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Pedar Benson Bate and Rachel Herring

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by Bob Weesner

When entering the auditorium from the rear, you are immediately drawn toward the massive concrete wing flats that dominate both sides of the stage. Moving forward, you become aware of the vague streaks and stains, aged and hoary, on and in the surface of these walls. Nearer still, the mottling becomes clearer, and amid the grime are definite spatters of something darkish red.

Blood?

Welcome to Emerald City Players production of Jekyll & Hyde: The Musical. Playing now through December 5th, this setting is perfect for the familiar morality tale of science and good intentions gone horribly wrong.

In the lead role of Jekyll/Hyde is Pedar Benson Bate. A daunting characterization for any performer to attempt, Bate roars – sometimes literally – through the show with seeming ease, high energy, and (as Hyde), a skewed charm that attracts and repels simultaneously. Many of his soliloquies set to music are angst driven and introspective, yet effectively varied just enough to remain interesting. And his change from Jekyll to Hyde – mid stage, in full view of the audience … friend, that alone is worth the price of admission.

Supporting Bate in this production is Kate Mock Elliott, as Jekyll’s long suffering fiancé. Frankly, I felt that the character was not well written, in that there was more reaction than action as motivation, and any pretense of chemistry between the two was, at most, implied. Still, Elliott has great personal charm and a sweet clear soprano voice. These, plus her great attention to detail and nuance, served her well in creating a solid-as-a-rock character.

A better written character is Hyde’s supposed girl friend, Lucy, portrayed by Rachel Hering. From the first moment Lucy takes the stage, you know instinctively  that she’s not going to be around for any supposed happy ending. Yet, even knowing that, you can’t not watch. The talented Ms Hering projects great warmth on stage. She also appears to have a strong alto singing voice. Unfortunately, on the night I saw the show she talked her way through several song sequences. I was somewhat disappointed – there’s an obvious duet between the two women I would like to have experienced.

If Bate, Elliott, and Hering had been alone in this production, it would have been every bit a good show. Jekyll & Hyde, however, is written for a large cast, and this production has a solid core of supportive performers. All did well, but Paul Lee, Tommy Thurston, Dawn Farrell, and Nikki Rehmert had stand alone moments that were memorable.

And finally …

Jekyll & Hyde was directed by Ryan Scarlata, one of the most talented directors I’ve seen in a long time. The blocking was well motivated, the pace was fast, and the over-all effect was very fluid. His choreography avoided the insipid dance attempts so typical of Columbus community theatre. Instead, movements were simple, leading the group from one brief tableau to another. In general, his style of moving people around the stage changed constantly from realistic to the presentational, more often seen in opera. The program notes say he is now in New York, looking there for work as a director. Watch for his name. He just might make it.

With all that, I’m not saying this production was perfect. There were two slight problems.  First, the orchestrations were pre-recorded, and occasionally they were as loud as the singers. This I observed, and easy to fix.  Second, many of the cast members were wearing microphones, and there was a difference in the “presence” of the favored voices over the unfavored. Can anything be done about that? I don’t know. But in a show that is near flawless, it bothered me.

Jekyll & Hyde The Musical plays Thursday, December 3 through Saturday, December 5th at Emerald City Players. I warn you – the memory will stay with you long after the final curtain.  All performances begin at 8pm at 6799 Dublin Center Dr. in Dublin, OH.  Order tickets here or by calling 614-470-1525.  $15 for adults, $13 for students and seniors, $7.50 for CSCC students with vouchers.  Visit Theatre Vault’s Columbus Theatre Calendar or www.emeraldcityplayers.com for more information.

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For most of his career, Bob was employed as a television director, working for stations from Los Angeles to Columbus. During this same time period he wrote and directed plays for theatres all over the Midwest. For several years he was the drama critic for the Spectator newspaper chain and for channel 6 here in Columbus. Bob has won numerous awards, including two Emmy awards, A Freedom’s foundation award, and two recent awards from the National Writers Digest Playwriting Competition.

Whistling in the Dark Theatre Productions announces auditions for its 09-10 Season & Sunday Readings on Dec. 1 from 7-9pm (Drake Union, Rm 2068;); Dec. 2 from 7-9pm (South Campus Gateway) at  1570 N. High St. Columbus

Auditions for Whistling in the Dark’s upcoming season and play reading series Sundays at 7pm. Female actors of color are particularly encouraged to audition.

Actors should prepare one monologue.

To RSVP, sign up on the callboard in the Drake Union or email us at whistlingtheatre@gmail.com

http://www.whistlingtheatre.com

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Roundtown Players invites you to audition for its upcoming Children’s Musical, A Kidsummer Night’s Dream.
(Book by Lynne Bartlett, Mark Leehy and Kevin O’Mara. Music and lyrics by David Billings, Rob Fairbairn, Mark Leehy and Kevin O’Mara.)

Contact: Director Tahrea Maynard at (740) 497-3409, or email tahreamaynard@yahoo.com. Also check http://rtpchildrenstheatre.blogspot.com for info.

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The Curtain Players Playwrights Festival (now in its eighth year) is held annually to showcase new, unpublished, unproduced works of up-and-coming playwrights. These plays range from one-acts to full-lengths and vary in subject matter, encapsulating several genres and playwriting styles.

We will be accepting submissions for the 8th Annual Playwrights Festival from October 15–December 15, 2009.

Please note that the postmark deadline is DECEMBER 15, 2009.

Submission Guidelines:

Curtain Players is seeking full-length and one-act scripts for workshop productions and staged readings (Festival Selections) over six evenings in July 2010.

Whether you’re new to our Festival or a returning playwright, please review the guidelines carefully—the rules have changed.
Script length     Full length (90–120 min) / One-Act (20–60 min)
Fees     None
Script Limit     Up to 3 scripts per playwright will be considered
How to Submit     Two ways to submit:

1. Via mail
* 1 printed copy of each script‡, bound with brads; cover page with title only† (your name must not appear in the script)
* Completed Curtain Players Festival submission form, signed, 1 per script submitted
2. Via email
* 1 copy of each script†, in either PDF or Microsoft Word format
* 1 electronic copy of completed Curtain Players Festival submission form, 1 per script submitted
* In addition to the above, a MAILED Curtain Players Festival submission form (with playwright’s name, script name, and playwright’s signature), 1 per script submitted

Important
Information

* Scripts MUST be in standard playwriting format. Examples can be found at the following websites:
o How to Format A Stage Play (Script Frenzy)
o Guide to stage play script formatting (The Chameleon Theatre Circle)
* Scripts MUST be unpublished and unproduced (previous staged readings and workshops are acceptable)
* If your play has had a staged reading or workshop, please let us know: the Festival aims to push development of a script, so we need to know where it’s been.
* Directors will be encouraged to work with the playwrights (via email, phone, or in person depending on playwright’s location) to workshop the play during the rehearsal process.
* Some plays will be staged with a minimal set, basic props, costumes, etc.; scripts may be used on-stage. Some will be selected for readings only. Because this is a festival with multiple plays being showcased over three weekends, your play may not be afforded a full production, but that should not deter playwrights from entering. Just remember that these are festival conditions and the words should carry the play.

Download forms at Curtain Players website.
Send all materials to:
By Mail:     Curtain Players
P.O. Box 1143
Westerville, Ohio 43086
By Email:     playfest@curtainplayers.com

Note: Plays will not be returned. All printed scripts will be destroyed and recycled.

† Our submissions are judged blind, therefore your name must not appear in the script. The identities of the playwrights are not revealed until the committee and Curtain Players Board of Directors have approved the Festival slate.

‡ To help facilitate script distribution amongst our judges and reduce the need for wasting paper through copying scripts, please consider including an electronic copy of your script in PDF or Microsoft Word format on a disc (or you can e-mail it to us at playfest@curtainplayers.com). All electronic scripts will be deleted once final selections have been determined.

Rosebriar Shakespeare Company announces open auditions fo romeo and juliet directed by Steve Emerson.  Casting 8 actors to play all roles in a modern, bare-bones vision of the play using stylized physicality and mask work.

WHEN: Auditions will be held Monday, November 23, 6:00-8:00pm and Tuesday, November 24, 6:00-8:00pm

WHERE: Columbus Metropolitan Library Main Branch, 95 S Grant, Columbus in the children’s activity area, first floor.

PREP: Actors should prepare the prologue to Act I and one Shakespearean monologue (2-3 minutes in length) of their choice. Head shots and resumes welcome, not required.

PERFORMANCES: Mid-February through March. Specific dates and times TBA, but be prepared to travel to venues from Columbus through Southeast Ohio.

CONTACT: Call Steve Emerson at 640-209-9774 or email steveicito@yahoo.com for more information or visit www.rosebriarshakespeare.org for information about Rosebriar Shakespeare Company.

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Theatre Vault proudly continues Dramatis Personae, a series of essays written by and about local theatre artists.  In this essay, Robert Weesner, local theatre producer, director, and playwright discusses what he has learned about making good theatre during his fifty-plus years in the entertainment industry. Learn more about Mr. Weesner by connecting with him through Linked In.

WHAT MAKES GOOD THEATRE?

To explore an answer to this question, I must first expand it slightly – what makes good theatre for me? In other words, I start with the premise that not everyone looks at “theatre” the same way. This observation allows me to create a simple rule - If I see something and like it, it’s good theatre. If I don’t, it isn’t.

Why complicate something that’s subjective to begin with?

“This above all: to thine own self be true.

And it must follow, as the night the day,

Thou canst not then be false to any man.”

Yeah, yeah, thank you Willy for filling in the last half of the rule – How can I expect anyone else to believe in what I do … if I don’t?

Look at it this way. We live in an age of “good enough.” If there’s something in your play that’s “good enough,” it’s not. Fix it! Find it and change it until it is a treat all by itself. Get the idea? Your work should be one treat falling over another. Make blah blah transitions into memorable highpoints.

Here’s another constant; as a director, make your stage picture attractive – always always always. This should be obvious, but apparently isn’t – your actors aren’t there merely to occupy space. Think of them as pawns in a Maxfield Parrish painting. Let one picture flow into another. Get passionate about this, because it’s important and infusive.

So … you getting the idea yet? Good theatre is all about you. Look your best. It’s your first date with a drop dead gorgeous redhead.

Weave your style throughout the play you are directing. Be bold in presenting your personality. Why? Because great theatre goes beyond what is on the written page. Once a playwright adds “The End” to a script, no matter how well written it may be, that script becomes history. Even before the first printing, the society that spawned it will have evolved. Your personality encourages a homogenous relationship between your audience and the playwright. (I presume you are in agreement, understand and support what the playwright is saying. I assume you actually have – or can convincingly fake – a personality.)

Listen to what your actors suggest. Your authority won’t be emasculated by listening, and sometime you will be given a real gem of an idea (for which, in spite of your modest denials, you will ultimately be given the credit).

Don’t be afraid to make mistakes. A mistake won’t destroy your career. (Probably.) A mistake only tells you what doesn’t work. That’s all. (Mostly.)

Don’t be afraid to break the rules. In fact the rules change almost daily. Absolutely nothing is sacred. Expand your mind past the physical limitations you observe while ambling down the aisle toward the stage. What can you see? What could you see? What might be improved by being unseen? (And who knows? You could get lucky and actually do something innovative, and they would erect a statue of you directly across the street from the statue of George Cohan, thus forcing the pigeons to make hard decisions regarding which statue to visit in order to … visit. Wouldn’t that be great?!)

And finally – remember the old adage “Don’t sweat the small stuff,” followed by “It’s all small stuff?” Remember that? Well, ignore it. In creating great theatre it should be “Sweat the small stuff,” followed by “Because there’s no big stuff.” Past the obvious disciplines of blocking, pace, and characterization, everything – and I mean everything - is detail and nuance. Everything is foreshadowing, motivation, color, mood, temperament, subtext, and the list of details goes on and on. Take care of these, concentrate with everything that’s in you on these, and by seeming magic the big picture is suddenly there. It may not be exactly what you expected – it seldom is. But it will be true, and that’s everything.

A little over fifty years ago I saw The Glass Menagerie for the first time. I still remember that production, still distinctly remember all the sights, sounds – even the sweet smells. I’d like to think that – fifty years from now – someone will remember my work that way.

If that happens, I’ll know why.

Raconteur Theatre Company Announces Upcoming Auditions
Raconteur invites you to audition for our upcoming production of Neil McGowan’s Tracks in the Snow.

When and Where:
Sunday, December 6th at 1-3pm in the Columbus Metropolitan Library’s Main Branch Auditorium (96 S. Grant Ave)
& Monday, Dec 7th at 6-8pm in the Hilliard Branch’s Meeting Room (4772 Cemetery Rd).

Short Synopsis:
When Chase gets stranded in a winter storm, he finds himself stuck staying with a farming family. With no way out until a thaw comes through, Chase finds himself mixed up in both the troubles of the family and the troubles he creates for them, especially the younger daughter.

Roles to be Filled:
Farmer - grizzled head-of-the-household anywhere from 50-70
Elvira -wife and mother in her 50s
Bobby - husky man in his mid-30s
Sandra - attractive woman in her mid-late 20s
Chase - fit man in his early 20s
Jeremy - unfocused boy in his late teens
Leauna - energetic girl of 15

How to Prepare: Bring headshot and resume if available; auditions will consist of readings from the script.

Performance dates are March 4-20 at Club Diversity (863 S. High St). For additional information, email info [at] raconteurtheatre [dot] com

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Both reviewers agree Rosebriar Shakespeare Company’s Taming of the Shrew offers a fun evening with a tawdry hue. Jill and Sean note that the lack of technical flair and some uneven performances detract from the overall effect, but dub the production worth seeing.

Rosebriar’s Hits with a Bawdy Shrew Lucentio (David Artrip), Bianca (Tahrea Maynard), Hortensio (Rudy Frias). Photo by Anne Holmes by Jill C. Hartley Rosebriar Shakespeare Company’s production of Taming of the Shrew is bawdy and brash—but that’s a good thing. This particular play is often confusing to follow for audiences due to its multiple cases of characters disguised as each other and the play within a play set-up. And while some of the players were a detriment to the clarity of the play, the key actors went beyond the basic feat of memorizing and spouting back their lines and took the time to clearly understand the script. This aided the audience when the story began to get complicated. This is Shakespeare as it should be. Director Danielle Mari highlights and celebrates Shakespeare’s cruder side, allowing the audience to see the Bard as he should be seen and creating an overall enjoyable evening. The stage really begins to sparkle when Petruchio (Steve Emerson), Grumio (Jason Abram Newsome) and Hortensio (Rudy Frias) begin plotting their scheme to get Baptista’s older daughter married off in order to free the younger for her many suitors. The three pick up what is a somewhat slow and laborious start to an otherwise engaging show. Emerson has an energy and life that lasts from start to finish, capturing the true spirit of the play and fully embodying the antics of Petruchio. Newsome is equally engaging and good for laughs throughout. The standout player of these top three gentlemen, however, is Frias. His subtle choices are humorous and fun to watch without pulling focus when he is on the sidelines. He makes you want him to be the winner of the fair Bianca (Tahrea Maynard). Speaking of Bianca, the leading ladies hold their own among the funny men. Maynard strikes a brilliant balance between the silly giggly giddiness of fought-over maiden and the ugly, snotty side she so successfully hides from her suitors. Kate (Britt Kline) is believable as the rough and tough older sister, and her transformation to an obedient and kind wife is equally well done. The stage livened with every entrance she made. The technical aspects of the show are simple, allowing the production to move locations easily, as it does several times in the run. The action of the play makes up for the lack of technical dazzle. Patrons can still catch Rosebriar Shakespeare Company’s Taming of the Shrew Saturday, November 14 at 7:30 at the Main Street Cruiser Theater (Groveport Elementary School, 715 Main St, Groveport).  Tickets are free, though donations are welcome.  The run finishes in a dinner theatre format at Elks Lodge Lancaster on Saturday, November 21. It’s worth the drive. Call 1-740-653-1561 for Lancaster reservations. ******* Jill Hartley is no stranger to the stage. As a founder and board member of Raconteur Theatre Company, she is often in over her head in theatre. She has a theatre degree from Otterbein College and a Masters in English Education from Mount Vernon University.

Rosebriar’s Shrew Thorny, But Fun Petruchio (Steve Emerson) and Katharina (Britt Kline). Photo by Anne Holmes by Sean Reid, Esq. Shakespeare offers even the most seasoned theater company a minefield of issues to navigate.  Beyond the complexities that come with the mounting of any production, there are the added issues of working with a script fraught with difficult language, and subject to the previous interpretation of thousands of performers and scholars alike.  The question then becomes whether the company can overcome these challenges while providing a fresh production of a script that is hundreds of years old.  Rosebriar Shakespeare Company’s production of Taming of the Shrew navigates these challenges reasonably well. Purists will like that Rosebriar has chosen to include the induction scenes often cut from other productions.  These scenes establish the actual play as a play within a play.  It has been suggested by scholars that these scenes were Shakespeare’s method of dealing with the somewhat troubling themes of misogyny that has brought the show no small amount of negative criticism.  In Rosebriar’s production the inclusion of these scenes is an effort to illustrate and explore the absurdity of social identity and the complexities of love.  These efforts seem to fall flat. The crux of the story, and it would seem especially so when one of the key themes is the absurdity of social identity, is the dynamic changes that occur in the leading characters.  At one moment, the audience is meant to hate Petruchio (Steve Emerson) for his treatment of Kate (Britt Kline), and at the next laugh and commiserate with a misfortune that he has suffered.  Likewise, within the script there are moments where the audience is given a glimpse of Kate’s vulnerability, and yet within this production those moments often seem overlooked.  Throughout the play, most of the major characters go through these character transformations in some form, and yet throughout the production these changes are minimal if they are present at all.  The result seems to be a loss of some of the complexities of the play and of the characters themselves. The show also seems to suffer from a lack of technical direction or concept.  Given that this is a touring show, and this production was staged at an elementary school theater recognized as a historic landmark, certain limitations and challenges are to be expected, and Rosebriar handles those challenges well.  Yet, in a show that involves a significant amount of disguises and fake or assumed identities there is an inconsistent and confusing approach to the technical elements of the production that seem to hurt the overall performance. Make no mistake, Rosebriar’s Taming of the Shrew offers a night of bawdy fun.  While there are issues of clarity among some of the cast, Steve Emerson (Petruchio), Britt Kline (Katharina), Jason Abram Newsome (Grumio), and Rudy Frias (Hortensio) bring a vivacious energy and enviable talent to the stage that seems to infect those around them.  It is the scene in which Petruchio, Grumio, and Hortensio are plotting the marriage of Katharina, so that they might be free to pursue Bianca (Tahrea Maynard) that truly allows the audience members to settle back and lose themselves in the production.  Throughout the show, Emerson, Newsome, and Frias, bring an energy and subtle physical comedy that will have audience members laughing well after the show has ended. ***** Sean Reid studied theatre at Ashland University and currently works as an attorney focusing on small business and the creative arts.

The Dublin Senior Players’ Chicago needs Two Male Actors to play good, but not huge, parts. In this case, we can drop the senior age requirement. This is the original stage play on which the musical of the same name was based. This senior group normally requires its actors to be age 50 or greater, however younger actors may audition for the parts. The play has been cut down to a performance time of about one hour and 15 minutes. The Dublin Senior Players have usually produced three shows a year at the Abbey Theater for the past five years. Chicago will be directed by Betty Trott, who has been directing seniors for the past 15 years.

Rehearsals start Mon. Nov 16, 1p - 4:30p Mon-Wed-Fri. with time off for TG and Xmas at the Dublin Rec Center

Performances run Sunday, March 7, 2:30p; Monday, March 8, 12:45p

For more info and/or a copy of the cut version script call Betty (614-581-1739) or Dale (614-561-6344) Trott.

Auditions for Theatre Daedalus’ 2009-2010 season (18+)  will be held onDecember 5, 2009 at Westerville Electric Division, 139 E Broadway Ave, Westerville, OH 43081.
The slate of shows includes Edward Albee’s THREE TALL WOMEN, David Mamet’s GLENGARRY, GLEN ROSS, and David Ives’ ALL IN THE TIMING. We will also be casting for our new quarterly reading series, slated to premiere in 2010.  Please prepare two contemporary monologues (comedic and dramatic) and bring a headshot and resume.

Please contact Artistic Director Jaclyn Villano at jaclyn.villano@theatredaedalus.com or call her at 614.787.0327 to schedule a time. If you have any questions, please contact Jaclyn Villano at the information above. To learn more about Theatre Daedalus, please visit our website at www.theatredaedalus.com or follow us on Twitter @TheatreDaedalus.