Sunday, October 31, 2010
"Bachorlette" actor Ron Mayer interview on "KC After Hours"
Ron Mayer was one of the bachelors on a previous season of The Bachelorette. Find out what he's doing now and where his life has taken him.
Critic of the Kauffman Center's architecture
more at the Kansas City Gazette
[Thanks, Tony]
IFC taking submissions for "Every Pictures Tells a Story"
more at the Independent Filmmaker's Coalition
"Venice" star Matt Sax appears on "Last Call with Carson Daly"
more at kansascity.com
ArtsKC Inspiration Breakfast raises $164,000
Unicorn "The Seafarer" review by Walter Winch
more at Infozine
Saturday, October 30, 2010
Touring musicians visit local high shcools
more at kansascity.com
Auditioning for the Lawrence Community Theatre
more at the Lawrence Journal-World
Coterie "Sorority House of the Dead" review by Russ Simmons
more at Sun Publications (after the review for The Seafarer)
Unicorn "The Seafarer" review by Russ Simmons
more at Sun Publications
Time lapse video shoot at the Filling Station
We had a production at the Filling Station (39th & McGee) a few weeks ago. We rolled this camera for most of it (but the battery died 2/3 of the way through). It was a long weeknight but we got some great shots and had a pretty good time.
Friday, October 29, 2010
Eric Rosen, Matt Sax "Venice" on the road to Broadway
more at KC Confidential
History of the song "Kansas City"
more at kansascity.com
Missouri Univesrity stage makeup class photos by Ally Anderson
more at the Missourian
Charlotte Street "See-Saw" review by Greta Moore
more at the University News
Rodrick Pocowatchit "The Dead Can't Dance" interview by Jerry Rapp
more at Review
KC Ballet "Slaughter on Tenth Avenue" review by Nicole English
more at the University News
Pianist Stanislav Ioudenitch interview by Alex Smith
listen at KCUR
Thursday, October 28, 2010
Brenda Harris "Norma" interview with COMMANDOpera.com
more at the Lyric Opera
Art Institute 2010 animation demo reel
Official 2010 showreel for the Academy Award winning Animation Department at the Kansas City Art Institute. Featuring clips from the 2010 Spring semester. Please have a look around our channel for full versions of most of these films.
Sphinx Chamber Orch, Harlemt Quartet review by DSM
more at Chamber Music Today
UMKC "King Stag" review by Kristen McMillan
more at the University News
Coterie "Sorority House of the Dead" review by Jill Schleiden
more at the University News
Lied Center "Fiddler on the Roof" review by Thomas Hardy
more at the Lawrence Journal-World
Unicorn "The Seafarer" review by BeninKC
The Seafarer Sails on Vision and Talent
Rating: 5
The Seafarer
Kansas City Actors Theatre
If the first ever collaboration between The Unicorn and Kansas City Actors Theatre is any indication, this is a partnership that should be utilized many more times. Their current production, The Seafarer, by Conor McPherson, at the Unicorn's Jerome Stage, seamlessly weaves a seemingly realistic, yet oddly mystical tale, in modern day Ireland. Set in a basement in Baldoyle, Ireland, on Christmas Eve, the play is the story of Sharky (David Fritts) and his encounter over a game of higher-stakes-than-expected poker with Mr. Lockhart (Victor Raider-Wexler), who we quickly recognize to be an earthly incarnation of the Devil. Filling out this ensemble of eccentric Irish card players are Sharky's blind brother, Richard (Allan L. Boardman), and friends Ivan (Stuart Rider) and Nicky (Dean Vivian).
Wednesday, October 27, 2010
Anita Cordell interview by Jefferson Donald
part one, part two at examiner.com
Stanton Welch, Houston Ballet II interview by Lisa Jo Sagolla
more at kansascity.com
Coterie "Sorority House of the Dead" review by Actor's Eyes
A Bloody Disappointment
Rating: 1
Sorority House of the Dead
The Coterie Theatre
I was thoroughly excited for the Ron McGee double feature (Sorority House of the Dead and Young Frankenstein) on Monday the 25th at the Living Room. However, I left sorely disappointed by the first performance (though the staged reading that followed was a complete riot and very well received).
While the show had its moments, it was about an hour longer than it needed to be. They could have gotten the point across AND all of the successful jokes out in a mere 30 minutes. However, I did very much enjoy the dance sequences and crazy 80s styles.
Also, the space had a splatter zone in the front row. The audience was not warned of this until the house manager started passing out plastic to hold in front of them. I heard several complaints from these patrons who wouldn't have minded sitting in a splatter zone, if they had only been aware that that was where they were only made aware of it before hand. The fake blood was only water that they didn't even bother to color red, but I still consider it a common courtesy to advertise the fact that the audience members would be getting wet. There was also a character that swung fake limbs around, sometimes in his teeth, in order to spray more "blood". However, a woman in the front row was actually hit in the face with an arm. I doubt that she paid $10 for that.
I guess that after seeing Evil Dead, there is just no appreciating other horror spoofs on stage.
read the review at KC Stage
Egads "Evil Dead: The Musical" review by Actor's Eyes
Eubank does it again
Rating: 5
Evil Dead: The Musical
Egads Theatre Company
Steven Eubank is a genius.
I have always maintained that Steven is one of the best directors in town and a pure joy to work with. Though I was not fortunate enough to be a part of his most recent production, Evil Dead the Musical, I am not at all upset that I was not cast. Every actor in this show was cast perfectly for their part and I wouldn't have it any other way.
For those of you who are unfamiliar with the show, it is a musical parody of the Evil Dead movie trilogy featuring Bruce Campbell. I attended the 11pm performance on October 22nd (their late night shows not only have great discounts, but never fail to be a little more rowdy). I had the great pleasure of sitting next to the dramaturg, Matt Leonard, who is an absolute expert on the cinematic version of the story, and he was almost as entertaining to watch as the show itself as he quoted the famous lines along with the actors and cheered hardily at successful stage deaths.
I also decided to brave the infamous "Splatter Zone", where patrons are pretty much guaranteed to get at least some stage blood on them. If you really want to get covered, all you have to do is nab a seat in the center of any of the stage side rows; that's where the majority of the gore strikes. Egads Theatre Company has t-shirts for sale in the lobby so that you can take home a souvenir covered in blood if you so choose.
On to the performers: in a word, AMAZING. Eubank did a phenomenal job casting this show. All of the singing voices were perfectly matched to their characters and I was impressed with the breath control during the intense dance sequences (courtesy of choreography Derek Ferguson). Sam Wright (Ash) was a shoe in for Bruce Campbell and his lovey-dovey relationship with Linda (played by Aurelie Roque) was almost more disgusting then all the gore. Ethan Miller (Ed) had a very cute little number called "Bit Part Demon" and my only complaint was that he didn't show off the tap dancing skills that he demonstrated in Egads' last production, Eating Rauol. Noah Whitmore was absolutely hilarious as the sex driven Scott and had a beautifully grotesque death scene that featured him pulling out his own intestines. Whitmore was also the most liberal with sharing blood with the patrons in the "Splatter Zone". Chioma Anyanwu (Cheryl) spent the majority of the show as an "evil dead" and the contrast of her evil voice from the original, shy Cheryl was astounding. She sounded like two completely different people and I'm sure that she had vocal fatigue from how much energy she threw into the role. I was also amazed by her incredible stage death when she went down like a felled tree with absolutely no abandon. Dana Joel Nicholson played the aptly named "good ol' reliable Jake"; you could rely on him for a red neck good time and beautiful comedic timing (though the rest of the cast did not lack this in the least). Last, but not least, my personal favorite, Olivia Marsh. Marsh played two characters, Shelly and Annie, both sexy but different in almost every other aspect. I was very impressed with how she made a clear distinction between the characters (the audience would not need the different costumes and wigs to differentiate between the two). Shelly was a complete idiot, content to slate Scott's sexual appetite and remember Cheryl's name by using her vagina as a ventriloquist dummy, and Annie was an academic who insisted on being control of everything. Both characters featured scandalous costumes but no one in the audience seemed to mind whenever she bent over.
The set and lighting were perfect compliments to the performances of the actors with the special touch of blood actually shooting out of the stage. They also utilized fog very well. One particular moment I enjoyed was when a steady gust of air from downstage left blew back Roque's hair during her duet with Wright. In the middle of the stage was a cellar door that Anyanwu often popped out of to spout off bad puns. Several of the actors had interactions involving the trap door and it appeared to be very heavy and slightly dangerous (it was slammed shut often). I know for a fact that Nicolson was injured during one of the previous performances when his arm was pinched in the door. This factor of the set, as well as some branches that attacked the characters, were very worrisome to me and I was concerned for the actors' safety because of them.
Overall, Evil Dead the Musical receives a five out of five from me. I've never laughed so hard in the theatre. My hat is off to Steven Eubank and is marvelous cast. I hope to see the show again before it closes!
read the review at KC Stage
Tuesday, October 26, 2010
She&Her "You're a Good Man Charlie Brown" review by Actor's Eyes
Pleased by Peanuts
Rating: 4
You're A Good Man Charlie Brown
She&Her Productions
SheHer Productions has done a terrific job of transforming the Crane building in the West Bottoms into an inviting performance space. The theatre seats are comfortable and set on risers to create excellent sight lines and there is a cozy room off to the side of the performance space where patrons can enjoy drinks. My only qualm with the facility was that there was only one, though beautifully decorated, bathroom.
The October 18th performance of You're a Good Man Charlie Brown was extremely entertaining and provided an all around fun night of theatre. The costumes, hair and makeup brought the audience back to their childhood days of enjoying the Peanuts comic strips and cartoons; Jennifer Coville-Shweigert (co-producer) and Tracy Van Unen were especially convincing as Lucy and Sally. The set was simple, but effective and the lighting by Russell Langdon, no stranger to lighting design, was extremely impressive for such a small space. The orchestra, led by J. Preston Schell, was completely up to par; I never heard a missed note and the sound was mixed well.
As to the performers, this show was very well cast though I was least impressed with Jason Patrick Pollard as the title role and Alisha M. Garnier as Snoopy. This could be because I hold actors in such pivotal roles to a higher standard, but Pollard seemed more monotone than sad and Garnier struggled with some of the notes (always a danger when casting a female Snoopy) and downright exhausted during her choreography. In her number "Supper Time", I was concerned that she was going to pass out right in front of me! Perhaps this was just an issue in this particular performance. One must consider that actors are just as susceptible to fatigue and illness as everyone else.
Though all of the actors were entertaining (some more than others) my absolute favorite performance was given by Phillip Russell Newman as Schroeder. His voice was perfectly suited for the role and his energy topped all the rest. I actually felt like jumping up and celebrating Beethoven Day with him! Newman's brother Jeff played Linus and he also gave a spectacular performance. His number "My Blanket and Me" included an impromptu tap dance that the entire cast participated in. It was clear that there were only a few with any tap experience and the rest of the performers struggled with the basics. I commend them for taking on the choreography with no previous training and know that I could do know better myself. Watching them dance, I could identify the names of the moves, but know that I would not be able to execute them any better than the novice dancers on the stage.
Overall, I give this performance a four out of five stars and I look forward to not only seeing more shows in this venue, but hope to participate in them myself. It is clear that She&Her Productions is on their way to being a very successful theatre company and I can't wait to see it blossom. Congratulations to the cast and to director Tiffany Garrison-Schwegert on an entertaining production of You're a Good Man Charlie Brown.
read the review at KC Stage
UMKC "Black Comedy/White Liars" review by Piddums
As Different as Black and White
Rating: 4
Black Comedy/The White Liars
UMKC Theatre
Black Comedy is an often produced play from the Peter Schaeffer catalog and an oddity from that author. Not concerned with those touched by God and the men who envy them (essentially the plots of Equus, Amadeus and The Royal Hunt of the Sun), Black Comedy is a farce. Brinsley Miller and his debutante fiance are holding a party to show his art pieces and also meet his fiance's military father. They've borrowed his neighbor's prized antique collection without permission to impress their guests and are waiting when the building is sent into blackout. The unexpected appearances of the neighbor and an ex girlfriend complicate matters with Brinsley spiriting the furniture out of the apartment and hiding the angry ex in the upstairs bedroom.
Schaffer uses the convention that when the room is lit in the play, the stage is in blackness and when the room is in blackness the stage is brightly lit. The pace is wonderful in this production and the cast is so uniformly good that I find it hard to single anyone out, but I absolutely must mention Virginia Hubbard as another neighbor with a secret drinking problem and J. Will Fritz as the flamboyant antique owning neighbor who may or may not have had a relationship with Brinsley himself.
The White Liars is a lesser known Shaeffer play, which is done mostly as a companion piece to Black Comedy as it originally was done on The West End and Broadway. The reason that it's lesser known and often omitted is because it's dreadful. The story of a fortune teller and two customers who all have secrets is jam packed with bloviating monologues which seem endless. The cast of three are quite charming and do their best, but there is no raising of this corpse.
Five out of Five for Black Comedy. Two out of five for the White Liars.
read the review at KC Stage
Enter to win two free tickets to Imago Dei's "A Christmas Carol: An Urban Cautionary Tale"
"Spotlight on Kelly Farrar" by Angie Fiedler
This article is from the September 2010 issue of KC Stage
Music has always been a big part of Kelly Farrar’s life. “I love to sing,” she says with dancing eyes. “It’s just something I do because I love to do it: it’s not something I would ever in a million years dream of doing as a career.”
But music has been a part of her career, whether she realizes it or not. In fact, the production she saw that made her realize she wanted to do theatre was the musical Grease. “It was one of the matinees that they do just for the school field trips. Before the show started, they brought us all up on stage, and they had this little dance party for us. And I remember standing up there and looking out, and I was like, ‘Yeah. This is where I’m supposed to be.’”
Born in New Haven, Conn., she moved to Des Moines when she was 12. At 19, her mom got a job in Kansas City. “I wasn’t quite ready to leave the nest yet,” she says with a laugh, and so she moved here as well. Having done some theatre training at a small community college in Des Moines, she wanted to continue the process and signed up with Andy Garrison’s Actor Training Studio.
“This sounds really bad,” Farrar says when explaining why she chose Garrison, “but he was the first one in the phone book.” She’s quick to continue, “I’m glad that he was the first person in the phone book, because I learned so much from him. He’s a genius.”
Garrison suggested Farrar join the Independent Filmmakers Coalition, and six months after joining, she became a board member. Being a member of the IFC led her to several bit parts in area films, including her latest, Jack in the Box, which the producers plan to submit to the Terror Film Festival in Philadelphia.
Music has a part in one of her films, too - she was part of the documentary Ten Songs. “It was a really cool premise, where if someone was making a movie out of your life, what ten songs would be on the soundtrack?” She takes a moment, then admits with a laugh, “I couldn’t tell you what ten songs were on the soundtrack at that time. I’m sure it was really, really bad late ‘90s, early 2000’s crappy pop music.”
It is a good bet, though, that at least one of the songs was a Billy Joel one, as Farrar is a big fan. In fact, in one of her part-time job as a karaoke DJ, she sings “New York State of Mind” a lot. “That’s a song I can sing in my sleep. I could be getting over strep throat and my voice be all scratchy and I can still nail it.”
She aces another Joel song in karaoke - “We Didn’t Start the Fire”. In fact, part of her ‘other skills’ is the boast that she knows all the words to it. “It’s my default song when I can’t sing or lost my voice.”
Singing is part of her current production, as she plays Balthasar (as well as a couple of other roles), who sings the “Sigh No More” song in Shakespeare in the Parking Lot IV: Much Ado About Nothing, which opens Sept 11 at the Alcott Arts Center (www.alcottartscenter.org). Full disclosure: I am the stage manager (and married to the director) of this year’s production, and I directed Farrar in last year’s SITPLOT (she was one of the Dromio twins in Comedy of Errors). In fact, Farrar has been in or a part of all four SITPLOT’s - she stage managed the first one (A Midsummer Night’s Dream), and got the role of Kate in Taming of the Shrew, the second year’s production.
For the first year, she says, “I went and auditioned, and Kim Hentges - who directed - sent me an e-mail asking me to stage manage. I was like, ‘Hey, why not? I can learn more this way.’ I think they had a year break, and then the second year I showed up and that was when we did Taming and that was my first ever role in any Shakespeare, minor or the lead. So, I kind of came out of the gate with Shakespeare like insanity, but it was a blast.”
For last year’s Comedy, the Dromios are men. Farrar says of playing a man, “That was awesome. You know what’s funny? I remember going to the first rehearsal and being really, really pissed off because I didn’t get Adriana. I wasn’t going to say anything, but I take the script home and I read it a little more thoroughly, and I was like, ‘Wait a second. I got the better part!’ It was something I’d never done before, and so it was fun.”
As for why Shakespeare, Farrar doesn’t even have to think about it. “I love Shakespeare,” she says, “and I feel the same way about the Greek plays. It’s very raw and cut down, and there’s not a lot to hide behind. You kind of have to be out there, doing it, you know? In more modern plays, you have a little bit more luxury and a bit more leeway, and if you mess up a line, it’s kind of easier to flub your way until you get what you want. You can’t do that with Shakespeare. I can’t speak in iambic pentameter by myself. You’d think at this point I’d be able to,” she says with a laugh, “but no. It’s more of a challenge, because you actually have to figure out what they’re saying.”
Music has another part of her life, as she is one of the hosts of an internet radio show called The Big Dumb Fun Show (www.bigdumbfunshow.com). Described on their website as “a drive-time style format”, the show broadcasts live on the website and through affiliate radio stations on Mondays from 7 - 10 pm.
“I got on because I was my ex-boyfriend’s ride,” she says with a laugh. “I would just drive him there every Monday. There were three hosts at the time: Aaron Gnirk, Venkman, and Frank. And Frank and Venkman were both gone, and my guy at the time was going to be one of the fill-in hosts. The Big Dumb Fun girl didn’t show up that day either, so I just sort of ended up being on a mike. And then six or seven months later, they gave me my own entertainment trash segment where I come in and talk about Hollywood for a segment or two and then I leave. And then it sort of morphed into me being there all the time.”
Farrar plans to move to New York in January, and major in theatre and elementary education. “I want to do theatre, but I currently work,” she says with a laugh. “I don’t like to have a backup plan, because that makes me feel like I don’t have enough faith in myself, but it’s something I can do to pay the rent, you know? I do before and after school care for the YMCA. The first thing since acting that I’ve felt a real passion for is working with the kids. I would like to continue working with the Y while I’m paying rent.”
Farrar knows theatre will always be a part of her life. When asked why she does it, she’s brutally honest. “I’m not qualified to do anything else. It’s the only thing I’ve ever wanted to do. I mean, I’ve done film, and film’s okay - I like doing it. I like the experience of it. But no matter how many movies I do, I’m always going to go back to theatre. There’s something about being on the stage and then being right there. That’s a rush.”
Monday, October 25, 2010
Coterie "Sorority House of the Dead" review by TheatreDiva
That was Olivia Newton-John, you bitch!
Rating: 4
Sorority House of the Dead
The Coterie Theatre
Going into 'Sorority House of the Dead', you know you're not in for an evening of 'typical' theatre. From the giving of plastic covers to the front row for the 'splatter effect' to the announcement that sounds like a Mad Lib gone wrong, there's the sense of being in it 'just for the fun of it' that is the marking of a Ron Megee show.
The show, set in 1987, is about three pledges at a sorority house - but not everything is as it seems. Filled with horror movie clichés and '80s references (including the three main characters dressed in the 80s fashion of Desperately Seeking Susan' Madonna, Joan Cusack's geek from 'Sixteen Candles', and the shoulder-pads power girl who references 'Working Girl'), the sense of fun that you feel just sitting in the space at The Living Room is what makes this show work.
While the special effects of the blood splatter (and the opening moment of tearing up a Girl Scout body) was definitely a high point, it was the 'low budget' special effects such as the montage and making the cast do a 'rewind' at one point that made it worth it (and the 'letterbox format' that let them bring in items from below). The only negative aspect of this was a door gag which was barely funny the first time, and was made the show grind to a halt the second time used.
In fact, over all, even though this show was barely an hour long, my only complaint was that the pacing was uneven. While most of the show was fast and furious, the times it did slow, it was a crawl - as if the cast somehow lost momentum and wasn't sure where it went. Thankfully, those times were few and far between - and they got back on track fairly quickly.
If you're looking for a fun Halloween outing, save your money from a haunted house in the Bottoms - and instead go see this show. It's a hoot.
read the review at KC Stage
"Dried Up" Art Institute animators interview by Peter Wayner
more at the New York Times
KC Chorale, René Clauson review by Paul Horsley
more at The Independent
Sunday, October 24, 2010
The Theatre in the Park call for directors
- The Sound of Music: June 10 -12 and June 16 -19
- Roald Dahl's Willy Wonka: June 24 - 26 and June 30 - July 3
- Elton John & Tim Rice's Aida: July 8 - 10 and July 14 - 17
- Seussical: July 22 - 24 and July 28 - 31
Johnson County Park and Recreation District
Attn: Human Resources
7904 Renner Road, Shawnee, KS 66219
Applications should include the following:
- A letter of interest stating a desire to direct at The Theatre in the Park, including which show(s) the applicant is interested in, and a basic concept for the stated show(s).
- Any possible schedule conflicts that may exist during the pre-production, production, and performance dates of Season 2011.
- A current resumé that includes all productions directed, including location and year. Other relevant theatre experience may also be included.
- A list of three references familiar with the applicant's past work. This list must be complete with the reference's name, telephone number(s) and email address.
Interviews will be held in late November 2010. Directors will be selected in December 2010 and will be announced on The Theatre's website (www.theatreinthepark.org) once all positions are filled.
"Worlds-O-Fun According to Sarah Julson" short film by Michelle Brost
I recorded my good friend Sarah retelling a memory about an unusual experience at Worlds of Fun in Kansas City, and animated it!
[Thanks, Tony]
Sue Viceroy KC Jazz documentary preview by kcjazzlark
There was a certain leap of faith last April when I wrote about the passion and potential going into Sue Vicory's film, Kansas City Jazz and Blues: Past, Present and Future. But after talking with Sue for a couple hours, I didn't feel then like I was stepping out on too fragile a limb.
more at kcjazzlark
more at kcjazzlark
The Theatre in the Park producer Tim Bair interview by Jessica Marshall
more at Sun Publications
Coterie "Sorority House of the Dead" interview by Mel Neet
more at KC Free Press
KC Rep "Harriet Jacobs" director Jessica Thebus
An inspirational, true story of a slave woman's anguished journey to freedom after running away from her master and hiding for nearly seven years in a small attic. Recommended for junior high and up.
Metropolitan Chorale Kristopher Taylor interview by Kelly Evenson
more at The Examiner
Saturday, October 23, 2010
Local cinemas looking at alternative programming
more at kansascity.com
Coterie "Alexander's Very Bad Day" promo
Interviews with actors on their characters and the coping skill they use to handle a bad day!
Actor Steven Eubanks narrates Judith Viorst's poem.
Jordan Janota, Scenic Designer, shares how pop art inspired the set design.
Actor Steven Eubanks narrates Judith Viorst's poem.
Jordan Janota, Scenic Designer, shares how pop art inspired the set design.
Arts and industry in the West Bottoms by Alex Kane
Mark Robbins "Seafarer" interview by Mel Neet
more at KC Free Press
Tallgrass Film Festival preview by Jerry Rapp
more at Review
Coterie "Sorority House of the Dead" preview by Robert Trussell
more at kansascity.com
Gem Theatre "Pocketbook Monlogues" preview by Robert Trussell
more at kansascity.com
Friday, October 22, 2010
Theatre for Young America "Dinosaur Play" review by Russ Simmons
more at Sun Publications
Street organs in Weston
more at The Platte Chronicle
Public piano in Lawrence
more at the Lawrence Journal-World
UMKC "King Stag" preview by Kellie Houx
more at KC Studio
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