KCStage 2004-06

Photo:
MAY 2004• 1
WHAT’S IN A NAME?
No Mo Rep
Board of Trustees of Missouri Repertory Theatre has announced its
decision to change the name of the
forty-year-old theatre to Kansas
City Repertory Theatre, commencing with the 2004-05 season.
The board adopted a new strategic
plan in 2002 that recommended increasing awareness about Missouri
Rep locally, regionally and nationally to enlarge the number of
people attending performances
and boost revenue for the theatre.
At that same time, the board began
considering the possibility of
changing the theatre’s name.
According to board president Topper Johntz, the trustees voted enthusiastically in favor of the name
change. “Many trustees and others
in the community had increasingly
come to believe that ‘Missouri Rep’
did not fairly represent our many
supportive patrons living in Kansas, and it was also apparent that
the name didn’t identify our location,” said Johntz. “I think we’ve
made the right decision to change
the theatre’s name to Kansas City
Rep, especially as our national
reputation for excellence continues
to grow.”
Chairman William C. Nelson
added that the timing for the name
change is right given the “One
K.C.” initiative recently announced
by the Kansas City Area Development Council to encourage local
civic and business leaders to think
of Kansas City as one region. “Regional unity and collaboration will
help make our community stronger in an increasingly competitive
world, and that applies to the arts
as well as to businesses. Changing
the Rep’s name helps position the
theatre to be more visible both in
Kansas City and beyond,” Nelson
continued.
To assist the Rep’s board in its decision about whether or not to
change the theatre’s name, Bob
Bernstein, co-founder, president
and CEO of Bernstein-Rein Advertising (B-R), one of the country’s top
ten advertising agencies specializing in brand positioning, donated
the agency’s research and creative
services to the Rep. Rep board
members Nancy Hatch, John
Hoffman, and Bob Zuroweste
formed a marketing committee to
work with B-R’s team.
Focus groups and research interviews were carried out with individuals from the metropolitan area
and throughout
Missouri and
Kansas,
and
also with theatre
professionals
from across the
country. The
many participants surveyed
included Rep
subscribers and
staff; UMKC ofContinued on page 15
CONTENTS
Page 2: Scream Queen Brinke Stevens is in KC shooting a horror film.
FEATURES
Kansas City is on the Brinke ..................................... 2
Horror Today ............................................................ 2
NOTES
No Mo Rep ............................................................... 1
Renaissance Festival’s 28th Year ........................... 12
RUNNING GAG
Ry’s Resume Reflections ........................................... 4
STAGE SAVVY
Theatre in the Noh .................................................... 4
STAND INS
Auditions ............................................................... 10
Calendar .................................................................. 6
Film Clips ................................................................. 4
Performances ........................................................... 5
Seasons .................................................................. 3
CREW
Managing Editor .............................. Richard Buswell
Graphic Design ...................................... Bryan Colley
Subscriber Rep ............................ Tricia Kyler Bowling
Webmaster ........................................... Scott Bowling
Marketing .............................................. Angie Fiedler
Lackey .................................................... Diane Bulan
KCSTAGE
Volume 05 • No. 6 • Issue 58 • June 2004
[email protected] • 816-361-2325
PO Box 410492 • Kansas City, MO 64141-0492
August Submission Deadline: July 1
WWW.KCSTAGE.COM
© Copyright 2004 by KC Stage. All material contained in this publication
is the property of KC Stage. Any use, duplication, or reproduction of any
or all content of this publication is prohibited except with the express
written permission of KC Stage. KC Stage is a member of the Just Off
Broadway Theatre Association. Printing by Kinkos. R
2 • KC STAGE
“The law is a sort of hocus-pocus science, that smiles in yer face while it picks yer pocket: and the
glorious uncertainty of it is of more use to the professors than the justice of it.” ~Charles Macklin
BRINKE STEVENS
HORROR
Kansas City is on the Brinke
Horror Today
by Jason P. Hunt • [email protected]
Kansas City filmmaker Jon Weimer
is passionate about films. Horror
films! But it’s not what you’re thinking. “In the last 25 years, horror
films have become ghettoized by
being equated with slasher films,”
says Weimer, who walked away
from a high paying job at DST to
make films. “We’re trying to correct that.” Weimer admits that his
influences are more Hitchcock than
[Tobe] Hooper. “Hollywood has forgotten
how to scare people.
Slasher films are stylized snuff films, where
you don’t give a damn
about the characters. If
that’s your idea of entertainment,
you
should rent Faces of
Death and see people
die for real.”
Outspoken and iconoclastic can be used not
only to describe
Weimer, but his films
as well. “I try to make
films that challenge the audience. I
don’t believe it’s possible to scare
people any more. Once you’ve seen
someone disemboweled, everything
else is anticlimactic. I try to make a
film that’s disturbing more than
frightening – that troubles the audience on intellectual, emotional,
and moral levels.
Hollywood has made films too
easy on the audience. A major studio film has to show the audience
a clear delineation between the
good guys and the bad guys, and
has to have a happy ending. That’s
boring. The real world is not black
“I’ve been every kind of monster you can imagine. I’ve gone insane.
I’ve been possessed. I’ve turned into vampires. I’ve been victims. I’ve
been killers. I’ve been buried alive. I’ve been killed in more ways than
you can think of. I’ve had my throat slit with a razor blade. I’ve been
torn apart by demons. I’ve been shot with guns, shot with arrows, so
I’ve pretty much done it all.”
While it may sound like an episode of “Jerry Springer”, the career of
Brinke Stevens has actually been a pleasant ride. Recently in Kansas
City to shoot Xeline, a low-budget movie about an experiment that has
to be cleaned up by the
government, Stevens
plays a soccer mom who
is actually a black ops
special forces agent. She
enjoys the chance to develop a multi-faceted
character, something she
doesn’t get many chances
to do in the low-budget
arena.
“I like it when the character changes, when you
can do a script analysis, or
a scene analysis and say
‘Why is my character doing this and how is it dif- Brinke Stevens and Jon Weimer on the set of Xeline. Photo: Jason P. Hunt
ferent at the end than the
way I began the movie?’.” Which is why Stevens - a veteran of over 120
films - was “blown away” by the script for Xeline. Director Jon Weimer’s
story impressed Stevens with its subtext. “I was able to do a character
study. It was not just a one-dimensional character. It was very rich.”
Stevens feels that even though a story may have been told before after all, there are only so many stories to tell - how it’s told is important to the success of a film.
Her own story is almost too wild to be anything but the stuff of Hollywood: born in San Diego, with a double major in biology and psychology at San Diego State, Charlene Brinkman was working on a career as
an animal behavioralist. After getting her Master’s in marine biology
from Scripps Institute of Oceanography, she was looking for work in
LA when she happened by a casting office. Her first speaking part was
in Slumber Party Massacre, and the rest, as they say, is history. Now,
over twenty years later, Stevens is still going strong, even though good
roles are a challenge to find. “It’s hard to grow older and to still be in
Continued on page 13
Continued on page 12
MAY 2004 • 3
SEASONS
American Heartland Theatre
Sep 3-Oct 17 Fully Committed by Becky Mode
Nov 2-Jan 2 Sanders Family Christmas by Connie
Ray, conceived by Alan Bailey, music by John
Foley and Gary Fagin
Jan 7-Feb 20 Affluenza! by James Sherman
Mar 4-Apr 17 Swing! by Paul Kelly, original direction and choreography by Lynne TaylorCorbett
May 6-Jun 19 Visiting Mr. Green by Jeff Baron
Jul 8-Aug 21 From My Hometown by Lee Summers, Ty Stephens, and Herbert Rawlings Jr.
Carlsen Center
Sep 19 Summer Sun, Winter Moon, Kansas City
Symphony and Chorus
Sep 24-25 Will the Real Rich Little Please Stand
Up?
Oct 8 Tosca, Stanislavsky Opera
Oct 9 Inti-Illimani
Oct 15-16 The Capitol Steps
Oct 21-23 Forbidden Christmas, or the Doctor
and the Patient
Oct 29 Evelyn Glennie, percussion, Luxembourg
Philharmonic Orchestra
Nov 6 Olga Kern, piano, Warsaw Philarmonic
Nov 13 BalletNY
Nov 14 Emmylou Harris
Dec 4 Alice in Wonderland on Ice, Moscow Stars
on Ice
Dec 11 Hometown Christmas, Jack Daniel’s Silver Cornet Band
Jan 22 Cárdenes-Hobson Duo, piano and violin
Jan 22 Dream of the Pacific: A Lewis and Clark
Tale for Families
Jan 28-29 Over the Rainbow, Faith Prince and
Tom Wopat
Feb 4 X-Tango,
Fernando Otero Quintet
Feb 5 Doug Varone
and Dancers
Feb 11-12 The Ten
Tenors
Feb 19 Ladysmith
Black Mambazo
Mar 4 The Florestan
Trio
Mar 4-5 River North
Chicago Dance Company
Mar 12 Aida, Opera
Verdi Europa
Mar 13 This Land is
Your Land, Kingston
Trio, Brothers Four,
Glenn Yarbrough,
and the Folk Reunion
Mar 25-26 Brenda
Angiel Aerial Dance
Company
Apr 1-2 TV Hit Parade,
Diahann Carroll and
Barry Bostwick
Apr 9 Lorraine Hunt
Lieberson, mezzo-soprano
Apr 15 Takács Quartet
Apr 23 Limón Dance
Company
May 7 Rawls Sings
Sinatra, Rawls Sings
Rawls
May 19 The Glenn
Miller Orchestra
TBA Rossetti String
Quartet
City Theatre of Independence
Sep 9-19 The Musical Comedy Murders of 1940
by John Bishop, directed by Greg Boyle
Nov 4-14 Deathtrap by Ira Levin, directed by
Angie Fiedler Sutton
Jan 27-Feb 6 Private Lives by Noel Coward, directed by Jamie Close
Mar 10-20 Hello Dolly by Michael Stewart, music and lyrics by Jerry Herman, based on the
Thornton Wilder play The Matchmaker, directed by Nancy K. Eppert
Jun 2-12 Picnic by William Inge, directed by
Doug Webb
Coterie Theatre
Oct 5-20 The Strange Case of Dr. Jekyll and Mr.
Hyde by Robert Louis Stevenson, adapted
Pauline Flannery
Nov 16-Dec 30 The Night Before Christmas by
Lowell Swortzell
Jan 25-Feb 20 Holes by Louis Sachar
Mar 8-27 Between Land and Sea: A Selkie Myth
by Laurie Brooks
Apr 12-May 15 The Stinky Cheeseman and
Other Fairly Stupid Tales, adapted by John
Glore from the book by Jon Scieszka
Jun 28-Aug 27 The Dinosaur Musical by Robert
and Willie Reale
Friends of Chamber Music
Oct 9 Rudolf Buchbinder, piano
Oct 15 Rebel with Matthias Maute, recorder
Oct 29 Les Violons du Roy with Bernard Labadie, director & Karina Gauvin, soprano
Nov 5 English Concert with Andrew Manze, director
Nov 12 Miami String Quartet and the KalichsteinLaredo-Robinson Trio
Dec 17 Aulos Ensemble with Julianne Baird, soprano
Jan 28 Chanticleer
Feb 5 Netherlands Wind Ensemble
Feb 11 Pascal Rogé, piano
Feb 18 Emerson String Quartet with Menahem
Pressler, piano
Mar 4 Ivan Moravec, piano
Mar 18 Pacifica String Quartet
Apr 1 Dubravka Tomsic, piano
Apr 16 Le Concert des Nations and La Capella
Reial de Catalunya with Jordi Savall, director
Apr 29 St. Lawrence String Quartet with David
and Phillip Ying
Harriman Arts Program
Sep 18 Boston Brass
Oct 16 Samuel Ramey, bass-baritone
Nov 3 Hilary Hahn, violin
Nov 7 Moscow Virtuosi, Vladimir Spivakov, director
Nov 13 St. Petersburg Philharmonic, Yuri
Continued on page 14
4 • KC STAGE
“There is no method but to be very intelligent.” ~ T.S. Eliot
STAGE SAVVY
RUNNING GAG
Theatre in the Noh
Ry’s Resume Reflection
by Angie Fiedler • [email protected]
by Ry Kincaid • [email protected]
Noh is to western drama what
haiku is to poetry: the same basic
concepts are there, but the results
are totally different.
Developing from festival and
dance dramas, Noh (also spelled
nô) became a distinctive form of
drama in the 14th century. Because
of that history, Noh is considered
more narrative drama, with the
performers telling stories using visual and movement aspects to suggest the tale rather than acting it
out. As the Encyclopaedia Britannica
writes, “the total effect is less that
of a present action than of a simile
or metaphor made visual.”
Short and mainly consisting of
movement and music, there are
five types of Noh plays, and a typical program contains three of these.
The kami (god play) is about Shinto
shrines, the shura mono (fighting
play) focuses on warriors, the
katsura mono (wig play) is about a
female protagonist, and the kiri or
kichiku (final or demon) involves
supernatural beings such as devils and beasts, and usually is the
last play in the program. The other
category is actually varied: two
examples are the gendai mono
(present-day), a more contemporary and realistic play, and the
kyojo mono (mad-woman), where
the protagonist goes mad through
losing a lover or child. Meanwhile,
in between the three plays, the audience is treated to kyogen, or humorous sketches.
Noh means ‘talent’ or ‘skill,’ and the
art form definitely requires those
aspects. There are almost 2,000 Noh
Auditioning for the next big role
almost always requires an actor to
submit his resume to the theatre.
I’ve included in this column some
advice on what to put on your resume. If this “advice column”
proves to be successful, I am certain a new genre of editorial writing will become vastly popular,
thanks to me. Just like my Fedora
hats with the placards labeled
NEWS sticking out of them.
The first thing a director wants to see
on your resume is what styling
product you use on your hair. Gel,
mousse, spray, this comes before
your name, believe it or not. This information is important because all
directors have troublesome hair.
Theirs are bad hair years. Any information on styling hair is foremost on
directors’ minds, much more important than your audition.
Your name, height, and weight obviously follow. And then, of
course, your favorite freshwater
fish. Caution is required when you
get to this part of the resume because you may be tempted to actually put down your favorite freshwater fish, but everybody knows
which fish to write on your acting
resume. Be careful!
Next comes the list of shows you’ve
been in. An unnerving process, an
actor feels uncomfortable mentioning some shows or feels unsure
what roles will impress a director.
Here is a simple tip: make it all up.
Directors don’t see many plays
they didn’t direct themselves. Be
creative. The director may know
you are lying but will admire your
ingenuity. Examples:
Continued on page 15
Everybody, The One-Man Hamlet
Show, Bard’s Yard (NYC)
Terry/Terri, Genderly Yours The
Unitard (NYC)
Jimmy Fallon, Luckiest Man in Show
Business, Jimmy’s House (NYC)
Horseshoe, The Inanimates, The
Shed (Boston)
Eli Whitney Houston, Cotton Gins
and Tonic, 2-Timin’ Theatre (NYC)
God, I’ve Developed a Complex, St.
Yasmine’s (NYC)
Dirty Whore, Sir Isaac Newton: The
Musical, Pub No. 157 (Dublin)
Plumber, Cleaning Her Pipes (film),
T & A Productions
These surefire tips for your acting
resume will make you memorable
at your audition. Follow these tips
in this “advice column” and watch
what happens. Good luck. You will
need it. R
See Ry Kincaid’s play, Little Bastard,
at the Westport Coffeehouse June 10-19.
The Rainmaker
by Richard Nash
8pm Thu-Sat Jun 10-26
Presented by InPlay
The Libation Bearers
by Aeschylus • 7:30am Sat-Sun Jun 19-27
at Wheeler Amphitheatre in Theis Park
Presented by Gorilla Theatre Productions
In a Minute, Men!
8pm Jun 29-Jul 3
Presented by Commedia Sans Arte
www.justoffbroadway.org
MAY 2004 • 5
PERFORMANCES
Alacartoona
City Theatre of Independence
Alacartoona by Christian Hankel, Erin McGrane,
Gregg Jackson, Steve Morse: Mar 26-Jul 2: 9pm
Fri; 8:30pm Thr; 11am Sun.
Alacartoona is a modern cabaret act inspired by
the European cabaret movement that arose in
Berlin and Paris during the roaring 1920s. Accordion, bass, drums, and guitar comprise this
unusual quartet who brings to life songs of love
gone wrong, cafe life and lovers; bawdy numbers and lusty sing-alongs. It is not musical theatre, but theatrical music. All original music
evokes the style and mood of the era,
but is infused with the energy of modern life. Come to the cabaret and see for
yourself. Featuring Christian Hankel
(Providence Forge), Erin McGrane (Ruby
Falls), Steve Morse (Archibald Drexel),
Gregg Jackson (Bachelor Calwood). The
Farm Gallery, 18th & Locust, www.ala
cartoona.com (Adult Fare)
The School for Scandal by Richard Sheridan:
Jun 3-Jun 13: 8pm Thr-Sat; 2pm Sun.
This period comedy depicts a benevolent man’s
triumph over a hypocrite, illustrating the moral
that truth, love and charity, more than prudence
and negative virtues determine a man’s worth.
This truth was popular in the 1700’s, and so was
the story that is its vehicle in this comedy: that of
2 brothers, one dissolute but possessing the redeeming gift of charity, and the other—superficially righteous, but in reality an evil person,
*Affiliate Theatre
Sermon Center, 201 North Dodgion (816) 3257367, www.citytheatreofindependence.org (Suitable for Everyone)
ComedyCity
Chaos Theatre
Monkeys with Hand Grenades – 30 Plays in 60
Minutes: Apr 16-Mar 18: 10pm Fri.
Chaos Theatre’s Monkeys with Hand Grenades
at ComedyCity continues to be a great success.
The Pandemonium Players are always hard at
work writing feverishly for the new upcoming
shows. Monkeys with Hand Grenades
3 will include the best of the first two
shows plus 17 Brand New Plays!!! $13.
Call 816-842-2744 for information and
reservations, ComedyCity, 300 Charlotte (816) 842-2744, www.comedy
city.cc (Adult Fare)
The Coterie Theatre
Seussical by Lynn Ahrens and Stephen
Flaherty: Jun 22-Aug 8: 11am Tue-Fri;
Meshuggah-Nuns by Dan Goggin: Jul
2pm Sat-Sun; 7pm Fri; 1:30pm WedFri.
2-Aug 15: 8pm Fri-Sat; 2pm Sun.
In honor of the 100th anniversary of
Those zany Sisters are at it again in a
brand new installment of Nunsense,
Dr. Seuss and its 25th Anniversary, the
America’s all-time favorite musical. This
Coterie Theatre will premiere a new
time, the nuns win tickets for a luxury
version of Seussical by the Tony
world cruise, but when sea sickness
Award-winning team of Lynn Ahrens
strikes the cast of the on-board producand Stephen Flaherty. This new 75tion of Fiddler on the Roof, only the
minute version will eventually be availleading man Tevye is left standing. He
able to professional children’s theatres
can’t go on alone! Never fear, the sisacross the country and the world. Directed by Jeff Church, artistic director,
ters are here! And, with a little rewrite,
and Molly Jessup, musical director.
it’s show time! Songs include: Say it in
Yiddish, If I Were a Catholic, Matzo
Featuring Kevin Lind (Cat in the Hat),
Seth Golay (Horton), Gabe Goodman
Man and Rock the Boat. $15-$29 de(JoJo), Lauretta Pope (Gertrude
pending on day of performance, American Heartland Theatre, 2450 Grand
McFuzz), Stephanie Nelson (Mayzie/
Blvd (816) 842-9999, www.ahtkc.com
Judge Yertle), Angela Polk (the Sour
Kangaroo), Milton Abel II (Wickersham
(Suitable for Everyone)
Brother), Anthony Bernal (Mr. Mayor/
Wickersham Brother), Jessalyn Kincaid
Bell Road Barn Players
(Bird Girl), Mandy Morris (Bird Girl),
Quilters by Molly Newman and Bar- Carolyn Walter and Tyree Kimber in City Theatre of Independence’s School for Scandal playing
Julie Taylor (Mrs. Mayor/Bird Girl), Bill
bara Damashek: Jun 3-Jun 19: 8pm Thr- through June 13. Photo: City Theatre of Independence
Soloman
(pianist), Frank Manda (percussion).
Sat.
competing for a prize of love & fortune. Directed Crew: David Ollington (Choreographer), Gary
This joyous and moving celebration of American
by Jason Vivone. Featuring Pat Cleary (Mrs. Can- Winchansky (Set Design), William Hill (Puppertry
womanhood is a tribute to the courage and spirit
dor), Paul Culvert (Trip), Kevin Eib (Rowley), Carol Design/Properties Master), Jennifer Myers- Ecton
of our nation’s pioneer women. Combining muFlynn (Joseph’s Servant), Tiffany Wilcox (Care- (Costume Design), Art Kent (Lighting Design),
sic, dance, and scenes of vivid dramatic intensity,
less), Randal Gist (Sir Peter Teazle), Kathy Kimber David Kiehl (Sound Design), Jason Harris (Techyou’ll be shown the history of each quilt block, as
(Teazle Maid), Jeffrey Jacobs (Sir Oliver Surface), nical Coordinator), Emily Cramer (Scenic Painter),
well as how the different stories-each separate and
Tyree Kimber (Snake), Brandon Morgan (Charles Amy Abels Owen (Stage Manager), Tarah
vital-combine to make an overall fascinating tale
Surface), Austin Newport (Joseph Surface), Steve Goolsby (Production Assistant). Adult tickets are
of times past and the importance of community.
Parker (Sir Benjamin Backbite), Sharon Propst $10. Youth/Student/Senior tickets (18 or younger,
Directed by Pamela Klifar. Featuring Jan Conner,
(Sneerwell Maid), Roland Reschke (Crabtree), full-time students, or seniors 60 or over) are $8.
Diane Garrett, Elizabeth Barmann, Cat Larrison,
Anna Rollo (Maria), Carolyn Walter (Lady Season tickets are $6 per person (for at least 3
Barbara Fopeano, Rebecca Dempsey, Tricia DavSneerwell), Phillip Stringfield (Sir Harry Bumper), different titles in our season). Group tickets (20
enport. Adults: $8, Seniors 60 & Over and ChilPaula Whitmer (Lady Teazle). $7. Dinner The- or more) are $4.50 per person. The Coterie Thedren 6-12: $7, Jenkin & Barbara David Theatre,
atre tickets are: $18 & $13 w/season ticket. $1 atre, 2450 Grand Blvd, Suite 144 (816) 474Alumni Hall (816) 587-0218, www.bellroadbarn.
discount for senior citizens or groups of 10 or 6552, www.thecoterie.com (Suitable for Everycom (Suitable for Everyone)
more if picked up 24 hours in advance. Roger T. one) >>>
American Heartland Theatre
8 • KC STAGE
*Affiliate Theatre
“Censorship, like charity, should begin at home; but unlike charity, it should end there.” ~ Clare Boothe Luce
PERFORMANCES
<<<
J3 Productions
Excelsior Springs Community Theatre
Little Bastard by Ry Kincaid: Jun 10-Jun 19: 8pm
Thr-Sat.
Directed by Jake Walker. $8, J3 Productions,
4010 Pennsylvania, www.geocities.com/j3_prod
uctions (Adult Fare)
The Music Man: Jun 18-Jun 27: 7:30pm Fri-Sat;
2pm Sun.
$6-8. Call now for reservations. Wyman Place
Theatre, 108 Dunbar (816) 637-ESCT, rham
[email protected] (Suitable for Everyone)
Farris Theatre
Steel Magnolias by Robert Harling: Jun 24-Jun
26: 7:30pm Thr-Sat.
The action is set in Truvy’s beauty salon, where
all the ladies who are “anybody” come to have
their hair done. Helped by her eager new assistant, Annelle. The outspoken, wisecracking
Truvy dispenses free advice to the
town’s rich curmudgeon. Ouiser an
eccentric millionaire, Miss Clairee,
who has a raging sweet tooth and
the local social leader. M’Lynn,
whose daughter, Shelby, is about
to marry a “good ole boy.” Directed
by Rob Swafford. Featuring Leslyn
Farmer (Truvy Jones), Vickie
McCalley (Annelle Dupuy-Desoto),
Bonnie George (Clairee Belcher),
Courtney Swafford (Shelby
Eatenton-Latcherie), Rebecca
Dempsey (M’Lynn Eatenton), Jill
Jones (Ouiser Boudreaux). Crew:
Frank Outersky (Technical Director),
Amanda Mallott (Stage Manager).
$7, Farris Theatre, 301 West Main
(816) 776-6684, www.farris
theatre.com (Adult Fare)
Kiwanis Club of Excelsior Springs
The Music Man by Meredith Willson: Jun 18Jun 27: 7:30pm Fri-Sat; 2pm Sun.
Meredith Willson’s “The Music Man” follows
fast-talking traveling salesman Harold Hill as he
cons the people of River City, Iowa into buying
instruments and uniforms for a boys’ band he
vows to organize–despite the fact he doesn’t
ning of Gypsy Rose Lee’s career. The show features hit songs like “Let Me Entertain You” and
“Everything’s Comin’ Up Roses.” Directed by
Directed by Mary Doveton, Music Direction by
Judy Heller, Choreography by Barbara Wasson.
Fridays/Saturdays $18; Thursdays/Sundays $16;
Discounts available for seniors and students,
Lawrence Community Theatre, 1501 New
Hampshire St. (785) 843-7469, theatre.lawrence.
com (Suitable for Everyone)
Leavenworth Players Group
Murder at Fort Leavenworth or The General is
Generally Dead by Gregory J. Marino: Jun 4-Jul
10: 7pm Fri.
A murder mystery comedy. Audience
members will be served a dinner of
prime rib, salmon, or Montreal
chicken. Directed by Gregory J.
Marino. $35 all-inclusive, including
prime rib, salmon, or chicken, High
Noon Saloon, 206 Choctaw (913) 6824876, [email protected] (Suitable for Everyone)
Missouri Repertory Theatre
Living Out by Lisa Loomer: Jun 4Jun 27: 8pm Thr-Sat; 7pm Sun,
Tue-Wed; 3pm Sat; 2pm Sun, Wed.
Lisa Loomer, author of The Waiting Room and Girl, Interrupted,
exposes the humor and mixed
emotions in the relationships nannies have with the affluent families
they work for. In Loomer’s Los Angeles, nannies are Latinas paid to
care for the children of wealthy resiHeartland Men’s Chorus
dents, which often hinders their
Joy of Singing: Jun 26-Jun 27: 8pm
ability to raise their own children.
Sat; 4pm Sun.
Photo: New Theatre Restaurant
Living Out deals with issues of culWe’ll kick it up a notch with “The
ture, class, law, ethnicity, and
Joy of Singing,” featuring fabulous Marion Ross and Jennifer Mays appear in the New Theatre Restaurant’s Barefoot in the Park through June 20.
America’s dependence on immifavorites, recent recipes and almost
know a trombone from a treble clef. His plans to grant-powered industries. Contains adult laneverything in between. Some courses of this getskip town with the cash are foiled when he falls guage. Directed by Sharon Ott. Featuring Ricardo
your-fill smorgasbord will be presented at GALA
for Marian the librarian, who transforms him into Antonio Chavira (Robert Hernandez), Minerva
Festival VIIe in Montreal and at our Kennedy
a respectable citizen. By turns funny, warm, ro- Garcia (Sandra), Cheryl Graeff (Nancy), Leslie Law
Center debut in Washington, D.C. But only our
mantic and touching, “The Music Man” is fam- (Linda), Stephanie Matthew-Diaz (Ana), Maria
hometown guests can have it all! Call for Ticket
ily entertainment at its best. Directed by Stage Elena Ramirez (Zoila), Paul Morgan Stetler (RichPrices, Folly Theater, 300 W 12th St (816) 931Director: Tanya Duncan; Music Director: Wayne ard Robin), Cheryl Weaver (Wallace). Crew:
3338, www.hmckc.org (Suitable for Everyone)
Day. Advance: Individual $8; Groups of 20 or Sharon Ott (Director), Mathew Smucker (Set Demore $6; June: Individual $9; Groups of 20 or sign), Frances Kenny (Costume Design), Rick
InPlay
more $7, Performing Arts Center, 612 Tiger Drive Paulsen (Lighting Design), Steve Legrand (Sound
The Rainmaker by Richard Nash: Jun 10-Jun 26: (816) 630-3766, lwilliams@marketabilityadver Design), Braden Abraham (Tech Director), Bret
8pm Thr-Sat.
tising.com (Intended for Children)
Torbeck (Stage Manager), Melissa Cihla Meyer
Directed by Frances Farah. Call for Ticket Prices,
(Assistant Stage Manager). Single play ticket prices
Just Off Broadway, 3051 Central (816) 235-6222
are $10-$47; subject to show time, seat location
Lawrence Community Theatre
(Suitable for Everyone)
Gypsy by Arthur Laurents, Music by Jule Styne, and availability. Missouri Repertory Theatre,
Lyrics by Stephen Sondheim: Jun 4-Jun 20: 8pm Spencer Theatre in the UMKC Performing Arts
Center (816) 235-2700, www.MissouriRep.org
Fri-Sat; 7:30pm Thr; 2:30pm Sun.
Meet the ultimate stage mother, Rose, her daugh- (Adult Fare) >>>
ters and a host of showbiz folks as we travel from
vaudeville to burlesque and witness the begin-
MAY 2004 • 9
PERFORMANCES
<<<
New Theatre Restaurant
Barefoot in the Park by Neil Simon: Apr 14-Jun
20: 12pm Sun, Wed; 6pm Tue-Sun.
Barefoot in the Park is the story of opposites.
Paul Bratter is a young, conservative, attorney.
His new bride Corie is a free-spirit, full of anticipation. As the couple settles in to their first apartment together whatever can go awry, does. In
spite of all the pitfalls, Corrie is so wrapped up in
the warm glow of her new marriage that she can’t
help playing matchmaker to her widowed mother
and a wildly eccentric, opera singing upstairs
neighbor, with surprising and hilarious results.
Directed by Richard Carrothers. Featuring
Marion Ross (Mrs. Banks), Paul Michael (Victor
Velasco), Craig Benton (Paul Bratter), Jennifer
Mays (Corie Bratter). Call theatre box office at
(913) 649-7469, for ticket information. Prices
subject to change. New Theatre Restaurant, 9229
Foster (913) 649-SHOW, www.new
theatre.com (Suitable for Everyone)
The World Goes ‘Round by John Kander and
Fred Ebb: May 7-Jun 6: 1pm Wed; 8pm TueSun; 3pm Sat.
Since their Broadway debut in 1965, the names
Kander and Ebb have meant bold and brassy
theatrical productions with great style and energy. Quality Hill Playhouse brings the work of
this dynamic duo to Kansas City in the form of
the off-Broadway musical revue The World Goes
’Round. The production features the best of the
Kander and Ebb repertoire, including such songs
as “All That Jazz”, “How Lucky Can You Get”,
“Maybe This Time”, “Cabaret” and, of course,
“New York, New York”. Directed by J. Kent
Barnhart. Featuring Teri Adams, Karen Errington,
Charles Fugate, Stephanie Nelson, James Wright.
$22, $20 students and seniors, Quality Hill Playhouse, 303 West 10th St. (816) 421-1700, www.
QualityHillPlayhouse.com (Suitable for Everyone)
*Affiliate Theatre
The Barn Players
Buried Child by Sam Shepard: Jun 25-Jul 11: 8pm
Fri-Sat; 2pm Sun.
Buried Child, the Pulitzer Prize winning dramatic
thriller by Sam Shepard, is a corrosive vision of
the American family... in decline. The setting for
this darkly humorous drama is a squalid farm
house occupied by a family filled with suppressed
violence caused by a horrifying family secret.
Acclaimed “a modern masterpiece,” by the New
York Times, this powerful and brilliant play
probes deep into the disintegration of the American Dream. Directed by Beate Pettigrew. Featuring Don Carot9h (Dodge), Petra Allen (Halie),
Mike Ducey (Tilden), John Hilleary (Bradley),
Brook Stetler (Vince), Anne Marie Carroll
(Shelley), Matt McCann (Father Dewis). $10 for
adults; $9 for seniors and students, The Barn
Players, 6219 Martway (913) 432-9100, www.
thebarnplayers.org (Adult Fare)
Fuddy Meers by David LindsayAbaire: Jun 4-Jun 13: 8pm Thr-Sat;
2pm Sun.
Princess Squid Productions
Fuddy Meers is a wild ride with
Crash by Kara Armstrong, Gretchen
Claire, a “memory-challenged”
Mais, Jeff Metzger, Michael Smith,
woman, and her alleged family. Kidand Heidi Van Middlesworth: May
napped by one husband and pur28-Jun 7: 8pm Thr-Mon.
sued by another, Claire seeks the
In the tradition of our show “Furies”
truth. Like the distorted and warped
(named best theatre experiment
reflections of a funhouse mirror
2003, Pitch Best Of issue) comes
(which the title alludes to), Claire
“Crash”, the newest collective colsees herself reflected back to her
laboration by Princess Squid Proby a family that wants her to forget
ductions. Investigating communicathe past. Lindsay-Abaire’s play is
tion between people, performers,
funny, mysterious, and as the
and the audience, “Crash” examines
puzzle unravels, ultimately empowhow gender informs and affects idenering. Directed by Bess Wallerstein.
tity. Directed by Kara Armstrong.
The cast of at the Quality Hill Playhouse in The World Goes Round playing through Jun 6. Photo: Larry Levenson
Featuring Megan Ash (Claire), Ryan
Featuring Jeff Metzger, Heidi Van
Seymour (Richard), Kevin Dudzinski (Kenny), Bill
Middlesworth. Crew: Gretchen Mais (Stage ManCase (Limping Man), Ardis Petersen (Gertie), Joel
ager), Michael Smith (Dramaturg). $8, The Next South Of Heaven Productions
Space, 512 E 18th St (816) 531-6639 (Suitable All In The Timing by David Ives: Jun 24-Jul 10: Moses (Millet), Ann-Marie Chubick (Heidi. $10
6pm Fri-Sat; 7pm Thr; 2pm Sun.
for adults; $9 for seniors and students, The Barn
for Everyone)
Winner of the John Gassner Playwriting Award Players, 6219 Martway (913) 432-9100, www.
for this evening of plays. “Like sketches for some thebarnplayers.org (Adult Fare)
Quality Hill Playhouse
hilarious, celestially conceived revue. All In The
How Did I End Up Here?: Jun 17-Jun 27: 8pm
Timing is by a master of fun.” — NYTimes. “..Ives Theater League
Wed-Sat; 3pm Sun.
is a mordant comic who has put the play back in Forbidden Broadway by Gerard Alessandrini:
On the eve of his 10th Anniversary Season at
playwright.” —Time. “An original turn of mind is May 14-Aug 1: 8pm Tue-Sat; 2pm Sun.
Quality Hill Playhouse, J. Kent Barnhart performs
to be saluted in our tired theatre…A playwright Every year the madly inventive Gerard
his one-man cabaret show How Did I End Up
with ideas his own ideas in his head is relatively Alessandrini updates his scathing homage to
Here? Born and raised in Raytown, Barnhart
rare. Such a one is David Ives.” —NY Magazine. Broadway’s biggest shows and brightest stars.
moved to “the city” and established a home for
Directed by James D Moore. Featuring James Now celebrating its triumphant 20th year offcabaret theatre in downtown Kansas City. The
Moore (Bill), Todd Mika (Trotsky), Jessica Broadway, this years edition features its own
show is a loose chronicle of Barnhart’s life from
Whitfield (Betty). Crew: James D. Moore (Direc- greatest hits, including “The Lion King”, “Miss
Raytown kid to musical theatre performer and
tor), Michelle M. Rhodes (Props Mistress), Rafaella Saigon”, “Les Miz”, “Beauty and the Beast”, “Chiproducer and features American standards,
(Stage Manager), Tim G. Modlin (Poster/Program cago”, and “Cats”; new hits like Mel Brooks’ “The
songs from the New York cabaret scene, solo
Design), James D. Moore (Producer). $10-$35 Producers”, Abba’s “Mamma Mia”, and “Thorpiano and Barnhart’s trademark witty stories.
(dinner theatre), The Daily Dose Bar and Coffee oughly Modern Millie”; and lots more Broad$22, $20 students and senior, Quality Hill PlayHouse, 12056 W. 135th Street (913) 526-7934, way past and present. Directed by Bill Selby.
house, 303 West 10th St. (816) 421-1700, www.
[email protected] (Adult Featuring Cathy Barnett, Becky Barta, Sarah
QualityHillPlayhouse.com (Suitable for EveryFare)
Crawford, Don Richards, Jake Walker >>>
one)
10 • KC STAGE
“Sure men were born to lie, and women to believe them!“ ~ John Gay
PERFORMANCES
<<< John-Michael Zuerlein. Crew: Nancy
Caroline Cubine (Stage Manager). Call for ticket
prices, H&R Block City Stage, Union Station (816)
421-7500, www.theaterleague.com (Adult Fare)
Theater League, Inc.
RENT by Jonathon Larson: Jun 26-Jun 27: 8pm
Sat-Sun; 2pm Sun.
Inspired by Puccini’s La Boheme, RENT is a joyous, breathtaking and often bittersweet musical
that celebrates a community of artists as they
struggle with the soaring hopes and tough realities of today’s world. RENT, considered by many
the most exuberant and original American musical to come along in a decade, has singlehandedly reinvigorated Broadway and is taking
the country by storm. $20 pit seats sold the day
of show, Kansas City Music Hall, 301 W 13th
Street (816) 421-7500,
www.theaterleague.com
(Adult Fare)
one in Lemming’s world as they react to the shifting reality of Lemming’s revelation. Directed by
Cynthia Levin. Featuring Edouard Fontaine
(Darren), Will Fowler (Kippy), Dean Vivian (Mason), Rusty Sneary (Shane), Jeff Metzger (Jason),
Robert Bern (Toddy), Darryl Stamp (Davey), Vi
Nhan Tran (Kawabata), Keenan Ramos
(Martinez), Adam Wasserman (Rodriguez), Scott
Cordes (Skipper, Danziger). Crew: Carol Branson
(Stage Manager), Melissa Cihla Meyer (Stage
Manager), Gary Mosby (Set Design), Atif Rome
(Costume Design), Jeff Cady (Lighting Design,
Sound Design), Lillian Pegelow (Production Assistant), Justin Shaw (Crew). $18.50-$23, Unicorn Theatre, 3828 Main Street (816) 531-7529,
www.unicorntheatre.org (Adult Fare)
Theatre for Young
America
Curious George by
Douglas Marr: Jun 8Jun 27: 10am Tue-Fri;
2pm Sat-Sun; 1pm Fri;
12pm Tue-Thr.
Back by popular demand, this play is full
of wacky humor and
tender affection for the
mischievous monkey
called Curious George.
The play draws on
three of the popular
Curious George books
by Hans A. Rey. The
Man with the Yellow
Hat and a host of comiThe cast of Take Me Out playing June 16-July 25 at the Unicorn Theatre. Photo: Unicorn Theatre
cal humans surrounded
the monkey Curious George as he swallows a Kansas City Women’s Chorus
puzzle piece, gets x-rayed, knocks over a dinosaur
It’s A Girl Thang: Jun 5-Jun 6: 7:30pm Sat; 4pm
display at the science museum, rides a rocket to
Sun.
outer space, and gets awarded a medal. Directed
Repertoire for large and small ensembles that
by Missy Koonce. $6.50 for individuals, group rate
will appeal to the ‘girl’ in all of us! Thrill to the
available for groups of 10 or more, Theatre for
sounds of the Supremes, Chantels, McGuire SisYoung America, 5909 Johnson Drive (913) 831ters, Vandellas and more as the KCWC revisits
2131, www.tya.org (Intended for Children)
hits by famous girl groups of the 50s, 60s, and
70s. Special guest appearance by Kansas City’s
Unicorn Theatre
All-Girl Tap Troupe, the Dazzlers (voted KC’s
Take Me Out by Richard Greenberg: Jun 16-Jul “Best Hoofers” by Channel 41)! $10-To order in
25: 7:30pm Tue; 8pm Wed-Sat; 3pm Sun.
advance, please call the KCWC at (816) 292Darren Lemming, a great baseball start and ex- KCWC., Southminster Presbyterian Church,
emplary role model of grace, athletic prowess, 6306 Roe Ave (Suitable for Everyone)
team spirit and sheer talent throws a curve ball
right into the middle of a perfect season when he Wordsinger Productions
suddenly announces that he is gay. This
The Kansas City Singers
uniquely American play describes the ensuing
Chasing Destiny: The Journey of Lewis & Clark
series of events, both unpredictable and tragiby R E Grove: May 21-May 31: 2pm Mon.
cally inevitable, and traces the reactions of every-
*Affiliate Theatre
Chasing Destiny follows Lewis and Clark on their
epic journey to the Pacific Ocean. Share the reminiscences of an aging Meriwether Lewis and share
in the magic as his thoughts are brought to life on
stage by concert artists in their evening gowns and
tuxedos, actors in period costumes and full-motion projections of the landscapes Lewis and Clark
passed through. Financial assistance provided by
the Missouri Arts Council and Lee Jeans. Directed
by R E Grove. $35 Gala Opening; $18 at the door,
$15 advance, Just Off Broadway Theater, 3051
Central (816) 361-0431 (Suitable for Everyone)
Wyandotte Players
Big River: Jul 1-Jul 11: 8pm Thr-Sat.
Call for admission prices, as several discounts
are available, Performing Arts Center, Kansas City
Kansas Community College, (913) 621-2047,
www.angelfire.com/wy/wyplayers (Suitable for
Everyone) R
AUDITIONS
Full Frontal Comedy (Professional)
Full Frontal Comedy: Jun 18: 7pm Fri.
Full Frontal Comedy is an adult professional
comedy troupe that performs improvisational
games based on audience suggestions, as well
as unscripted comedy sketches. They have also
added the exciting formats “Soap Opera”, “Cut”
and “Nightmare” to their roster. SPACE IS LIMITED! You will need to email FFCimprovisation@
yahoo.com or call (913) 403-4340 to sign up to
audition. Sign-up early to guarantee your spot.
Audition Format: An improv workshop. Audition Requirements: You must be 18 years or older.
Please wear comfy clothes. If you offend easily,
Full Frontal Comedy is not for you. Come prepared to be silly, take risks, and have a good
time! Directed by Tina Morrison, Stasha Case,
Ryan Seymour. The troupe is not intended for
children or uptight adults. Barn Players, 6219
Martway, (913) 403-4340, www.fullfrontal
comedy.org R
HORROR
Continued from page 4
and white, it’s shades of grey. If
you KNOW there’s going to be a
happy ending, there can be no suspense. A cinematic masterpiece
like Peckin-pah’s The Wild Bunch
would never get greenlit today, or
they’d change the ending, thus
neutering the nihilism that made
that film great.” R
MAY 2004 • 11
BRINKE STEVENS
Continued from page 4
front of the camera, but I’m getting such interesting
roles that don’t involve shower scenes and sex scenes
and nudity like it might have twenty years ago. Now
I get to play nuns and teachers and doctors and black
ops army people.”
Stevens stays busy, having made thirteen films each
in 2002 and 2003. “I have a very blue-collar attitude
about acting, where it’s work and I just take a lot of
jobs. I like to work constantly.” And with her wealth
of experience, she’s able to help young filmmakers
learn their craft. “Sometimes I’m working with 21,
23-year-old filmmakers who don’t have a lot of experience, so I’ll be the one to say ‘Hey don’t forget to
get a reverse on that shot‘ and they’ll go ‘Oh, thank
you. I would have forgotten otherwise.’” She sees
potential in the current crop of young filmmakers.
“The next Sam Raimi has to come from somewhere.
The next generation of filmmakers has to start someplace, and I think I’ve worked with a few of them
that will go on to become something. Jon Weimer in
this movie, a number of people I’ve worked with look
like they might be the next big thing.”
The B-movies were the big thing in the eighties, with
Stevens one of the reigning Scream Queens. Then
came The Blair Witch Project, which proved video
could be used for movies. Soon the horror genre became a breeding ground for slasher films with more
sex and blood than story. The breeding ground soon
became a feeding frenzy, and the glut of films led to
a slump in the nineties. The Scream Queen era was
over. Now, with the advent of better video equip-
ment and more user-friendly editing software,
Stevens foresees a “second coming of video”, especially with independents. “I would like to see better
scripts coming out, and I think that in the independent industry you’re getting more of that, where especially regional filmmakers use what they have
available. They use the towns they live in, the buildings - maybe historical buildings, graveyards, forests, things that look different from the typical Hollywood production.”
And Hollywood is growing less dependent on solid
writing. Hence, the trend in remakes like The Texas
Chainsaw Massacre and Dawn of the Dead. “It’s just
symptomatic of Hollywood’s thinking in general,
where they’re terrified of a new idea. They just want
to rehash a tried and true. They want to take the
safe way out, like doing remakes of television shows
like ‘Starsky and Hutch’ and things that shouldn’t
be made into movies.” Another imminent trend
Stevens sees: stories influenced by reality TV and a
younger demographic. “I think they’re taking the
safe way out, where they water down a movie so
that the youngest possible audience can come and
see it. I like a movie like Cabin Fever, where it didn’t
pull back. There were things in there that you saw
that you just couldn’t believe you were seeing, things
of a more adult nature. I think it waters down horror when you make it PG-13 and try to appeal to a
younger audience.”
Although she has no formal training in acting, Stevens
does have this to offer in the way of advice to actors:
“It’s important to internalize your dialogue, so it
doesn’t sound like you’re memorizing it, that it’s coming from inside you. That’s one of the hardest things,
to be natural. Also, learn the basic techniques - what it
means to hit your mark, not to look into the camera
lens, speak loudly enough that the microphone can pick
you up, find your key light. Things like that. Learn the
technical aspects of it. It also helps actors to take writing classes or directing classes.” Indeed, advanced trigonometry never prepared her for this career. R
Brinke Stevens’ website is www.brinke.com. Jason
P. Hunt is a freelance writer and member of the Kansas City Screenwriters. He can be reached at
gallantknight@ ccp.com
12 • KC STAGE
“When once the itch of literature comes over a man, nothing can cure it but the scratching of a pen.” ~ Samuel Lover
REN FEST
Renaissance Festival’s 28th Year
The 2004 Kansas City Renaissance Festival, a 28-year Midwest tradition, winner of the 2004 ABA Top 100 Events in North America, will
once again kick-off this fall in Beautiful Bonner Springs, Kansas.
Amidst some lingering public confusion about our future in Bonner
Springs, our staff is very proud to announce our 20-year agreement with
the Unified Government of Wyandotte County. We’re in the same great
location just off I-70 and K-7 highways, exit 224 in Bonner Springs.
In 2004, the
all new Feast
of Fooles will
be held each
Festival Day
in the Wildewood area,
providing a
six course
meal, entertainment and
prizes.
The 2004 Kansas City Renaissance
Festival offers-up this
year’s sce- The Pirate’s Revenge, new at the Kansas City Renaissance Festival this fall. Photo: www.kcrenfest.com
nario, “The
Pirate’s Revenge!”
Each weekend, the Pirates invade Canterbury, swinging in to scenes,
sword fighting on rooftops and climbing up castle walls! King Richard
and Queen Eleanor have invited the King and Queen of Spain for Princess Victoria’s birthday celebration, including a splendid Ball and a glorious Feast. But is one of the Pirate’s besieging Canterbury a Prince
among men? All the mysteries are solved 10:00 am to 7:00 pm, September 4~October 17, Weekends, Labor Day and Columbus Day.
Several additional adventures are in store for Renaissance Festival guests
in the coming years including a Halloween Event, the Blue Lion Feast Hall,
a convention quality meeting and entertainment space, Victorian Holiday
Faires and more. R
SEASONS
Continued from page 5
Temirkanov, director
Nov 18 Alvin Ailey American Dance Theatre
Nov 20 Denyce Graves, mezzo-soprano
Jan 8 Salvatore Licitra, tenor
Jan 25 Leif Ove Andsnes, piano
Feb 4 St. Petersburg Ballet Theatre
Feb 12 National Acrobats of Taiwan
Feb 19 King’s Singers
Mar 8 Emanuel Ax and Yefim Bronfman, duo
pianists
Mar 11 Prague Symphony Orchestra, Serge
Baudo, director
Apr 2 Harvard Glee Club
Apr 6 Christ Church Cathedral Choir, Oxford
Apr 15 American Ballet Theatre
Apr 30 Audra McDonald, mezzo-soprano
Lyric Opera
Sep 18-26 Cinderella by Gioachino Rossini
Nov 6-14 Of Mice and Men by Carlisle Floyd
Mar 12-20 A Masked Ball (Un Ballo in Maschera)
by Giuseppe Verdi
Apr 23-May 1 The Marriage of Figaro (Le nozze
di Figaro) by Wolfgang A. Mozart
Missouri Repertory Theatre
Sep 24-Oct 24 The Pirates of Penzance by Gilbert and Sullivan
Jan 21-Feb 13 Two Trains Running by August
Wilson
Mar 4-27 Little Women by Louisa May Alcott
Apr 29-May 22 The Voysey Inheritance by
Harvey Granville Barker
Jun 3-26 TBA
New Theatre Restaurant
Sep 2-Nov 7 Driving Miss Daisy
Nov 10-Feb 6 The Foreigner
Feb 9-Apr 10 The Club of Hearts
Apr 13-Jun 19 Twice Around the Park
Jun 23-Aug 28 Funny Girl
Starlight Theatre
Jun 22-27 Cats
Jul 5-11 Annie
Jul 27-Aug 1 The King and I
Aug 3-8 Camelot
Aug 17-22 Chicago R
MAY 2004 • 13
STAGE SAVVY
Continued from page 6
texts, with around 230 being used
in the productions of today. Part of
the reason the art form has survived
so long is that the texts contain detailed descriptions on how to perform it. In a way, it’s like opera –
most of the audience is assumed to
be educated in Noh, especially the
plots, and attend more for the symbolism and references to culture
that are used in the specific performance. The use of masks is predominant, as well as complicated
costumes.
There are three major roles in Noh:
shite (principal), waki (subordinate), and kyogen (the narrator and
any extra roles). Each role has its
own acting place on the stage, and
as with many things Japanese, each
is a specialty requiring much education. Meanwhile, the performance is accompanied by four
musicians (flute, small hand drum,
large hand drum, and large drum)
and a chorus of 8 to 10 singers.
As an art form progresses, change
is inevitable. New audiences and
shifting preferences have created
new styles, especially in the 20th
century. Experimentation includes
new plays in the old style, old
plays with new twists, adding elements of Kabuki, and expansion of
the kyogen. However, it still holds
to many of the principles first written in 1424 by Zeami Motokiyo,
who devised the first guide, Kakyo.
There is relatively little action in
Noh theatre. The second main principle written by Zeami, yugen,
notes the primary goal of the theatrical form: to open the mind to
beauty only partially perceived.R
WHAT’S IN A NAME?
After extensive discussion and conficials, employees and students; sideration, the board voted to
area arts patrons; the local commu- change the name of the theatre to
nity of theatre professionals; and Kansas City Repertory Theatre.
The new name will allow the comthe public at large.
At the board of trustees’ February pany to continue to be informally
2004 meeting, B-R presented the referred to as the Rep.
results of its research, which The name Kansas City Repertory
Theatre was initially announced to
showed:
There was little strong loyalty groups of season subscribers, who
to the name Missouri Repertory enthusiastically voiced approval of
Theatre, even among strong back- the change. Community response
to the new name also has been supers of the Rep and its work.
portive and positive. Donald J.
The name Missouri Rep was
Hall, civic leader and long time
not inclusive of the fifty-two perRep advisory trustee, wrote, “[Kancent of Rep subscribers and attendsas City Repertory Theatre] is much
ees who live in Kansas.
more appropriate and I applaud
The name Missouri Repertory the action.”
Theatre does not identify where
A name change for the Rep is not
the theatre is located in the state,
unprecedented. The theatre was
and many believed the theatre
originally called the Summer Repwas located in St. Louis or Branson.
ertory Theatre when it was
This was true even for some refounded by Dr. Patricia McIlrath in
spondents living in greater Kansas
1964 within the department of theCity.
atre of the University of Kansas
Kansas City sparks great posi- City, which that same year became
tive recognition across the coun- a part of the University of Missouri
try and is widely considered to be system. In 1967, the Rep became
a good place to visit and to live.
affiliated with Actors’ Equity AssoThe name Kansas City is ciation, the national union of prothought to represent fairly and ac- fessional actors, and in 1968, the
curately the entire metropolitan organization took the name Missouri Repertory Theatre.
area.
When traveling, people from In 1979, the Rep incorporated as a
across the metropolitan area—in- separate not-for-profit corporation
cluding Kansas as well as other with its own board of trustees to
area cities in Missouri such as In- guide the course of the theatre. It
dependence or Liberty—usually continues to function as the profesidentified their home as being Kan- sional theatre in residence at the
university and is committed to
sas City.
partnership with UMKC. R
Continued from page 3
One Hundr
ed T
heatr
es
... One Sour
ce
Hundred
Theatr
heatres
es...
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