Project #5: Life after SHSU
The Profession
Non-Union
1) CASTING CALL GOSPEL STAGE PLAY REPENT & LETS HAVE CHURCHTexas (USA)
To submit yourself electronically to this project, click on the role you would like to submit for. A window with your available photos will open. Select which photo you would like to set as primary and then press submit.
Date:
2010-04-02
Production Company:
Black Star Entertainment
Type:
Non-Union Theatre
Casting Director:
LaRaine Duhart
Union:
Non-Union
Phone Number:
Not Applicable
Email Address:
http://www.actorspages.org/notice_details.php?pd_id=6929#
Shoot/ Start Date:
06/26/2010
ELECTRONIC SUBMISSIONS
Compensation:
Credit, DVD, Payment
Shooting Location:
Dallas
PROJECT DESCRIPTION:
Samantha Moore is an smooth manipulating young model who gets what she wants regardless of who she hurts in the process. When Samantha meets Pastor Marcus Neal her life changes. But, for all the wrong reasons. This story is about Lust, love, betrayal, & forgiveness This unique theatrical play (ministry) is inspirational, realistic and dramatic! This is a must see production!
CHARACTERS
SAMANTHA MOORE
(20-23 Female ) strong personality...sassy....fashion model style
ROBIN MOORE
(24-26 Female ) Self-centered, focused on money, strong drive to be successful.
LEA RAMOS
(24-27 Female ) Rude, cold hearted, high energy
DANIELLE HUNTER
(20-24 Female ) parent pleaser...deceitful
2) This Casting Call filed in: Casting Calls in Dallas, TX / Non Union Auditions / Paid Auditions and Casting Calls / Theater Auditions
Auditioning bright, comedic actors for fun improvisational theatre – paying gigs (Dallas, TX)
OPEN GENERAL AUDITIONS 2010PRODUCTION COMPANY: Keith & Margo’s Murder Mystery TexasARTISTIC DIRECTOR: R.C. Banks
DESCRIPTION: Incognito Improv Troupe based in Addison, Arlington, and Downtown Dallas. A non-traditional, ground-breaking approach to audience-participatory theatre. A Theatre/Dining Experience unlike any other… set in a modern-day backdrop of a homicide investigation and crime scene.
REVIEWS: “Keith & Margo have set the standard that all others try and emulate… They are the masterminds of the genre! By far the most professional and elegant!”– Los Angeles Times
“The Rolls-Royce of Mystery companies… Still the best!”– In Hollywood Magazine
Featured on ENTERTAINMENT TONIGHT and LIFESTYLES OF THE RICH AND FAMOUS
TROUPE MEMBER COMMITMENT: Extremely flexible. You are always able to audition for and to do other projects. Only say “Yes” to a given gig offer when you are available.
Union
3) Orlando Shakespeare Theater 10-11 - NYC appts. Orlando Shakespeare Theater in partnership with UCFOrlando, FL
Send ToCompany Manager, Orlando Shakespeare Theater812 East Rollins StOrlando FL 32803
PersonnelArtistic Director: Jim HelsingerCasting Director: Patrick Flick
Other2009-10 min./wk.: SPT: $368-$517 (range); LOA: $555.www.orlandoshakes.org
ContractLOAand SPT. See Other.
SeekingActors (m/f). See Breakdown for appointment prep instructions.Note from AEA: Equity Principal Auditions (EPA procedures) will be held on May 25, 2010. For shows/available roles info, please see the EPA casting notices (Parts A and B).
BreakdownA breakdown has been added for this notice. Click here to browse.
Other DatesFor consideration, mail picture and resume by May 14.NYC appointment auditions: Wednesday, May 26 and Thursday, May 27.
BreakdownA breakdown has been added for this notice. Click here to browse.
4) The Break Up NotebookZachary Scott Theatre CenterAustin, TX
Call TypeEquity Principal
Date of Audition5/10/2010
LocationZachary Scott Theatre1510 Toomey RoadAustin, TX 78704Studio
MapQuest Directions
Time(s)Monday, May 10th3pm to 11pm BY APPOINTMENT ONLY
AppointmentsPlease email Lily Williams for an appointment at lwilliams@zachtheatre.org. Please include a head shot and resume. > A monitor will not be provided. The producer will run all aspects of this audition.
PersonnelDirector: Peter SchneiderZACH Theatre Producing Artistic Director: Dave Steakley
Other DatesFirst Rehearsal:12/27/10Performance Dates:1/20/11-03/13/11
ContractSPT$284/wk
SeekingThe role of Helen is cast. We are seeking all other characters.
BreakdownA breakdown has been added for this notice. Click here to browse.
PreparationPlease prepare a pop/rock song and a contemporary musical theatre song. Make sure to include one ballad.
Other
Performers of all ethnic and racial backgrounds are encouraged to attend.
Always bring your Equity Membership Card to auditions.
Graduate School
1) Mission Statement
The Department of Theatre and Dance at The University of Texas at Austin exists as a diverse educational community of artists and scholars who are committed to excellence in teaching, research, creative practice and service.
We train students to work in professional arts environments as well as educate them in the rich traditions of theatre and dance. We encourage our students to be critical spectators as well as professional practitioners, and educate them to the importance of arts advocacy and promotion. We believe students should hold deep, complex understandings of theatre and dance so that they can participate in the widest possible cultural conversations about the arts.
We empower students by challenging assumptions, stressing continuing intellectual and artistic development and demanding high standards of achievement. As educators we are committed to the continual examination of our own teaching, the integration of research and creative practice into the classroom and high levels of expertise in our various disciplines. We model collegiality, free and open expression, collaboration, intellectual honesty and civility and expect that our students will do so as well. We value innovation, craft and vision as positive attributes of research and creative production.
As artists and scholars we remain active in our respective fields. As citizens of the department, we believe in a system of self-governance and self-evaluation consistent with university policy, and we accept our responsibility to share in departmental administration. We also commit to serve the College, The University, our respective disciplines and the state in which we live and work. As a community we are actively committed to diversity as essential to the educational experience of our students.
Admissions Process
Prospective M.F.A Acting students are required to audition first, prior to submitting their application materials. Application fees paid to the Graduate and International Admissions Center (GIAC) cannot be refunded.
Auditions for the Class of 2013 will take place at all three U/RTA sites: New York, Chicago and San Francisco, in January & February 2010. http://www.urta.com/Additionally, for those who cannot attend U/RTA and wish to audition in Austin, we have scheduled the following onsite audition dates:
Sunday, November 22, 2009Saturday & Sunday, December 12 & 13, 2009Saturday & Sunday, January 30 & 31, 201010:00am - 4:00pm
Please prepare two contrasting monologues (one classical, if possible) totaling no more than 3 minutes combined. You will have the option of singing 16 bars of a song. Please bring your own tape or CD. A player will be provided. Please bring an 8x10 headshot and resume. There may be callbacks at the end
2)
The Master of Fine Arts in Acting program at UCLA's School of Theater, Film and Television is a comprehensive three-year course of study that prepares actors to work professionally in all mediums, genres and styles of performance.
Designed to be eclectic, the program encourages each actor to discover methods of working best suited to his or her individual talents. The essence of this training is achieved organically through classroom study, studio work and autobiographical exercises in a small, highly individualized and collaborative setting.
At UCLA, practical experience is paramount. Students complete a variety of performance projects, including a full repertory season, a touring company production, and the opportunity to act in a professionally written and directed film. Produced by the Theater department, this film is a unique aspect of UCLA's program, which provides students with practical camera experience both in a studio and on location.
With excellence being the minimum standard for success in the field, UCLA's MFA program in Acting draws on the vast resources of Los Angeles and its accomplished professional faculty to offer a rigorous course of study to a select body of students. The program is taught by permanent faculty, adjunct professors and professional actors and directors. Students are chosen from candidates who have passed an audition by showing promise, talent and dedication for the work. The program is full-time and the students are fully committed to all classes, workshops and performance projects.
The program is rigorous, intensive and demanding. Consistent progress and achievement are required of our students, whose principle aim is to become professional actors. The aim of the program is to explore their use of self, their imagination, body and voice and to develop their skills in reading and responding to text---which is why both text analysis and theatre history are required components of the training. The overall design is based on how the actor acquires a process, or a way of working. And of course this is largely personal: each actor takes what he or she can.
The essential spirit of the UCLA acting program is based on eclecticism, various points of view and multiplicity of experience. We do not profess to be disciples of any one method or system of acting. Each actor learns how to become their own best teacher, a skill that will become increasingly valuable as their career evolves.
Admissions
APPLICATION POSTMARK DEADLINE: JANUARY, 15, 2010
Complete and submit the online UCLA Graduate Division application. Make sure to indicate Theater as your major, and MFA as your degree.
Complete and submit the online Departmental application
Complete and submit the following application materials to: Natasha Levy, UCLA Department of Theater, 103 E. Melnitz, Box 951622, Los Angeles, CA 90095-1622. (Please visit UCLA Graduate Admissions for all forms.)
Two official copies of each college/university transcript.
Supplementary Forms
Statement of Purpose
Three Letters of Recommendation
Cross-Reference Sheet, if applicable
Resume of training and experience in theater or other related work
3) Mission
The mission of the School of Theatre and Dance shall be to educate and train artists, scholars, and teachers, and to provide for its students a foundation of professionalism and dedication to their art within a climate of diversity, discovery, and risk. It strives to develop in its students and audiences an enduring passion for theatre and dance.
The fundamental purpose and primary responsibility of the School, through its various degree programs, is the education and training of the next generation of artists, scholars, and teachers, enabling them to compete successfully in the professional world. Education and training are inseparable as the School aims for the closest possible union between academic and applied knowledge, theory and practice, experience and reflection, within a thoroughly integrated curriculum that is sensitive both to the practical needs of an ever-changing marketplace and to the intellectual needs of the individual student. Stage and classroom are engaged in constant mutual exchange.
As part of a university, the School understands that it contributes to a larger civilizing project and that the complete artist is the thinking artist who augments the mastery of concrete skills with an acute consciousness of the cultural environments and the broader realm of arts and ideas. Conversely, it provides many UF students with their first exposure to theatre and dance, and nurtures the audiences of the future. To ensure the fusion of education and training, the School promotes close collaboration among the several areas within the School, as well as interdisciplinary cooperation with departments and programs on this and other campuses. The faculty is composed of nationally and internationally recognized practicing artists, teachers, and scholars committed to research and creative activity.
Admissions
Admission to the Master of Fine Arts Theatre degree program is based on artistry and scholarship. We will begin recruiting our next Master of Fine Arts class in early 2010.
Placement in the program will be determined through audition/portfolio review, academic credentials, diagnostic testing, and personal interview. Candidates for admission should have adequate training in theatre. Deficiencies may be corrected before beginning graduate study.
Faculty from the University of Florida audition prospective graduate students at the National Unified Auditions and Interviews (NUA/Is) of the University/Resident Theatre Association (U/RTA). Please follow the U/RTA recommended guidelines for the audition at http://www.urta.com/ or Please call 212 221-1130. Interested students should complete the U/RTA application packets no later than mid-November 2009. Acting & Design faculty from the University of Florida will be in the following cities and look forward to meeting you and viewing your work.
New York City: January 23 - January 27, 2010Chicago: January 29 - February 3, 2010San Francisco (Acting Only): February 5 - 6, 2010
Application is now available online! We thank you for your interest and hope to meet you in person. Actors please contact Dr. Mikell Pinkney at (352) 273-0512 or mpinkney@ufl.edu if you have other questions related to the acting program.
Teaching
1) Secondary Teaching
Post baccalaureate students requiring this service must secure certification plans from the Teacher Education Records Office in the School of Education and Human Development. A service charge of $25.00 is required for a student requested certification plan. The student is required to complete a student teaching experience. However, an internship is made available to students who secure a teaching position, in the area and at the level that they are seeking certification, in an accredited school.
The School of Education and Human Development also offers teacher certification programs for those teachers-in-service that are teaching in accredited schools. The School district where they are employed will have to request an official deficiency plan in writing. The student must serve an internship in lieu of student teaching. (To serve an internship, you must contact the Teacher Education Records Office, complete all necessary paper work, and enroll in the appropriate courses.)
The basic requirements for securing a certificate in this manner are similar to those listed for undergraduate students. The candidates are permitted to substitute equivalent semester hours of a one-year Internship in a school accredited by the Texas Education Agency for the required six semester hours of student teaching.
The teaching areas available for post baccalaureate students are identical to the specialization fields accessible to undergraduate students. A minimum of twelve semester hours must be completed at UHV as part of any certification or endorsement program. Course work that is ten years old or older must have approval by the Certification Officer. The student must be admitted to the Teacher Education Program.
All teacher certification transactions and/or inquiries for UHV are made through the Teacher Education Records Office in the School of Education and Human Development.
NOTE: Upon completion of C&I 3323 and IDS 3323 courses you must pass the PPR qualifying test with an 80% or higher to advance to further education courses.
2) Community Colleges
College of Marin
Drama Instructor - Part-time Temporary Pool
Posting Number: 0600112
Main Department: Performing Arts
Job Category (EEO): Faculty - PT Temporary
Type of managerial position: This is not a management position
Faculty Status: Part-time Temporary Pool
Percent of Full-time Equivalency (FTE):expressed as a decimal, e.g., 0.75
Essential Functions: Instructors appointed to the part-time temporary pool may be used to cover part-time, temporary and/or substitute openings in the department. Assignments can vary in duration and are not guaranteed. Assignments for Drama pool instructors include:
* Providing effective classroom or laboratory instruction using methods and materials appropriate to the subject matter* Preparing and grading all class assignments and examinations* Advising, assisting and evaluating students, evaluating learning outcomes and maintaining regular office hours* Participating in program activities including curriculum and program planning, development, evaluation, and decision making as well as the development of new teaching-learning methods and materials* Contributing to development of program policies and procedures* Participating in disciplinary, departmental, and college professional activities and/or committees* Maintaining accurate and timely student records as required* Maintaining currency and depth of knowledge in assigned area of responsibility* Maintaining appropriate standards of professional conduct and ethics* Communicating with excellent written and oral skills in EnglishOther Functions: Knowledge, Skills and Abilities:Desirable Attributes & Skills * Competencies related to: curriculum & course development; teaching & learning theory; information resources & evaluating student outcomes; and, assisting student to develop critical thinking skills* Ability to communicate clearly orally and in writing with a diverse campus community* Currency and depth of knowledge in assigned area of responsibility and subject matter* Strong organizational skills* Ability to work effectively and professionally with colleagues and members of the campus community* Commitment to the teaching profession, its goals and ideals, and enthusiasm for the mission of the College of Marin* Familiarity with, willingness and ability to use multiple teaching methods including computer based learning* Ability and enthusiasm to use teaching methods that engage students and encourage them to be motivated self learners* Evidence of excellent written and oral skills in EnglishPosition Requirements: 1.) A Master's degree in Drama/Theater Arts/Performance; OR2.) A Bachelor's degree in Drama/ Theater Arts/Performance AND a Master's in Comparative Literature, English, Speech, Literature, or Humanities; OR3.) The equivalent; AND4.) Demonstrated sensitivity to and an understanding of the diverse academic, socioeconomic, cultural, disability and ethnic backgrounds of community college students and the campus community.
3) Senior Colleges and Universities
Adjunct Faculty in Theatre - World Theatre History
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Institution:
Eastern Connecticut State University
Location:
Willimantic, CT
Category:
Faculty - Fine and Applied Arts - Theatre and Dance
Faculty - Fine and Applied Arts - Art History
Posted:
04/12/2010
Application Due:
Open Until Filled
Type:
Part-Time/Adjunct
Eastern Connecticut State University is seeking PT Faculty to teach World Theatre History I (Ancient to 17th C) and Introduction to Theatre, both serving Major and Liberal Arts Program students. Candidates should have teaching experience, a Ph.D. in Theatre History (ABD considered). Future classes may include World Theatre History II (17th Century to Present), Dramatic Theory & Criticism, Contemporary World Theatre and/or Special Topics in areas of specialty. Please email (pellegrinid@easternct.edu) for more information, or send cover letter, three letters of reference, and transcripts to David Pellegrini, Chair, Performing Arts Department; Shafer 12; Eastern Connecticut State University, Willimantic, CT 06226.
Application Information
Monday, April 12, 2010
Friday, March 26, 2010
Project # 4 Big Love
Question #1: Casting
1)On the issue of casting 50 brides and 50 grooms I would have to choose to go the non-traditional way and cast only the brides that are in the eighty percent of the show. Having a budget of 500 dollars make everything very difficult, especially if you tried to cast 100 people and expect to clothe them in wedding attire. I find that it would be very difficult to stage all these people as well, so I would choose to cast the three main brides and grooms and possibly a couple extra brides and grooms for the final scene. The stage space and budget just wouldn’t work with casting 50 brides and 50 grooms.
2)"The three women represent their sisters, the other 47 of whom are presumably wandering town or sequestered on the ship that has brought them from Greece."- Suzanne Weiss
http://www.curtainup.com/biglove.html
"The broad, constant movement works best in two different sections of the play, where three of the sisters (we never actually see all 50 onstage at the same time – and it's a good thing, because finding a stage where they all fit would be difficult)"- The Austin Chronicle
http://www.austinchronicle.com/gyrobase/Issue/review?oid=oid%3A594640
3) "You Don't Own Me", sing fifty sisters who flee their arranged marriage. In this battle of the sexes (a modern re-making of Aeschylus' early Greek tragedy The Suppliants) one couple is able to work through complicated constructions of gender to find big love -- but not before plates are smashed, tomatoes are squished, pop songs are sung, and several men lie dead on the floor."
http://www.swarthmore.edu/x18871.xml
Question #2: Nudity & Language
1) Tackling the issue of nudity and language in my opinion probably changes from person to person. In my opinion full – frontal nudity is not necessarily needed for the scene when the bride steps into the bath, I would just leave her in a bra and underwear. For the male nudity I feel like as long as you don’t reveal the frontal region it is appropriate as long as the script calls for it. Personally, being that the showcase theatre is such a small space, I would never think full frontal nudity would feel comfortable to the audience. If anything I would find it distracting and kind of shocking, maybe its just because I have never experienced this, but I am sure most audiences haven’t either. The language for me, as long as it calls for it, is appropriate and should not be altered, unless its beyond blaspehemy.
2) "Ashley Rhodes as Lydia doesn't dump the dress, but otherwise the action unrolls as Mee envisioned..."-TSU
http://austinlivetheatre.com/index.php?option=com_content&view=article&id=660:big-love-by-charles-mee-texas-state-university-october-6-11&catid=307:texas-state-university&Itemid=126
http://www.stu.ca/~hunt/reviews/biglove.htm
1)On the issue of casting 50 brides and 50 grooms I would have to choose to go the non-traditional way and cast only the brides that are in the eighty percent of the show. Having a budget of 500 dollars make everything very difficult, especially if you tried to cast 100 people and expect to clothe them in wedding attire. I find that it would be very difficult to stage all these people as well, so I would choose to cast the three main brides and grooms and possibly a couple extra brides and grooms for the final scene. The stage space and budget just wouldn’t work with casting 50 brides and 50 grooms.
2)"The three women represent their sisters, the other 47 of whom are presumably wandering town or sequestered on the ship that has brought them from Greece."- Suzanne Weiss
http://www.curtainup.com/biglove.html
"The broad, constant movement works best in two different sections of the play, where three of the sisters (we never actually see all 50 onstage at the same time – and it's a good thing, because finding a stage where they all fit would be difficult)"- The Austin Chronicle
http://www.austinchronicle.com/gyrobase/Issue/review?oid=oid%3A594640
3) "You Don't Own Me", sing fifty sisters who flee their arranged marriage. In this battle of the sexes (a modern re-making of Aeschylus' early Greek tragedy The Suppliants) one couple is able to work through complicated constructions of gender to find big love -- but not before plates are smashed, tomatoes are squished, pop songs are sung, and several men lie dead on the floor."
http://www.swarthmore.edu/x18871.xml
Question #2: Nudity & Language
1) Tackling the issue of nudity and language in my opinion probably changes from person to person. In my opinion full – frontal nudity is not necessarily needed for the scene when the bride steps into the bath, I would just leave her in a bra and underwear. For the male nudity I feel like as long as you don’t reveal the frontal region it is appropriate as long as the script calls for it. Personally, being that the showcase theatre is such a small space, I would never think full frontal nudity would feel comfortable to the audience. If anything I would find it distracting and kind of shocking, maybe its just because I have never experienced this, but I am sure most audiences haven’t either. The language for me, as long as it calls for it, is appropriate and should not be altered, unless its beyond blaspehemy.
2) "Ashley Rhodes as Lydia doesn't dump the dress, but otherwise the action unrolls as Mee envisioned..."-TSU
http://austinlivetheatre.com/index.php?option=com_content&view=article&id=660:big-love-by-charles-mee-texas-state-university-october-6-11&catid=307:texas-state-university&Itemid=126
3)"Although beautiful passionate Lydia (Dana Dewes) is the essence of sensuality, opening the show by stripping off her wedding gown and plunging nude into an onstage bathtub."- Laura Hitchcock
http://www.curtainup.com/biglovela.html
Question # 3: Wet, Sticky, Bloody & Destroyed
1)In the case of actor's being "wet, sticky, bloody, or destroyed" , I will have to tackle each obstacle seperately. For the time when Lydia takes a bath I would have either a towel or a bathrobe available for her to directly get into after the event. I would also try and use a bath rug that she could step into so that the floor avoids getting wet as well. Another way would be to use as minimal water in the tub so that its not masses of water that are being dealt with. For the sticky issue I would use some sort of barrier on the floor that could be easily rolled up or cleaned. If you are using dried blood such as stains on clothing I have seen some recipes for blood that are easily washed out. For the smashing of the china I have seen "sugar" glass bottles used for things like this. I would either try and make some that looked similar to china or try and buy some. Using the "sugar" glass would also prevent injuries even it bits were missed when trying to clean.
2) "The cast, mostly brides and grooms still splattered with blood and wedding cake, take their bows ..."-C.S.B. http://muse.jhu.edu/journals/theatre_journal/v054/54.1burriss.html
http://www.stu.ca/~hunt/reviews/biglove.htm
Question #4- Helicopter
1)For the issue of the helicopter coming in with grooms, instead of trying to rig up something in showcase that could literally fly them in I would choose to use lighting effects to show this. I would see if we could find a way either by strobe light effect or some other effect with lighting to have this happen. I would also try and use some loud sound effects to show that the helicopter is arriving. As far as staging, i would have the actors that are on stage use their body movement to show that big gust of winds from the helicopter are hitting them. Being that it is in the showcase I think it would be cool to have the grooms coming out from different voms after the landing. Without using a wind effect or blowing of any sort the costumes should be fine. This way it would not cost a fortune to build something.
2)"A helicopter is heard and the grooms materialize in sporty white jumpsuits..."-David E. www.raggedblade.com/reviews/000272
3)"... grooms, as (American) men distressingly do, chase their chattel down with guns and helicopters as Jack Bauer might pursue domestic terrorists."-J. Moore http://www.denverpost.com/ci_13765582?source=rss
Question #5- Wedding Massacre
1) I think for the wedding massacre to be pulled off both neatly and effectively it would have to be done with caution. I think it is important for the audience to see how each bride kills their husband. But the directions that include the wedding cake being smashed into each others faces could be excluded due to cost and messiness. Also the absolute crazy scenarios of what each could be doing could be exchanged with something less crazy.
2)"Before the nuptials are concluded we get a food fight, an orgy and bloody murder."- S. Weiss http://www.culturevulture.net/Theater/BigLove.htm
3)"After their wedding dance is over, Lydia and Nikos are left on a darkened stage, awkward and uncertain."- S.J. http://www.didaskalia.net/reviews/2002_06_17_01.html
Friday, February 26, 2010
Project #3: Too Hot To Handle
Controversial Theatre
1) NYC Today- "Naked Boys Singing"-Musical
What- Musical comedy that involves naked guys singing and performing.
Where- New York City's New World Stage's
When- Every Saturday and Sunday (still running)
Who (Starring)- Michael Chapman, Charles Duff, Gavin Esham, Frank Galgano, Brian M. Golub, Timothy John, Scott McLean, David Macaluso, Lance Olds, W. Brent Sawyer and TrevorSouthworth
http://www.nakedboyssinging.com/gallery_newyork/gallery.html
"A chippendale's glee club by a Full Monty gang!... A hit with gays, straights, and everyone in between!"- NY Daily News
This production is “Too Hot to Handle” because of the profound nudity that is involved in the entire performance. Not only is the fact that they are completely nude controversial, but some of their songs that are performed are about controversial issues. Titles of their numbers include; “Perky Little Porn star”, “ Fight the Urge”, and “The Naked Maid”.
2) Naked Broadway-"Equus" by Peter Shaffer
What- A play about a disturbed teenage boy who blinds six horses.
Where- London’s West End Gielgud’s Theatre
When- 2007
Who (Starring)- Daniel Radcliffe and Richard Griffith
“Last night, 17-year-old Daniel Radcliffe was brave enough to perform the denouement of Equus without wearing so much as the specs that are his Potter insignia…for a sex-scene that proved as abortive as any puritan could wish…”- London Times
http://london.broadway.com/blog/id/3006205/WereCriticsSpellboundbyDanielRadcliffeinEquus
This production could be considered “Too Hot to Handle” not only because of the controversial script and play in itself but because the character that teen sensation Daniel Radcliffe took on. Harry Potter’s star barred it all in the 2007 revival of “Equus” in which a teenage boy has a obsession with horses and ends up blinding six of them in anger.
3) Gay Broadway- “ Bed, Boys, and Beyond” by Jeff Dobbins music by Alfredo Alvarez
What- A Musical about gays and what the new millennium will bring forth
Where- Duplex Cabaret Theatre New York City
When- 2000
Who (Starring)- Jason Ma, Chad Miller, and Ryan Perry
“This new musical revue explores the confusing, poignant and often hilarious lives of gay men at the beginning of the new millennium.”
http://news.theatermania.com/new-york/shows/bed-boys-and-beyond_2557/#userreviews
http://www.queermusicheritage.us/gm-bedbb.html
This production would be “Too Hot To Handle” for some due the nature of the whole production and homosexuality. This play featured five men performing and singing about issue’s and problems gays have. This production included song titles such as; “Gay Today”, Men Seeking Men”, and “Family Values”. Depending on your views this could either be an enjoyable show or just “Too Hot Too Handle”.
4) Racist Broadway- “Show Boat” by Edna Ferber and music by Hammerstein and Jerome Kern
What- A musical involving racial issue’s and other controversial aspects
Where- Torronto, Ontario
When- 1993
Who-Directed by Harold Prince
“...picket lines were mounted in front of the Show Boat box office and a "Coalition to Stop Show Boat" was formed..."
http://www.accessmylibrary.com/article-1G1-17305360/show-boat-revival-racism.html
Although the original script and productions of "Show Boat" were considered controversial to some, the revival definetly caused some controversy as well. The uproar started before the show even went into rehearsals, and following the opening caused people to stand outside and protest against it . I guess "Show Boat" will always be " Too Hot Too Handle" for some.
5) Busted- "Jesus Christ Super Star" musical by Andrew Lloyd Webber and Tim Rice
What- A musical that was shut down before it opened.
Where- Berlin's Hebbel Theare
When-2010
Who (Starring)- Electro-Pop star Peaches
""stripped-down" performance of Andrew Lloyd Webber's Jesus Christ Superstar has been "crucified before opening night"
http://www.guardian.co.uk/music/2010/feb/16/peaches-jesus-christ-superstar
This production of "Jesus Christ Superstar" was closed before it could open due to the german authorities who held the rights to the vocals refused to let the production have them. The reason for the "bust" was because many thought it was absurd to let electro-pop star Peaches perform her one-women rendition of the show.
6) Nea 4- Holly Hughes, Tim Miller, John Fleck, and Karen Finley
What- A controversial case that mades it's was to the supreme court on the bases of the NEA's funding for indiviual performance artist and their subject matter.
Where- The U.S Courts
When- 1990/1992
Who- Hooly Hughs, Tim Miller, John Fleck, and Karen Finley
"Congress passed a law requiring that "general standards of decency and respect for the diverse beliefs and values of the American public" be taken into consideration in making funding determinations."
http://faculty-web.at.northwestern.edu/commstud/freespeech/cont/cases/finley.html
This controversy made its way through the courts due to the NEA ( National Endowement for the Arts) retracting grants from four indivuals on the bases of subject matter that was included in their works. This issue caused many to question what and what should'nt recieve funding in the performance realm of individual artists. It was stated that subject matter be determined when allowing grants for artist.
7) Regional Theare Controversy- Manhatten Theatre Clubs "Corpus Christi"
What- A production by Terrence Mcnally that depicts Jesus Christ as a homosexual texan
Where- Manhatten Theatre Club
When-1998
Who- Directed by Joe Mantello
"...sick beyond words."- William Donahue of the Catholic League
"http://www.trincoll.edu/depts/csrpl/RIN%20Vol.1No.1/RIN%20Vol.1No.2/Corpus_Christi.htm"
This play was definetly too hot too handle among ,not only the general public but even caused the Catholic League of Religious and Civil Rights to act upon sending threats to the theatre to burn it down. This play written by Joe Montello depicted Jesus Christ as a homosexual texan that would have intercourse with his apostle. In my opinion this blasphemous production should have been shut down before it ever started, whether religious or not this is a line that should not be crossed.
8) College/ University -Controversy over a Seniors project " Gratuitous Pieces", that was a production on campus.
What- A college Senior at SMSU caused controversy when he produced a show that included extreme graphic content
Where- Southwest Minnesota State University
When- 2003
Who- Senior Beau Jorgensen
"The show is considered to be so graphic that the SSU theatre department is requiring him to put a disclaimer that the production is not affiliated with the theatre department or the drama club on his posters, said Ray Oster, associate professor of theatre arts. "
This production was "Too hot too handle" for some that attended Senior Beau Jorgensen's production of " Gratuitous Pieces". This piece dealt with sexual assault and rape and was considered so graphic that only persons over the age of eighteen were allowed to be admitted. The senior even tried to ask that local counselers be on hand after the show in case students or audience members wanted to talk, but they refused after reading the graphic nature of the production.
9) HighSchool Controversy- "Rent" the musical
What- a highschool production of the acclaimed musical caused controversy galore.
Where- Corona Del Mar Highschool, California
When- 2009
Who- Highschool students
""(Rent) is catering to the totally out-of-control youth of this nation," Phelps said. "They've got no discipline, no morals. Only doom and destruction lie ahead for them." -Fred Phelps Jr.
http://www.ocregister.com/news/school-112946-church-play.html
This production of "Rent" was prehaps one the most controversial issues of Corona Del Mar Highschools time. The controversy started when the announcement that the show was going to be produced. It caused members of churchs to stand outside and hold up signs for people passing by and ended with police intervention. This show had undergo a more "school-safe" version after protests and was finally allowed to be performed by the students.
10) Wildcard- "The Bus Stop" by Gao Xingjian
What- A production that included the same idea as "Waiting For Godot" that sparked contreversy among Chinese Communist Officials and others.
Where- Sanford Meisner Theatre, New York
When- 2009
Who- (Starring)-Joe Albert Lima, Ray Chao, Hank H. Kim, Adam Bedri
"Condemned as "spiritual pollution"
http://www.broadwayworld.com/article/Controversial_Play_THE_BUS_STOP_Premieres_At_Theater_HAN_41_20090212
This show was presented at the Sanford Meisner Theatre in New york and raised much controversy , especially among the Chinses Communist Officials. This production included eight characters, all on different journeys, watching as each bus passes them by. To some this symobolized waiting for God or some other higher being to come a pick them up, but they never do. This could be considered too hot too handle mostly from a religious and cultural standpoint.
1) NYC Today- "Naked Boys Singing"-Musical
What- Musical comedy that involves naked guys singing and performing.
Where- New York City's New World Stage's
When- Every Saturday and Sunday (still running)
Who (Starring)- Michael Chapman, Charles Duff, Gavin Esham, Frank Galgano, Brian M. Golub, Timothy John, Scott McLean, David Macaluso, Lance Olds, W. Brent Sawyer and TrevorSouthworth
http://www.nakedboyssinging.com/gallery_newyork/gallery.html
"A chippendale's glee club by a Full Monty gang!... A hit with gays, straights, and everyone in between!"- NY Daily News
This production is “Too Hot to Handle” because of the profound nudity that is involved in the entire performance. Not only is the fact that they are completely nude controversial, but some of their songs that are performed are about controversial issues. Titles of their numbers include; “Perky Little Porn star”, “ Fight the Urge”, and “The Naked Maid”.
2) Naked Broadway-"Equus" by Peter Shaffer
What- A play about a disturbed teenage boy who blinds six horses.
Where- London’s West End Gielgud’s Theatre
When- 2007
Who (Starring)- Daniel Radcliffe and Richard Griffith
“Last night, 17-year-old Daniel Radcliffe was brave enough to perform the denouement of Equus without wearing so much as the specs that are his Potter insignia…for a sex-scene that proved as abortive as any puritan could wish…”- London Times
http://london.broadway.com/blog/id/3006205/WereCriticsSpellboundbyDanielRadcliffeinEquus
This production could be considered “Too Hot to Handle” not only because of the controversial script and play in itself but because the character that teen sensation Daniel Radcliffe took on. Harry Potter’s star barred it all in the 2007 revival of “Equus” in which a teenage boy has a obsession with horses and ends up blinding six of them in anger.
3) Gay Broadway- “ Bed, Boys, and Beyond” by Jeff Dobbins music by Alfredo Alvarez
What- A Musical about gays and what the new millennium will bring forth
Where- Duplex Cabaret Theatre New York City
When- 2000
Who (Starring)- Jason Ma, Chad Miller, and Ryan Perry
“This new musical revue explores the confusing, poignant and often hilarious lives of gay men at the beginning of the new millennium.”
http://news.theatermania.com/new-york/shows/bed-boys-and-beyond_2557/#userreviews
http://www.queermusicheritage.us/gm-bedbb.html
This production would be “Too Hot To Handle” for some due the nature of the whole production and homosexuality. This play featured five men performing and singing about issue’s and problems gays have. This production included song titles such as; “Gay Today”, Men Seeking Men”, and “Family Values”. Depending on your views this could either be an enjoyable show or just “Too Hot Too Handle”.
4) Racist Broadway- “Show Boat” by Edna Ferber and music by Hammerstein and Jerome Kern
What- A musical involving racial issue’s and other controversial aspects
Where- Torronto, Ontario
When- 1993
Who-Directed by Harold Prince
“...picket lines were mounted in front of the Show Boat box office and a "Coalition to Stop Show Boat" was formed..."
http://www.accessmylibrary.com/article-1G1-17305360/show-boat-revival-racism.html
Although the original script and productions of "Show Boat" were considered controversial to some, the revival definetly caused some controversy as well. The uproar started before the show even went into rehearsals, and following the opening caused people to stand outside and protest against it . I guess "Show Boat" will always be " Too Hot Too Handle" for some.
5) Busted- "Jesus Christ Super Star" musical by Andrew Lloyd Webber and Tim Rice
What- A musical that was shut down before it opened.
Where- Berlin's Hebbel Theare
When-2010
Who (Starring)- Electro-Pop star Peaches
""stripped-down" performance of Andrew Lloyd Webber's Jesus Christ Superstar has been "crucified before opening night"
http://www.guardian.co.uk/music/2010/feb/16/peaches-jesus-christ-superstar
This production of "Jesus Christ Superstar" was closed before it could open due to the german authorities who held the rights to the vocals refused to let the production have them. The reason for the "bust" was because many thought it was absurd to let electro-pop star Peaches perform her one-women rendition of the show.
6) Nea 4- Holly Hughes, Tim Miller, John Fleck, and Karen Finley
What- A controversial case that mades it's was to the supreme court on the bases of the NEA's funding for indiviual performance artist and their subject matter.
Where- The U.S Courts
When- 1990/1992
Who- Hooly Hughs, Tim Miller, John Fleck, and Karen Finley
"Congress passed a law requiring that "general standards of decency and respect for the diverse beliefs and values of the American public" be taken into consideration in making funding determinations."
http://faculty-web.at.northwestern.edu/commstud/freespeech/cont/cases/finley.html
This controversy made its way through the courts due to the NEA ( National Endowement for the Arts) retracting grants from four indivuals on the bases of subject matter that was included in their works. This issue caused many to question what and what should'nt recieve funding in the performance realm of individual artists. It was stated that subject matter be determined when allowing grants for artist.
7) Regional Theare Controversy- Manhatten Theatre Clubs "Corpus Christi"
What- A production by Terrence Mcnally that depicts Jesus Christ as a homosexual texan
Where- Manhatten Theatre Club
When-1998
Who- Directed by Joe Mantello
"...sick beyond words."- William Donahue of the Catholic League
"http://www.trincoll.edu/depts/csrpl/RIN%20Vol.1No.1/RIN%20Vol.1No.2/Corpus_Christi.htm"
This play was definetly too hot too handle among ,not only the general public but even caused the Catholic League of Religious and Civil Rights to act upon sending threats to the theatre to burn it down. This play written by Joe Montello depicted Jesus Christ as a homosexual texan that would have intercourse with his apostle. In my opinion this blasphemous production should have been shut down before it ever started, whether religious or not this is a line that should not be crossed.
8) College/ University -Controversy over a Seniors project " Gratuitous Pieces", that was a production on campus.
What- A college Senior at SMSU caused controversy when he produced a show that included extreme graphic content
Where- Southwest Minnesota State University
When- 2003
Who- Senior Beau Jorgensen
"The show is considered to be so graphic that the SSU theatre department is requiring him to put a disclaimer that the production is not affiliated with the theatre department or the drama club on his posters, said Ray Oster, associate professor of theatre arts. "
This production was "Too hot too handle" for some that attended Senior Beau Jorgensen's production of " Gratuitous Pieces". This piece dealt with sexual assault and rape and was considered so graphic that only persons over the age of eighteen were allowed to be admitted. The senior even tried to ask that local counselers be on hand after the show in case students or audience members wanted to talk, but they refused after reading the graphic nature of the production.
9) HighSchool Controversy- "Rent" the musical
What- a highschool production of the acclaimed musical caused controversy galore.
Where- Corona Del Mar Highschool, California
When- 2009
Who- Highschool students
""(Rent) is catering to the totally out-of-control youth of this nation," Phelps said. "They've got no discipline, no morals. Only doom and destruction lie ahead for them." -Fred Phelps Jr.
http://www.ocregister.com/news/school-112946-church-play.html
This production of "Rent" was prehaps one the most controversial issues of Corona Del Mar Highschools time. The controversy started when the announcement that the show was going to be produced. It caused members of churchs to stand outside and hold up signs for people passing by and ended with police intervention. This show had undergo a more "school-safe" version after protests and was finally allowed to be performed by the students.
10) Wildcard- "The Bus Stop" by Gao Xingjian
What- A production that included the same idea as "Waiting For Godot" that sparked contreversy among Chinese Communist Officials and others.
Where- Sanford Meisner Theatre, New York
When- 2009
Who- (Starring)-Joe Albert Lima, Ray Chao, Hank H. Kim, Adam Bedri
"Condemned as "spiritual pollution"
http://www.broadwayworld.com/article/Controversial_Play_THE_BUS_STOP_Premieres_At_Theater_HAN_41_20090212
This show was presented at the Sanford Meisner Theatre in New york and raised much controversy , especially among the Chinses Communist Officials. This production included eight characters, all on different journeys, watching as each bus passes them by. To some this symobolized waiting for God or some other higher being to come a pick them up, but they never do. This could be considered too hot too handle mostly from a religious and cultural standpoint.
Friday, February 5, 2010
Project #2 unconventinal theatre
1) A Midsummer Nights Dream by Shakespeare
Directed by Kate Lynch
Producing Theatre Company -Theatre Passe Muraille
Performance dates -November 2001
Performance dates -November 2001
"Theatre Passe Muraille's stellar
all-woman production of A Midsummer Night's
Dream..."
http://www.canadianshakespeares.ca/multimedia/imagegallery/m_i_8.cfm
all-woman production of A Midsummer Night's
Dream..."
http://www.canadianshakespeares.ca/multimedia/imagegallery/m_i_8.cfm
This is considered an unconventional production because of the all female cast. All though when originally produced it was with an all male cast this production turns the table around. The director wanted to see how the connection to the gender of the cast would convey the story and how much different it would be from an all male cast or gender specific cast.
2) The Importance of Being Earnest by Oscar Wilde
Directed by David Fielding
Performed at the Bristol Old Vic Theatre April 28th- 29th May 2005
"Phallic cucumbers emblazoned across the walls, men in skirts and the medley of gay anthems that rings out during the two intervals leave little to the imagination."
http://www.bbc.co.uk/bristol/content/articles/2005/05/06/earnest_reviewed_feature.shtmlThis production of Oscar Wilde's Importance of Being Earnest was unconventional in the way that not only was it performed with an all male cast, but the set and other elements were unconventional too. The characters alone were done in an over-the-top manner with the women played by men being overly flamboyant. The set was emblazoned with pink tulips and even had a huge purse hanging over the stage which shows how unique this production of a classic was done.
3) A Cat On A Hot Tin Roof by Tenessee Williams
Directed by Debbie Allen
Performed at The Broadhurst Theatre in New York February 12th- April 13th 2008
**Staring James Earl Jones, Terrence Howard, Anika Noni Rose, and Phylicia Rashad**
" Not only is Broadway history being made, African American theatre history is also being made!"http://www.gainformer.com/Files/All%20Black%20Cast%20in%20Cat%20on%20a%20Hot%20Tin%20Roof%20is%20Super%20Hot.htm
This production of Tennessee Williams Cat on a Hot Tin Roof is unconventional in the aspect of casting all African-Americans even in the parts that are typically cast as whites . This was a year when many Broadway shows were practicing untraditional casting in the area of ethnicity. This was a smart move because of the current audiences that were attending Broadway shows and wanted to see more African-Americans among the scene.
4) Richard II by Shakespeare
Directed by Meryl Federman
Produced and Performed by the Hyperion Shakespeare Company October 21st-24th 2009
"Hyperion Shakespeare Company’s “Richard II” attempts to interpret Shakespeare’s play anew by using an all-female cast, with limited success."
This production can be considered unconventional because of the gender casting as all female. This show usually has men play the majority of the parts and this theatre company wanted to explore if masculinity has to be there in order for the king to seem powerful. This production challenged the accepted rules of femininity versus masculinity.
5) The Man Of Lamancha by Dale Wasserman
Directed by Steve Wilson
Performed by Phamaly ( Physically Handicapped Actors and Musical Artists League) July 23- August 16th at the Space Theatre in Denver
"PHAMALY's production of Man of La Mancha is a triumph. Not because the vitality and momentum of this very fine musical make you forget that all the performers in the PHAMALY company are disabled — some in wheelchairs, some stumbling, some unable to see. "
This show can be considered unconventional in many ways because of the cast of all handicapped people. Among the cast includes people who are blind, deaf, or even wheelchair ridden. This show involves much dancing and singing and with the non-traditional cast for this show is done differently then most have experienced it. With different barriers to try and adjust to this show was unconventional in more ways than one.
Friday, January 29, 2010
Project #1 Genre's Acedemic ( College Conservatory of Music)
You Can't Take It With You by George S. Caufman ( produced in 2009)
"The comedy is over the top..."
http://www.flickfilosopher.com/blog/1999/01/you_cant_take_it_with_you_revi.html
"1930s family-values comedy..."
http://www.denverpost.com/theater/ci_7038444?source=bb
Orpheus Descending by Tenessee Williams (produced in 2009)
"Gothic soap opera..."
http://www.backstage.com/bso/reviews-la-theatre/orpheus-descending-1004060596.story
" one of Williams’ lesser known dramas..."
http://www.gale-harold.it/english/articles/orpheus-descending-review.htm
Twelfth Night by William Shakespeare (produced in 2008)
"is often considered Shakespeare’s last “true” comedy..."
http://www.playshakespeare.com/twelfth-night/reviews
"joyous romantic comedy..."
http://www.goldstar.com/events/chicago-il/twelfth-night-2.html
Recent Tragic Review by Craig Wright ( produced in 2009)
"...an offbeat comedy/drama..."
http://www.theatretribe.com/shows/rte.html
" poignant and witty comedy"
http://www.talkinbroadway.com/regional/minn/minn93.html
The Lady's Not For Burning by Christopher Fry ( produced in 2007)
"verse drama"
http://www.curtainup.com/ladysnotforburning.html
"strange and deep drama"
http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/the-ladys-not-for-burning-minerva-theatre-chichester-652667.html
Lysistrata by Aristophanes (produced in 2007)
"classical Greek comedy"
http://www.curtainup.com/lysistrata.html
"Satire with knobs on"
http://www.independent.co.uk/arts-entertainment/music/reviews/lysistrata-megaron-athens-658530.html
Big Love by Charles Mee ( produced in 2006)
"vaudevillian tragicomedy"
http://www.curtainup.com/biglove.html
"BIG LOVE' HAS IT ALL: COMEDY, TRAGEDY AND ROMANCE"
http://www.highbeam.com/doc/1G1-73927886.html
Noises Off by Michael Frayn (produced in 2006)
"the funniest farce ever written"
http://www.goldstar.com/events/glendale-ca/noises-off.html
"Stylized comedy"
www.culturemagazine.ca/theatre/the_noises_off_review.html
The Comedy of Errors by Shakespeare (produced in 2006)
"The comedy is over the top..."
http://www.flickfilosopher.com/blog/1999/01/you_cant_take_it_with_you_revi.html
"1930s family-values comedy..."
http://www.denverpost.com/theater/ci_7038444?source=bb
Orpheus Descending by Tenessee Williams (produced in 2009)
"Gothic soap opera..."
http://www.backstage.com/bso/reviews-la-theatre/orpheus-descending-1004060596.story
" one of Williams’ lesser known dramas..."
http://www.gale-harold.it/english/articles/orpheus-descending-review.htm
Twelfth Night by William Shakespeare (produced in 2008)
"is often considered Shakespeare’s last “true” comedy..."
http://www.playshakespeare.com/twelfth-night/reviews
"joyous romantic comedy..."
http://www.goldstar.com/events/chicago-il/twelfth-night-2.html
Recent Tragic Review by Craig Wright ( produced in 2009)
"...an offbeat comedy/drama..."
http://www.theatretribe.com/shows/rte.html
" poignant and witty comedy"
http://www.talkinbroadway.com/regional/minn/minn93.html
The Lady's Not For Burning by Christopher Fry ( produced in 2007)
"verse drama"
http://www.curtainup.com/ladysnotforburning.html
"strange and deep drama"
http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/the-ladys-not-for-burning-minerva-theatre-chichester-652667.html
Lysistrata by Aristophanes (produced in 2007)
"classical Greek comedy"
http://www.curtainup.com/lysistrata.html
"Satire with knobs on"
http://www.independent.co.uk/arts-entertainment/music/reviews/lysistrata-megaron-athens-658530.html
Big Love by Charles Mee ( produced in 2006)
"vaudevillian tragicomedy"
http://www.curtainup.com/biglove.html
"BIG LOVE' HAS IT ALL: COMEDY, TRAGEDY AND ROMANCE"
http://www.highbeam.com/doc/1G1-73927886.html
Noises Off by Michael Frayn (produced in 2006)
"the funniest farce ever written"
http://www.goldstar.com/events/glendale-ca/noises-off.html
"Stylized comedy"
www.culturemagazine.ca/theatre/the_noises_off_review.html
The Comedy of Errors by Shakespeare (produced in 2006)
"Shakespeare's complete comedy " http://www.nytheatre.com/nytheatre/come5814.htm
"farce as one of the lowest forms of comedy" http://austinist.com/2009/07/02/review_the_comedy_of_errors_at_the.php
Friday, January 22, 2010
Project #1 : Genres Professional- ( Cincinnati Playhouse in The Park)
Sleuth by Anthony Shaffer (produced in 2009)
"One of the greatest stage thrillers and a masterpiece of suspense"
http://cincyplay.com/shows/Details.aspx?performanceNumber=5086
"One of the most deviously clever thrillers ever concocted"
http://www.gotriadscene.com/event/detail/3125
Three Sisters by Sarah Ruhl ( produced in 2009)
"Anton Chekov's play is regarded by some critics as the best drama of the 20th century"
http://library.ups.edu/instruct/ricig/tsmain.htm
"Chekhov referred to The Three Sisters as a "drama," preferring to avoid the more confining labels of either "comedy" or "tragedy," although later critics have argued for both of those labels"
http://www.enotes.com/three-sisters
Daddy-Long-Legs by John Caird ( produced in 2010)
"For his latest project, he has turned Webster's forgotten classic into a small-scale musical"
http://www.independent.com/news/2009/oct/09/new-john-caird-musical-daddy-long-legs-premieres-r/
"A NEW MUSICAL ROMANCE.."
http://www.cb-pr.com/press/pdfs/Daddy%20Long%20Legs%20Short%20Lead.pdf
Ain't Misbehavin' by Richard Maltby Jr. ( produced in 2010)
"Aint misbehavin' is an electrifying musical showcase .."
http://www.highbeam.com/doc/1P1-79666914.html
"Ain't Misbehavin': A timeless musical comes to the valley..."
http://www.abc15.com/content/entertainment/localevents/story/Aint-Misbehavin-A-timeless-musical-comes-to-the/qeCIkSE5okypuNr3JgmrYw.cspx
Sanders Family Christmas by Connie Ray ( produced in 2009)
"...one of the Playhouse's most popular and beloved comedies"
http://www.citybeat.com/cincinnati/article-18952-victoria-musica-(review).html
"is a heartfelt family comedy ..."
http://www.nuvo.net/arts/article/sanders-family-christmas-july
Tha Fantasticks by Tom Jones ( produced in 2010)
“the world’s longest-running musical"
http://latimesblogs.latimes.com/culturemonster/2009/05/review-reprise-theatre-companys-production-of-the-fantasticks-.html
"A lovely musical parable "
http://citybeat.com/cincinnati/article-2934-onstage-review-the-fantasticks.html
I Love You, You're Perfect, Now Change by Joe DiPietro ( produced in 2008)
"off-Broadway’s longest-running, smash hit musical comedy"
http://www.cincyplay.com/shows/Details.aspx?performanceNumber=4198
"...rollicking throwback to a nearly extinct theatrical genre: the musical comedy revue"
https://www.broadwaytheatre.com/show_pgs/I_Love_You_You
A Christmas Carol by Charles Dickens ( produced in 2009)
"...isn't a play anymore so much as it is a pageant"
http://www.ericdsnider.com/theater/a-christmas-carol/
"Dickens' classic tale..."
http://dallas.broadwayworld.com/article/Alley_Theatre_Presents_A_CHRISTMAS_CAROL_Previews_1120_20091227
Othello by William Shakespeare
"It is a tragedy"
http://www.helium.com/knowledge/65181-play-reviews-othello-by-william-shakespeare
"Shakespeare's Othello is a complex tragedy"
http://members.cox.net/skreyola/essay009.htm
Altar Boyz by Kevin Del Aguila
" award-winning Off-Broadway musical comedy"
www.altarboyz.com/
"a satire about a Christian boy band..."
http://theater.nytimes.com/show/23714/Altar-Boyz/overview
"One of the greatest stage thrillers and a masterpiece of suspense"
http://cincyplay.com/shows/Details.aspx?performanceNumber=5086
"One of the most deviously clever thrillers ever concocted"
http://www.gotriadscene.com/event/detail/3125
Three Sisters by Sarah Ruhl ( produced in 2009)
"Anton Chekov's play is regarded by some critics as the best drama of the 20th century"
http://library.ups.edu/instruct/ricig/tsmain.htm
"Chekhov referred to The Three Sisters as a "drama," preferring to avoid the more confining labels of either "comedy" or "tragedy," although later critics have argued for both of those labels"
http://www.enotes.com/three-sisters
Daddy-Long-Legs by John Caird ( produced in 2010)
"For his latest project, he has turned Webster's forgotten classic into a small-scale musical"
http://www.independent.com/news/2009/oct/09/new-john-caird-musical-daddy-long-legs-premieres-r/
"A NEW MUSICAL ROMANCE.."
http://www.cb-pr.com/press/pdfs/Daddy%20Long%20Legs%20Short%20Lead.pdf
Ain't Misbehavin' by Richard Maltby Jr. ( produced in 2010)
"Aint misbehavin' is an electrifying musical showcase .."
http://www.highbeam.com/doc/1P1-79666914.html
"Ain't Misbehavin': A timeless musical comes to the valley..."
http://www.abc15.com/content/entertainment/localevents/story/Aint-Misbehavin-A-timeless-musical-comes-to-the/qeCIkSE5okypuNr3JgmrYw.cspx
Sanders Family Christmas by Connie Ray ( produced in 2009)
"...one of the Playhouse's most popular and beloved comedies"
http://www.citybeat.com/cincinnati/article-18952-victoria-musica-(review).html
"is a heartfelt family comedy ..."
http://www.nuvo.net/arts/article/sanders-family-christmas-july
Tha Fantasticks by Tom Jones ( produced in 2010)
“the world’s longest-running musical"
http://latimesblogs.latimes.com/culturemonster/2009/05/review-reprise-theatre-companys-production-of-the-fantasticks-.html
"A lovely musical parable "
http://citybeat.com/cincinnati/article-2934-onstage-review-the-fantasticks.html
I Love You, You're Perfect, Now Change by Joe DiPietro ( produced in 2008)
"off-Broadway’s longest-running, smash hit musical comedy"
http://www.cincyplay.com/shows/Details.aspx?performanceNumber=4198
"...rollicking throwback to a nearly extinct theatrical genre: the musical comedy revue"
https://www.broadwaytheatre.com/show_pgs/I_Love_You_You
A Christmas Carol by Charles Dickens ( produced in 2009)
"...isn't a play anymore so much as it is a pageant"
http://www.ericdsnider.com/theater/a-christmas-carol/
"Dickens' classic tale..."
http://dallas.broadwayworld.com/article/Alley_Theatre_Presents_A_CHRISTMAS_CAROL_Previews_1120_20091227
Othello by William Shakespeare
"It is a tragedy"
http://www.helium.com/knowledge/65181-play-reviews-othello-by-william-shakespeare
"Shakespeare's Othello is a complex tragedy"
http://members.cox.net/skreyola/essay009.htm
Altar Boyz by Kevin Del Aguila
" award-winning Off-Broadway musical comedy"
www.altarboyz.com/
"a satire about a Christian boy band..."
http://theater.nytimes.com/show/23714/Altar-Boyz/overview
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