Review (Teche theatre for the Performing Arts)
Franklin’s Teche Theater for the Performing Arts chose Tennessee Williams’ Cat on a Hot Tin Roof as its 2008-2009 season opener. According to cast-member Ed Verdin, “We always choose deep, challenging, thought-provoking dramas that showcase acting talent.” And this they did. Ably and passionately directed by Allison Jones, the classic came to life in the hands of a talented and dedicated cast. The drama takes place in one day, and involves the terminal diagnosis of Big Daddy, and the reactions of his wife, sons, and in-laws to the situation. Underlying the story are the concepts of truth, love and lust of various kinds.
Act I belongs to Maggie, and in this case LaDaisha Bowles was more than up to the challenges of the role. Seductive, determined, yet hurting, her sensitive performance let us know exactly who is the cat on the hot tin roof and that she wants to get off. With a near-perfect accent, catlike movements, and full of sexual tension she firmly established the sexuality inherent in the story. Brick, played by Ed “Tiger” Verdin was indeed confounded by the cat he shared his life with. His “Brick,” the alcoholic older son of Big Daddy, was well done. Never over-reacting, never showing spunk, despite the pleading of his wife, the taunts of his brother and sister-in-law and the “mendacity of life,” he finds his consolation and hiding place in the bottle. And therein lays his problem. Through Verdin’s performance we see Brick’s weakness and frustration.
Act II, of course, belongs to Big Daddy on a talking jag, as Brick comments. Foul-mouthed and irascible, as the patriarch of the family Big Daddy provides the philosophical underpinning of the plot. “Ignorance of mortality is a comfort,” he notes, but “A man can’t buy back his life, once his life is finished.” Larry Deslatte’s Big Daddy was aristocratic, feisty, powerful, and confident. He confessed to playing the southern gentleman, but admitted to being anything but. In his performance on-stage he smokes a cigar and the aroma filling the auditorium only added to the characterization. With a face like Burl Ives, but a smaller frame, he nonetheless filled the stage. High point in the entire drama was the confrontation between Big Daddy and Brick ending Act II. The dramatic intensity was overwhelming as Brick finally reveals the problem in his relationship with youthful friend Skipper. Bravo to Verdin and Deslatte for an exhilarating moment at the theater!
Act III finally brings the entire family together in the resolution of the story and the conflicts that have been built up. Big Mama, played by Denise Hodge, finally has her chance to show her stuff, and despite her world collapsing around her she does so with real spunk. She roars, she cries, but she goes on. Ricky Pellerin as Gooper and Erin Segura as Mae are perfectly matched as the frivolous, greedy, catty “younger sibling family.” And their children are … obnoxious. The fertile family provides the little “comic relief” in the story, and is to be commended for supporting, but not overwhelming, the efforts of the four central characters. The rest of the cast, Tyra Yarber (Rev Tooker) and Christian Glorioso (Dr. Baugh) and a staff of five servants admirably did the job of bringing the time, place, and family life to the stage.
The set designed by Tyra Yarber and constructed under master builder Brett Casselman was a wonder. We could feel we were in a plantation, where the rich and successful confronted real life. A slightly raked bed made the bedroom scenes easy to see and follow.
Cat on a Hot Tin Roof plays only four performances, and regrettably half are already over. Only Monday, October 20 and Tuesday, October 21 are left. The show is long (over 3 hours plus 2 intermissions), but if you are interested in serious theater, is well worth the trip. A big “Bravo” to director, cast, and organization for such an ambitious undertaking.
--Don Voorhies
Act I belongs to Maggie, and in this case LaDaisha Bowles was more than up to the challenges of the role. Seductive, determined, yet hurting, her sensitive performance let us know exactly who is the cat on the hot tin roof and that she wants to get off. With a near-perfect accent, catlike movements, and full of sexual tension she firmly established the sexuality inherent in the story. Brick, played by Ed “Tiger” Verdin was indeed confounded by the cat he shared his life with. His “Brick,” the alcoholic older son of Big Daddy, was well done. Never over-reacting, never showing spunk, despite the pleading of his wife, the taunts of his brother and sister-in-law and the “mendacity of life,” he finds his consolation and hiding place in the bottle. And therein lays his problem. Through Verdin’s performance we see Brick’s weakness and frustration.
Act II, of course, belongs to Big Daddy on a talking jag, as Brick comments. Foul-mouthed and irascible, as the patriarch of the family Big Daddy provides the philosophical underpinning of the plot. “Ignorance of mortality is a comfort,” he notes, but “A man can’t buy back his life, once his life is finished.” Larry Deslatte’s Big Daddy was aristocratic, feisty, powerful, and confident. He confessed to playing the southern gentleman, but admitted to being anything but. In his performance on-stage he smokes a cigar and the aroma filling the auditorium only added to the characterization. With a face like Burl Ives, but a smaller frame, he nonetheless filled the stage. High point in the entire drama was the confrontation between Big Daddy and Brick ending Act II. The dramatic intensity was overwhelming as Brick finally reveals the problem in his relationship with youthful friend Skipper. Bravo to Verdin and Deslatte for an exhilarating moment at the theater!
Act III finally brings the entire family together in the resolution of the story and the conflicts that have been built up. Big Mama, played by Denise Hodge, finally has her chance to show her stuff, and despite her world collapsing around her she does so with real spunk. She roars, she cries, but she goes on. Ricky Pellerin as Gooper and Erin Segura as Mae are perfectly matched as the frivolous, greedy, catty “younger sibling family.” And their children are … obnoxious. The fertile family provides the little “comic relief” in the story, and is to be commended for supporting, but not overwhelming, the efforts of the four central characters. The rest of the cast, Tyra Yarber (Rev Tooker) and Christian Glorioso (Dr. Baugh) and a staff of five servants admirably did the job of bringing the time, place, and family life to the stage.
The set designed by Tyra Yarber and constructed under master builder Brett Casselman was a wonder. We could feel we were in a plantation, where the rich and successful confronted real life. A slightly raked bed made the bedroom scenes easy to see and follow.
Cat on a Hot Tin Roof plays only four performances, and regrettably half are already over. Only Monday, October 20 and Tuesday, October 21 are left. The show is long (over 3 hours plus 2 intermissions), but if you are interested in serious theater, is well worth the trip. A big “Bravo” to director, cast, and organization for such an ambitious undertaking.
--Don Voorhies
Theatre--Review (Teche Theatre for the Performing Arts)
After watching the Pollitt family celebrate the patriarch's birthday in Tennessee Williams' classic Cat On A Hot Tin Roof, you will go home and clasp your own dysfunctional family to bosom with gratitude. Infidelity, homosexuality, alcoholism, chicanery and children in need of domestication--this play has it all spread out among a cast with names like Gooper, Sister-Woman, Brick and Maggie The Cat.
The plot basically consists of the struggle to inherit Big Daddy Pollitt's vast estate. Like all the best tycoons he has made no will and clearly favors one son over the other. It's people like this that keep Dear Abby in business. Well, Big Daddy has terminal cancer, his favorite son is a lush and probably gay. The other son is a responsible lawyer with a wife and five and a half children. Guess who isn't getting bupkis if Big Daddy DOES sign a will.
Brick is laid up in his room (at Daddy's house) with a broken ankle and no visible means of support. His sole comfort is a well-stocked liquor cabinet which insulates him from the demands of his frustrated wife, Maggie (the cat of the title). Maggie wants love, money and a child and all that stands in her way is a feckless husband who can't seem to get past the fact that Maggie tried to commit adultery with Brick's best friend Skipper. This resulted in Skipper telling Brick that he couldn't have sex with Maggie because she was the wrong half of the couple. Brick pitched a fit, Skipper died and Maggie spends all of Act One thinking over the wisdom of THAT plan.
Brick and Maggie's bedroom is Ground Zero for the rest of the family who traipse in and out without bothering to knock. This probably has an inhibiting effect on Brick's libido but it's not the worst of his problems. Eventually Maggie tells Big Daddy a big fib. She claims to be pregnant--by Brick--and ends the play by pouring out Brick's alcohol and propping him up in bed while she lays down the law.
This play is VERY tricky for a number of reasons. In the first place there really isn't ANYONE you would care to know personally. They range from annoying to repellent and the moral center of this universe is a drunk.
Second, the entire first act is a virtual monologue by Maggie as she has to enlist our sympathy while laying out the whole plot and psychoanalyzing every character who matters, living or dead. All this while putting on stockings and makeup with the aim of getting a rise out of her surly husband who barely speaks to her. That's pretty much the first act.
In the second act we find out, along with Brick, that Big Daddy has no problem with homosexuality. It worked for him and he sees no reason it shouldn't work for Brick. Big Daddy points out that Brick is his own worst enemy and Brick gives Big Daddy a bit of news in return. Big Daddy is going to die of cancer, sooner rather than later. Big Daddy takes it like a man--he has a tantrum.
In act three everyone concedes that nice guys finish last, though nobody in this play actually knows one. Still, the gloves come off and finally Maggie and Brick, who have prided themselves on honesty if nothing else (and they're right about that), connive in lying to the rest of the family about Maggie's pregnancy. Apparently, the thinking is that sex got them into this mess and sex can get them out of it again.
Despite a cast of thousands, the play is really a three-person drama. It rises and falls on Maggie, Big Daddy and Brick. Brick has the miserable job of being the reactor to everything that happens. He never initiates anything but his responses are vital to the performances of the other two. He needs to be able to hold our interest by saying and doing virtually nothing. Maggie has to hit notes other than sex and Big Daddy has to get past being a crude narcissist.
You can see a handsome production of this staple of the American Theatre at the Teche Theatre for the Performing Arts in Franklin on Monday and Tuesday, October 20 and 21, at 7:30.
The production, directed by Allison Jones, looks great and features some fine acting. Ladaisha Bowles is a commanding Maggie and Larry Deslatte Jr., a blustery Big Daddy. As Brick, Ed Verdin makes art of surly silence which is capable of abrupt explosions. Erin Segura is a pretty and sympathetic Mae and Ricky Pellerin makes you sympathize with Gooper. Denise Hodge is a "smother" for the ages as Big Mama. The no-neck monsters are little horrors and the guests and servants look appropriately uncomfortable at the shenanigans going on around them.
Put a little extra aside for the baby-sitter, though. The production runs over three hours. Language and thematic material make this a PG (PG-13?) evening.
---Walter Brown
The plot basically consists of the struggle to inherit Big Daddy Pollitt's vast estate. Like all the best tycoons he has made no will and clearly favors one son over the other. It's people like this that keep Dear Abby in business. Well, Big Daddy has terminal cancer, his favorite son is a lush and probably gay. The other son is a responsible lawyer with a wife and five and a half children. Guess who isn't getting bupkis if Big Daddy DOES sign a will.
Brick is laid up in his room (at Daddy's house) with a broken ankle and no visible means of support. His sole comfort is a well-stocked liquor cabinet which insulates him from the demands of his frustrated wife, Maggie (the cat of the title). Maggie wants love, money and a child and all that stands in her way is a feckless husband who can't seem to get past the fact that Maggie tried to commit adultery with Brick's best friend Skipper. This resulted in Skipper telling Brick that he couldn't have sex with Maggie because she was the wrong half of the couple. Brick pitched a fit, Skipper died and Maggie spends all of Act One thinking over the wisdom of THAT plan.
Brick and Maggie's bedroom is Ground Zero for the rest of the family who traipse in and out without bothering to knock. This probably has an inhibiting effect on Brick's libido but it's not the worst of his problems. Eventually Maggie tells Big Daddy a big fib. She claims to be pregnant--by Brick--and ends the play by pouring out Brick's alcohol and propping him up in bed while she lays down the law.
This play is VERY tricky for a number of reasons. In the first place there really isn't ANYONE you would care to know personally. They range from annoying to repellent and the moral center of this universe is a drunk.
Second, the entire first act is a virtual monologue by Maggie as she has to enlist our sympathy while laying out the whole plot and psychoanalyzing every character who matters, living or dead. All this while putting on stockings and makeup with the aim of getting a rise out of her surly husband who barely speaks to her. That's pretty much the first act.
In the second act we find out, along with Brick, that Big Daddy has no problem with homosexuality. It worked for him and he sees no reason it shouldn't work for Brick. Big Daddy points out that Brick is his own worst enemy and Brick gives Big Daddy a bit of news in return. Big Daddy is going to die of cancer, sooner rather than later. Big Daddy takes it like a man--he has a tantrum.
In act three everyone concedes that nice guys finish last, though nobody in this play actually knows one. Still, the gloves come off and finally Maggie and Brick, who have prided themselves on honesty if nothing else (and they're right about that), connive in lying to the rest of the family about Maggie's pregnancy. Apparently, the thinking is that sex got them into this mess and sex can get them out of it again.
Despite a cast of thousands, the play is really a three-person drama. It rises and falls on Maggie, Big Daddy and Brick. Brick has the miserable job of being the reactor to everything that happens. He never initiates anything but his responses are vital to the performances of the other two. He needs to be able to hold our interest by saying and doing virtually nothing. Maggie has to hit notes other than sex and Big Daddy has to get past being a crude narcissist.
You can see a handsome production of this staple of the American Theatre at the Teche Theatre for the Performing Arts in Franklin on Monday and Tuesday, October 20 and 21, at 7:30.
The production, directed by Allison Jones, looks great and features some fine acting. Ladaisha Bowles is a commanding Maggie and Larry Deslatte Jr., a blustery Big Daddy. As Brick, Ed Verdin makes art of surly silence which is capable of abrupt explosions. Erin Segura is a pretty and sympathetic Mae and Ricky Pellerin makes you sympathize with Gooper. Denise Hodge is a "smother" for the ages as Big Mama. The no-neck monsters are little horrors and the guests and servants look appropriately uncomfortable at the shenanigans going on around them.
Put a little extra aside for the baby-sitter, though. The production runs over three hours. Language and thematic material make this a PG (PG-13?) evening.
---Walter Brown
Sunday, September 28, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts has announced the cast for its upcoming production of Cat on a Hot Tin Roof (opening October 20th). The cast is as follows:
Big Daddy: Larry Deslatte
Big Momma: Denis Hodge
Brick: Ed Verdin
Maggie: LaDaisha Bowles
Gooper: Ricky Pellerin
Mae: Erin Segura
Rev. Tooker: Tyra Yanber
Dr. Baugh: Christian Glorioso
Lacey: Carolyn Higdon
Sookie: Christina Bertrand
Daisy: Emilie Miller
Brightie: Skyla Guidry
Small: Quenton Johnson
Dixie: Bailey Stovall
Buster: Tate Granger
Sonny: Alex Guidry
Trixie: Rebakah Deslatte
Big Daddy: Larry Deslatte
Big Momma: Denis Hodge
Brick: Ed Verdin
Maggie: LaDaisha Bowles
Gooper: Ricky Pellerin
Mae: Erin Segura
Rev. Tooker: Tyra Yanber
Dr. Baugh: Christian Glorioso
Lacey: Carolyn Higdon
Sookie: Christina Bertrand
Daisy: Emilie Miller
Brightie: Skyla Guidry
Small: Quenton Johnson
Dixie: Bailey Stovall
Buster: Tate Granger
Sonny: Alex Guidry
Trixie: Rebakah Deslatte
Thursday, August 14, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts has announced its upcoming production of Cat on a Hot Tin Roof. The show will run October 25th, 27th and 28th at 7:30 pm and October 26th at 3 pm. Tickets are $10 in advance and $13 at the door. Advance tickets go on sale October 13th.
Thursday, July 31, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts is presenting Annie Warbucks (Sorry for the tardiness of this posting!)this weekend. Performances will be tonight and tomorrow at 7:30 pm.
Saturday, May 24, 2008
Theatre--Review
Steel Magnolias, the Richard Harling dramedy about six women in Truvy’s Beauty Salon, is a staple of community theater across America. The show is filled with pithy one-liners, as well as personal conflict (this IS a beauty parlor after all) and more substantive themes of interpersonal relations (we are stuck with our family but can choose our friends) and the consequences of choices we make. It is especially endearing to Louisiana, as it is set in our very own Natchitoches. Made into a movie, and performed in virtually every theater venue in Acadiana, the Teche Theater of the Performing Arts gave its take on the show – and a successful take it was.
The ensemble cast was wonderful. Each actress took a personal slant on her character, her humor, and her own tragedy. By the end of the play, they seemed like friends of mine. While all six cast members were excellent, particularly outstanding were Erin Segura as Shelby and Denise Hodge as Ouiser. Segura’s character was a standout, maintaining the upstate accent throughout. She was assertive, flippant, and altogether modern in contrast to the other “ladies.” Hodge was a hysterical – from the moment she took the stage eyes focused on her bombastic, spitfire take on Ouiser. Hodge’s every line was given with confidence, character, and punch and got more than an appropriate laugh. I was surprised to find out during the curtain call that this was her very first time on stage … she seemed to be a veteran! Speaking of first timers, Director Ed “Tiger” Verdin was making his directorial debut. His staging was virtually flawless. The many levels of the stage, made it easy to see all characters from any point in the theater, so all were clearly heard and seen. Interestingly, a simple window frame and door frame separated the shop from the beautiful townscape outside … and did the job perfectly well. In the hands of a creative director and crew, such miracles are possible!
The Teche Theater, with its multiple levels of seating, was a perfect environment for this show and every member of the “house staff” made the audience feel welcome and part of the family. It is almost as though we were at Truvy’s Beauty Salon sitting in the “waiting seat” and next on the hot seat! Many consider Steel Magnolias a “chick show” and that it is. The audience was over 80% on the distaff side. But show is a chance for everyone (i.e., men) to look into this particular slice of the world, the people, and the problems in it.
--Donald "Doc" Voorhies
The ensemble cast was wonderful. Each actress took a personal slant on her character, her humor, and her own tragedy. By the end of the play, they seemed like friends of mine. While all six cast members were excellent, particularly outstanding were Erin Segura as Shelby and Denise Hodge as Ouiser. Segura’s character was a standout, maintaining the upstate accent throughout. She was assertive, flippant, and altogether modern in contrast to the other “ladies.” Hodge was a hysterical – from the moment she took the stage eyes focused on her bombastic, spitfire take on Ouiser. Hodge’s every line was given with confidence, character, and punch and got more than an appropriate laugh. I was surprised to find out during the curtain call that this was her very first time on stage … she seemed to be a veteran! Speaking of first timers, Director Ed “Tiger” Verdin was making his directorial debut. His staging was virtually flawless. The many levels of the stage, made it easy to see all characters from any point in the theater, so all were clearly heard and seen. Interestingly, a simple window frame and door frame separated the shop from the beautiful townscape outside … and did the job perfectly well. In the hands of a creative director and crew, such miracles are possible!
The Teche Theater, with its multiple levels of seating, was a perfect environment for this show and every member of the “house staff” made the audience feel welcome and part of the family. It is almost as though we were at Truvy’s Beauty Salon sitting in the “waiting seat” and next on the hot seat! Many consider Steel Magnolias a “chick show” and that it is. The audience was over 80% on the distaff side. But show is a chance for everyone (i.e., men) to look into this particular slice of the world, the people, and the problems in it.
--Donald "Doc" Voorhies
Thursday, May 15, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts has released the cast list for their production of Steel Magnolias, which will open on May 22nd. The cast will be:
Truvy: Faye Coots
Annelle: Julia Franks
Clariee: Allison Jones
Shelby: Erin Segura
M'Lynn: Mary Ann Fournier
Quiser: Denise Hodge
Truvy: Faye Coots
Annelle: Julia Franks
Clariee: Allison Jones
Shelby: Erin Segura
M'Lynn: Mary Ann Fournier
Quiser: Denise Hodge
Sunday, May 4, 2008
Theatre--Auditions
The Teche Theatre for the Performing Arts is holding auditions for its production of Annie Warbucks on May 26, 27, 28 and 29 at 7 pm. For more information, call 337-828-2787.
Thursday, March 6, 2008
Theatre--Performance (Weekend)
Thursday, March 6:
Driving Miss Daisy at Cite Des Arts (continuing)
No Teacher Left Standing by Acting Up in Acadiana (continuing)
Friday, March 7:
Waiting for Godot at N.P. Moss Annex (opening)
Ain't Misbehavin' at Teche Theatre for the Performing Arts (opening)
Driving Miss Daisy at Cite Des Arts (continuing)
Little Shop of Horrors at IPAL (continuing)
No Teacher Left Standing by Acting Up in Acadiana (continuing)
Saturday, March 8
The Producers at the Heymann Center (one night only)
Waiting for Godot at N.P. Moss Annex (continuing)
Ain't Misbehavin' at TTFTPA (continuing)
Driving Miss Daisy at Cite Des Arts (continuing)
Little Shop of Horrors at IPAL (continuing)
No Teacher Left Standing by Acting Up in Acadiana (continuing)
Sunday, March 9:
Little Shop of Horrors at IPAL (continuing)
Aint' Misbehavin' at TTFTPA (continuing)
Driving Miss Daisy at Cite Des Arts (continuing)
No Teacher Left Standing by Acting Up in Acadiana (continuing)
Friday, March 7:
Waiting for Godot at N.P. Moss Annex (opening)
Ain't Misbehavin' at Teche Theatre for the Performing Arts (opening)
Driving Miss Daisy at Cite Des Arts (continuing)
Little Shop of Horrors at IPAL (continuing)
No Teacher Left Standing by Acting Up in Acadiana (continuing)
Saturday, March 8
The Producers at the Heymann Center (one night only)
Waiting for Godot at N.P. Moss Annex (continuing)
Ain't Misbehavin' at TTFTPA (continuing)
Driving Miss Daisy at Cite Des Arts (continuing)
Little Shop of Horrors at IPAL (continuing)
No Teacher Left Standing by Acting Up in Acadiana (continuing)
Sunday, March 9:
Little Shop of Horrors at IPAL (continuing)
Aint' Misbehavin' at TTFTPA (continuing)
Friday, February 29, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts presents Ain't Misbehavin', opening on March 7th and running March 8th, 9th, 11, 12th and 13th. All performances except March 9th will be at 7:30 pm. The March 9th performance is a matinee, and will begin at 2 pm. Admission is $10 and tickets will go on sale at the Fads starting March 3, 2008.
The outrageously prodigious comic and musical soul of 1930s Harlem lives on in this rollicking, swinging, finger-snapping revue that is still considered one of Broadway’s best.
The inimitable Thomas “Fats” Waller rose to international fame during the Golden Age of the Cotton Club, honky tonk dives along Lenox Avenue, rent parties, stride piano players and that jumpin’ new beat, Swing. Although not quite a biography, Ain’t Misbehavin’ evokes the delightful humor and infectious energy of this American original as a versatile cast struts, strums and sings the songs he made famous in a career that ranged from uptown clubs to downtown Tin Pan Alley to Hollywood and concert stages in the U.S., Canada and Europe.
Ain’t Misbehavin’ is one of the most popular, well-crafted revues of all time – sometimes sassy, sometimes sultry, with moments of devastating beauty. Ain’t Misbehavin’ is simply unforgettable.
The outrageously prodigious comic and musical soul of 1930s Harlem lives on in this rollicking, swinging, finger-snapping revue that is still considered one of Broadway’s best.
The inimitable Thomas “Fats” Waller rose to international fame during the Golden Age of the Cotton Club, honky tonk dives along Lenox Avenue, rent parties, stride piano players and that jumpin’ new beat, Swing. Although not quite a biography, Ain’t Misbehavin’ evokes the delightful humor and infectious energy of this American original as a versatile cast struts, strums and sings the songs he made famous in a career that ranged from uptown clubs to downtown Tin Pan Alley to Hollywood and concert stages in the U.S., Canada and Europe.
Ain’t Misbehavin’ is one of the most popular, well-crafted revues of all time – sometimes sassy, sometimes sultry, with moments of devastating beauty. Ain’t Misbehavin’ is simply unforgettable.
Friday, January 25, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts will present A. R. Gurney's Love Letters for the weekend of February 15th. The evening shows on February 15th and 16th will begin at 7:30 pm and the matinee on the 17th will begin at 2:30 pm.
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