And Then They Came For Me: Remembering The World of

Transcription

COURTESY MARGOLIS BROWN
BoBettes
AT MCC LONGVIEW DINNER THEATRE
“Breathless show. Fast tempo. Plenty of laughs” - Variety
A Farce by Phillip King
Directed by Joyce Kuhn
October 17, 18, 24, 25
6:30pm Dinner - 7:30pm Curtain
2:00pm Matinee Oct 25 (show only)
Reserve today! 816-672-2299 or [email protected]
Bobettes at MCC Longview is a mentoring in the arts program where
college students and community members perform with professionals.
“The best kept secret in Eastern Jackson County”
Showbiz
Missouri Touring Performer List
Whether it is music, theater, dance,
or storytelling, performing artists
in the newly-revised directory of
Missouri Touring Performers (formerly the Missouri Touring Roster)
can bring their art to your community. Download the directory to
get information on 80 musicians,
musical groups, storytellers, traditional artists, theatrical performers,
Stage Left
and dancers. Each listing includes
a brief description of the performing artist’s program, biographical
information, contact information,
performance fee range, technical
requirements and availability.
New guidelines make it easier than
ever to get funding from the Missouri Arts Council Touring Grant
Program. Existing grantees can now
Continued on page 9
DAMIAN BLAKE
Top Billing
Beth Byrd Brings Movement
Theatre to Kansas City........................ 2
Starring
Fighting on Film: Rigged Memories .... 4
Renaissance Festival Characters......... 5
Spotlight
Dave Martin..................................... 3
Notes
New Ballet Director ................................. 3
Inspiration Grants Awarded ...................... 6
Coterie at Night Targets New Audience ..... 7
Alumni Headline Benefit for Conservatory.. 9
ZimNotes
Ten Tips for Grantwriting .......................... 8
Stand-Ins
Auditions .............................................. 25
Calendar .............................................. 10
Callboard ............................................... 5
Events..................................................... 7
Film Clips ............................................. 20
Performances ........................................ 10
Showbiz.................................................. 1
Stage Left................................................ 1
Cast of Characters
Damian Blake ..............................Illustrator
Scott Bowling ............................Webmaster
Richard Buswell .................Managing Editor
Bryan Colley ................... Graphic Designer
Angie Fiedler Sutton............ Associate Editor
Anna Jennings ......................Special Events
Tricia Kyler Bowling...............Subscriber Rep
Letters to the Editor ...... [email protected]
KCSTAGE
Vol. 10 • No. 12 • Issue 110 • October 2008
[email protected] • 816-361-2325
PO Box 410492 • Kansas City, MO 64141-0492
November Submission Deadline: October 10
www.kcstage.com
© Copyright 2008 by KC Stage. All material contained in this publication is the property of or licensed for use by 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 or
the original copyright holders. Printing by First Choice. R
www.kcstage.com
OCTOBER 2008
1
Beth Byrd Brings Movement Theatre to Kansas City
by Bryan Colley
For years, Beth Byrd has persevered to give mime a
good name in Kansas City, and this month she’s taking
a big step forward by bringing in the Minneapolis-based
Margolis Brown Adaptors Company. Byrd is an advocate for what is commonly called “movement theatre,”
a vague moniker for a broad range of acting styles and
methods that includes everything from clowning, mime,
silent film acting, and commedia dell’arte—a style of
acting that’s done with the body rather than the voice.
It’s a form of theatre that has long been absent in Kansas
City’s theatre scene, despite its solid dramatic tradition
and enormous presence in European theatre.
Byrd Productions is currently the only local professional organization dedicated to the art form. Working
out of the Just Off Broadway Theatre, she has produced
two works with local actress Heidi Stubblefield—Hybrid
and the recent KC Fringe Festival hit The Coppelia Project.
She has also brought notable movement artists such as
Rick Wamer and Kapoot Clown Theatre to Kansas City,
produced an annual fundraiser offering a grab-bag of
entertainment, and staged two Fools’ Fortunes variety
shows, in addition to hosting several movement theatre
workshops throughout the year.
One of the reasons that movement theatre isn’t as
popular as the traditional form of theatre more commonly offered is that it requires considerably more time
and rehearsal to create a movement performance. Byrd
says that movement theatre appeals to actors who are
“looking for more process. It requires more of a time
commitment and a more personal creative contribution. It thrives in cities that have a larger number of
professional actors, like Minneapolis. It’s for people
who are more interested in the creative process, and
it’s a process of distillation, minimized economy of
movement, distilled down to the finest quantity and
minimal idea.”
She points out that she can always spot an actor on
stage who’s had training in movement theatre. “They’re
generally the actor you can’t take your eyes off of, even
when they’re not speaking. They’re communicating
everything through movement.” She says her workshops attract not only actors, but dancers, playwrights,
and people interested in commedia and mime.
Byrd describes what makes movement theatre vital
to her: “As human beings, man’s purpose is to know
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man. Self-expression is how we get to know ourselves.
Movement as self-expression allows us to fully explore
ourselves. Language can be limiting, and limitations are
death. Hopefully movement theatre will make us able
to communicate better.” Movement theatre’s ability to
cross language barriers is well known, and Byrd says she
finds audiences very receptive to her work even if English is their second language. She also says movement
theatre thrives during hard times, adversity, censorship,
and limitations, noting how the lack of sound in the
first decades of film forced a rich and complex form
of visual acting for early cinema. She explains, “It can
create a bridge between societies, broaden the range of
how we relate in theatre and in society, and broaden
the conversation between ourselves.”
There have been others who have presented movement-based theatre in Kansas City, but nothing that has
been as widely embraced as the recent Coppelia Project. Nearly a decade ago, Beth Byrd formed the group
Thespianage with Eric Davis, Nick Miller Scheyer,
Alex Kipp, and Martha Locke. Thespianage gave a
few performances and then morphed into the John
Brown Clown Theatre before eventually disbanding.
During this time, there were several groups in Kansas
City experimenting with movement theatre. Perhaps
the most notable organization is the now defunct
Evaporated Milk Society led by Randall Cohn. Their
work was as inventive, layered, and precise as well as
obtuse, pretentious, and arch, but they made an impression with their avant-garde staging of Hamlet. Maria
Antonia Perez-Andujar, a native of Spain, produced
a few politically-tinged theatre pieces with Theatre of
Relativity, drawing heavily on European theatre traditions. These groups are no longer producing, leaving a
movement theatre void filled by Byrd Productions and
the occasional touring show. The KC Fringe Festival
is also a place where alternative forms of theatre are
getting an opportunity to be seen by local audiences,
including some movement-derived works.
There is one other place in Kansas City where movement theatre is kept alive even if general audiences
aren’t treated to performances, and that’s in the theatre
training program at UMKC. A promising newcomer to
the UMKC faculty is Stephanie Roberts, whose ensemble
Continued on page 24
“Events will take their course, it is no good of being angry at them; he is happiest who wisely turns them to the best account.” ~ Euripides
Spotlight on Dave Martin
For some reason, choose your own adventure books
seem to lose their popularity as readers age and mature
and find it incongruous to be seen reading The Island
of Time while drinking espresso at Starbucks. Adults
usually appear to be content in their role as passenger,
allowing movies, books and plays to flow without input
or preference from them, the passive observers. However, if given the choice, would you allow Romeo to take
the poison? Or would you, if being completely honest,
want to see what would happen should he realize his
youth and run furtively into the night? This option is
but a glimpse into a world of possibility, a universe of
new and exciting journeys, and it is a place Dave Martin wants you to go. Are you ready for a “choose your
own adventure” improv musical? Dave Martin, and Full
Frontal Comedy, think you are. Don’t be afraid, Dave
Martin is an actor. He knows what he’s doing.
Martin, a cast member and assistant director with the
improv troupe Full Frontal Comedy, is bringing something new to Kansas City. Martin hopes theatre-goers
are ready for a musical with an undefined story, where
the audience is given the ability to choose between the
two paths set before the main character at intermittent
moments in his or her journey. And along the way, song
parodies and a script born out of improv sessions will
carry the plot along. “This musical idea, we really loved
doing song parodies. We do a lot of them in our My
Brain Hurts shows and we did a whole show of musical
parodies and musical games a couple of seasons ago.
We just really loved writing musical parodies and we
thought we were pretty good at it.” Martin explains.
“We’re always looking to show off what we do well, you
know we don’t want to do the things we suck at. We’re
not going to be doing those in shows, we’re going to
do the things we think we’re good at and that’s one of
the things we think we’re good at. So we thought, ‘why
don’t we do a whole musical?’“ As simple as that may
sound, the amount of work it takes to create essentially
two full length musical productions is staggering.
FFC’s First Full Length Musical! is the brainchild of the
entire cast, a synergetic effort that Martin feels defines
the spirit of the company. The thought process behind
this undertaking was deceptively uncomplicated. “We
can write the scenes, we can write all these song parodies
and we’ll just rehearse it and perform it like we would
www.kcstage.com
LAURA STERNBERG
by Laura Sternberg
a normal show, choreograph it, do whatever we want.
That’s how the show came around.” The process of writing the show was decidedly more complex, involving
nights of taped improvising, transcribing the possible
scenes into scripts and narrowing the options down to
a manageable and editable list of choices. “We’ll have
pages of terrible of stuff, we’ll have pages of average
stuff and we’ll have pages of great stuff. Most of it
doesn’t start out as great stuff. That’s the great fun,
it’s so collaborative. It’s like splatter painting, you
throw enough ideas on the board, something is going
to stick.”
Eventually, Martin and the Full Frontal cast had to
stop bringing new ideas to the table and make concrete
decisions to get the show started. “We did a bunch of
scenes and we went through those and then three of
us decided to get together one night…and we picked
one. We said, alright, here’s our plot. Someone has six
months to live, that’s our plot.”
Those questioning how this seemingly serious idea
will come together in this non-traditional comedic format will have to be willing to sit back and have faith
in Martin and the Full Frontal process. With almost
eight years as both an actor and an assistant director
OCTOBER 2008
3
Fighting on Film: Rigged Memories
by Richard Buswell
Many readers of this magazine are already familiar with
me as a fight choreographer for stage productions. I also
choreograph fights on film. My largest endeavor to date
has been on the film Rigged. In that film I choreographed
14 boxing matches and two street fights.
Fight choreography for film is different than for stage.
On the live stage, fight speeds rarely exceed 3/4 of full
speed. That’s because fights on stage must attract the
attention of the audience, and anything faster would
be over before the audience realizes what’s happening.
On film, fights must go full speed, because the camera
focuses the attention for you.
Spacing on stage fights is greater than for film.
Stage fights must fill the space, while film fights must
fit inside the camera’s frame. Fighters are much closer
together as a result.
Because of the increased speed and closed distance,
film fighting is more dangerous than stage fighting,
which means the choreographer had better know what
he is doing and understand the differences between the
two mediums.
My first battle for Rigged happened months before
filming began, convincing the director that I was the
man for the job. My agent knew the director, Jonathan
Dillon, and helped arrange a meeting. Jonathan already
had someone in mind from L.A., but after viewing my
demo reel of stage fights and talking with me, he ultimately decided to use me, not so much from a vote of
confidence, but because it was cheaper to use me locally
than to fly in the L.A. fight choreographer.
I wasn’t offended by this decision because, A) I knew
I could do it, and B) it was a sound business decision.
Actors would do well to understand that sometimes
decisions are not based on talent as much as a practical
necessity. This particular necessity worked out in my
favor, as I was afforded the opportunity to prove myself
in a medium that I could show to others.
Rigged is a film that transpires in the seedy world
of illegal underground boxing. My specialty is stage
combat, not boxing. Jonathan knew what he wanted,
realistic, gritty boxing matches that looked like the real
thing. My specialty is realistic choreography, so no problem there. However, I know nothing about real boxing.
Jonathan wanted to avoid the Hollywood version of
boxing, e.g. anything in the Rocky canon of movies. He
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KCSTAGE
showed me examples from films of the kinds of fights
he was looking for, as well as provided me with a tape
from ESPN of boxing matches throughout history.
Because Jonathan had a clear vision of what he
wanted, it made my job a lot easier. I created choreography that told the story through the fights. Good fight
choreography advances the story line and fits into the
director’s vision. If my choreography stepped out of
synch with his vision, Jonathan was able to communicate that to me, and I was able to make modifications
to fit in with the vision.
One of the secrets I don’t tell directors is that while I
can create realistic fights, real fights are not dramatically
interesting. What I choreograph is dramatic realism, not
true realism. Ironically, reality is either too boring or
looks too fake to put on film or stage. For example, if
you sit through a real baseball game, most of the time
is spent watching the players standing around between
plays, scratching themselves. On film, those moments
are cut out, showing only the plays themselves, and
usually only the spectacular plays. No different for
the boxing matches. Most real matches begin with the
fighters feeling each other out, testing their strengths
and weaknesses, looking for an opening. Instead, the
choreographed version shortens or eliminates this
period, usually jumping into interesting combinations
and flurries of blows.
Jonathan also understood the necessity for rehearsal
and allotted me plenty of rehearsal time before we
ever went on set. Because the film involved primarily
a montage of boxing matches, I rarely had to choreograph more than a couple of minutes of each fight for
the camera.
One of the disadvantages to working on film is that
you never really know where the camera is going to be.
Again, many factors determine camera placement, some
of them unknown until the actual day of filming. I kept
my choreography simple enough to adjust to different
angles. On the day of shooting, my eye was firmly on
the monitor instead of the action. That way, with each
take, I could make adjustments with the actors to get a
better look for the fight.
Other than Jonathan, my primary communication
was with the cameraman, Hanuman Browneagle. Hanu
“Without poets, without artists, men would soon weary of nature’s monotony.” ~ Guillaume Apollinaire
Renaissance Festival Characters
Photos by Angie Fiedler
Callboard
www.kcstage.com/callboard
Church Choir Section Leader,
Community Christian Church
Wednesday night rehearsal 7-8:30 pm
and Sunday service at 10 am, occasional
first service singing opportunities. Seeking tenors and basses. Desired applicant
should have a positive attitude, good communication skills and excellent attendance.
Part-Time. Please call Frank at (913) 2486688 to schedule an audition. 4601 Main
Street, Kansas City, MO 64114. Posted
08-20-08
Ad Sales Representation,
The Barn Players, Inc.
The ad sales rep will identify prospective
advertisers and then follow up by phone
or in person to sell full and/or fractional
page ads in our programs. Rate cards and
past editions of show programs are available upon request. The sales rep will also
seek individual sponsors for each show.
Successful candidates must be ambitious,
self-reliant and people-friendly. This is a
telecommunications position, with periodic
check-ins with a designated member of
the board, and monthly meetings with the
marketing committee. Must have access
to a computer. Familiarity with The Barn
Players, the Mission, KS area, as well as the
metro area and performing arts in Kansas
City required. Prior sales experience not
required. Part-Time. This is a commissionbased, work-for-hire position that does not
include health benefits. 20% commission
on all ad sales and sponsorships, payable
upon receipt of payment for advertisers. To
apply, e-mail a resume to the Eric Magnus at [email protected]. (913)
432-9100, [email protected],
www.thebarnplayers.org, 6219 Martway
St, Mission, KS 66202. Posted 08-23-08
Professional Actor,
Leavenworth Players Group
Professional actor in interactive murder
mystery comedies for the Halloween
season. Must be able to get off-book
quickly and have improv chops. Be able
to rehearse for two full day weekend
rehearsals. Part-Time. Fifty dollars per show,
plus tips. Tips usually range from a low
of thirty dollars per night to a high of two
hundred dollars per nights. Please contact
the director, Greg Marino, at (314) 9229289, [email protected], 3632
Lawn Avenue, Saint Louis, MO 63109.
Posted 08-25-08 R
www.kcstage.com
OCTOBER 2008
5
Inspiration Grants Awarded
COURTSTY KANSAS CITY BALLET
New Ballet Director
The Kansas City Ballet recently
announced that noted ballet master and pedagogue Peter Pawlyshyn
has been selected as the director of
the school of the Kansas City Ballet.
Pawlyshyn succeeds Tenley Taylor
who, following a four-year tenure,
will be returning to her home in the
Pacific Northwest.
Pawlyshyn is a graduate of the
Professional Division of Canada’s
Royal Winnipeg Ballet School, one
of North America’s most prestigious
training centers for classical ballet
and later joined the company. He
also holds a Graduate Certificate
from the Pavlo Virsky Character
Studio in Kiev, Ukraine.
In addition to his expertise in
classical ballet, Pawlyshyn is an
internationally respected teacher of
character dance, a stylized theatrical
representation of traditional, largely
European folk dance.
Pawlyshyn comes to Kansas City
Ballet School from the Eugene Ballet
Company in Eugene, Oregon where
he was ballet master and associate
artistic director for more than six
years. R
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KCSTAGE
The Arts Council of Metropolitan
Kansas City Board of Directors
approved $10,500 in new ArtsKC
Fund Inspiration Award funding for
local artists. Grants in the Inspiration
category support projects that will
have significant impact on an artists’ career, cultivate creativity and
contribute to the artistic vibrancy of
Kansas City. This is the second of
three rounds of Inspiration awards
for the 2008 grant cycle. In the first
round last spring, 10 proposals were
funded for a total of $12,674. The
second round of Inspiration Grants
was awarded as follows:
Ahmed Alaadeen: $1,000
Jazz saxophonist and Kansas City
legend Ahmed Alaadeen will
develop and publish a jazz methods manual targeted to jazz students
of all academic backgrounds. It will
allow them to learn from Alaadeen’s
50+ years of jazz performance and
will be supplemented by rich details
on Kansas City’s jazz heritage.
Beau Bledsoe, Nathan Granner,
and Mike Hill: $1,000
Guitarist Beau Bledsoe, singer
Nathan Granner, and visual artist
Mike Hill are teaming up to produce a presentation of the songs of
Franz Schubert accompanied by a
commissioned video work. While
they have toured “Schubertiad”
before, Inspiration funding will
help enhance the program with a
video work from Hill and projection
equipment for touring.
Julie Denesha: $1,000
Photographer Julie Denesha will
install a photography exhibit of
45 framed prints documenting her
images and portraits of Slovakian
‘Roma’ or gypsies that were created
over several years that she spent
living with families throughout
Eastern Europe. The images capture
their stories and struggles through
the lens of her camera. Inspiration
funding will partially fund the
printing and framing of the prints.
Lisa Marie Evans: $2,000
Filmmaker Lisa Marie Evans has
created the documentary, “The
Same But Different,” which explores
the life roles of four transgender
persons in the Midwest including: a
fundamentalist Christian anarchist,
a Catholic Republican, your average
single guy; and a comedian and parent of two. Although the film has
already premiered at Kansas City
film festivals, funding is needed to
support post-production costs and
efforts to successfully complete and
distribute the film.
GEAR (Mark Schweiger), Hector
Casanova, Lori Raye Erickson
and others: $1,000
Visual artist GEAR is organizing a
pair of group shows in September
and October at the Leedy-Voulkos
Art Center that will explore underground art such as graffiti, comics
and tattooing. The show will have
two components: a commissioned
exhibit of eight local ‘lowbrow’ artists’ paintings, and mixed media
work and live mural painting
from the eight artists. Inspiration
funding will support the supplies
necessary for the live portion of the
exhibition.
“Good writers define reality; bad ones merely restate it. A good writer turns fact into truth;
a bad writer will, more often than not, accomplish the opposite.” ~ Edward Albee
Coterie at Night Targets New Audiences
Events
The Coterie Theatre will launch a
new audience development initiative this season with support from
a major grant from Theatre Communications Group (TCG). The
grant was awarded specifically to
allow the Coterie to engage 16- to
21-year-olds through The Coterie At
Night, a series of adventurous, interactive performances performed at
separate venues exclusively at night,
with opportunities to socialize after
the show.
The Coterie will receive a
two-year grant from the New Generations Program, a grant initiative
cooperatively designed by the Doris
Duke Charitable Foundation, the
Andrew W. Mellon Foundation
and TCG. It is specifically given
for Future Audiences programming which allows theatres to
expand and strengthen existing
unique and innovative audience
development programs that have
proven effective in reaching young,
culturally specific and/or underserved audiences. Other recipients
are CENTERSTAGE in Baltimore,
Dad’s Garage Theatre Company in
Atlanta, The 52nd Street Project in
New York, The Foundry Theatre in
Starlight Theatre
New York, GALA Hispanic Theatre
in Washington, DC, Lexington Children’s Theatre in Lexington, and
The Theater Offensive in Boston.
The Coterie will perform Night
of the Living Dead October 9-29
at Off Centre Theatre in Crown
Center. The Breakfast Club—Live
will perform every Monday night
beginning February 9 at Westport
Coffeehouse, 4010 Pennsylvania
Ave. Ron Megee will direct both
productions.
“This grant lets us perform outside the Coterie’s mainstage space,
and embark on performances for
smart, artistic upper high school
and college age individuals,” said
Jeff Church, producing artistic
director. “In fact, I think Night of
the Living Dead and a live version
of The Breakfast Club—Live may go
beyond our target audience because
everyone loves the idea of a stage
show of these pieces. We’ll still do
our mainstage shows, of course, but
these shows will further diversify
us—in a great way.”
Tickets are available at the
Coterie box office, by phone at
(816) 474-6552, and online at www.
coterietheatre.org. R
$10 ADVANCE TICKETS $15 DAY OF SHOW
HEADLINER
816-931-3122
WWW.BROWNPAPERTICKETS.COM/EVENT/44281
TRAMPLED
UNDER
FOOT
WINNER 2008 INTERNATIONAL BLUES CHALLENGE
BLUESAPALOOZA
EIGHT GREAT KC BLUES BANDS
KNUKLEHEADS SALOON
OCT52PM-8PM
2715 ROCHESTER
www.kcstage.com
www.kcstage.com/events
Cold Readings Class:
Oct 18-25: 9:30 am Sat
Using contemporary material, students will
stretch and deepen their performance skills
through scene work and cold readings.
They also will participate in a mock-professional audition and callback, helping
students arrive more prepared at auditions
for professional, community and university theatres. Grades: 9-12. Cost: $150.
Enrollment in both Scene Study and Cold
Readings is $270. Starlight Theatre, 4600
Starlight Rd, www.kcstarlight.com
Creative Movement Class:
Oct 11-Nov 15: 9 am Sat
This fun beginner class will emphasize
coordination skills through movement
with music. Toddlers will move to energetic children’s songs while learning basic
dance techniques, rhythm, stretching and
theatrical movement. Ages: 3-5 yrs. Cost:
$90. Starlight Theatre, 4600 Starlight Rd,
www.kcstarlight.com
Scene Study Class:
Nov 1-8: 9:30 am Sat
This class will require work with scene partners and out-of-class preparation. Students
must have a memorized, age-appropriate
one-minute monologue for the mock audition. This class will prepare participants for
auditions and future scene study courses
in college. Grades: 9-12 Cost: $150.
Enrollment in both Scene Study and Cold
Readings is $270. Featuring Randal Keith,
Joseph Mahowald, Jayne Paterson, Jessica-Snow Wilson, Stephen Brian Patterson,
Amanda Huddleston, Dallyn Vail Bayles,
Michael Hayward-Jones, Jodi Capeless,
Christiana Anbri, Kassandra Marie Hazard, Justen Steinagle, and Erik Tolman
Ward. Starlight Theatre, 4600 Starlight
Rd, www.kcstarlight.com
Byrd Productions*
Margolis Method Workshop:
Oct 6: 7 pm Mon
Margolis Method Training The perfect
place to hone skills, take artistic risks
and interact with fellow artists. This two
hour workshop offers the opportunity to
work intensively with master teacher Kari
Margolis in an intimate setting. In a challenging yet supportive atmosphere students
are encouraged to explore new modes of
accessing creativity. Kari merges vocal
and physical expression through precise
yet organic daily exercises that focus
OCTOBER 2008
7
Ten Tips For Grantwriting
by Judy Kunofsky
It is good to learn from our own mistakes; it is even better to learn from the mistakes of others! Here are some
tips on writing grant proposals, as you seek financial
support for your important work:
1. Pay more attention to describing your program
than your philosophy. Funders want to know what the
problem is, what you are going to do about it, and why
you are the best ones to do it. In my experience, groups
usually have developed wonderful language about the
problem they address and the kind of organization they
are, perhaps because these are the same for every funding
request. However groups are often weakest in describing
what they plan to do if this particular grant is funded
(how many clients you will serve, or who owns the land
you want to buy for a preserve, or how you will staff
your program, or what is a credible timeline). Describe
what you are going to do in sufficient clarity and detail
that the prospective funder can tell that you are serious
and intelligent about your work.
2. Make it easy for the foundation to see that your
program matches their priorities by telling them that
it does: “Our program matches all three of the ABC
Foundation’s interests because it is (a) preK-12 education targeting (b) children/youth at risk with (c) a focus
on literacy.”
3. Echo the foundation’s language. Read through the
annual report to learn preferred phrases. For example,
use the phrase “pre-K education” or “infant and toddler
education”, whichever they use. Use “conservation” or
“environment”, whichever they do.
4. Echo the foundation’s orientation. As Bob Zimmerman writes in Grantseeking: A Step-By-Step Approach,
“When I served as director of development for a national
legal program working on behalf of children and youth,
I had the opportunity to correspond with grantors of
various political persuasions. When writing to someone of a conservative political bent, I highlighted
the importance of combating juvenile delinquency.
When introducing my program to the representative
of a progressive foundation, I waxed eloquent about
empowering youth.” This is not dishonest! Persuasion
involves using arguments that are effective with the
other person, not what is compelling to you.
5. Use the foundation’s full name. While you may
informally talk about (for example) the Bison Fund, you
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KCSTAGE
want to demonstrate the care you take with your work
by using their full name in your letter and proposal: the
Richard & Rhonda Bison Fund.
6. Spend much more time on the budget than you
think you will need to and don’t wait until the end. At
the last minute, you are likely to forget (or underestimate) some categories of program expense and skimp
on the kind of budget explanation that funders like.
7. Round your budget numbers to the nearest hundred or thousand dollars, depending on the size of the
proposal. Most private funders are not interested in
knowing that staff benefits will cost $1,724.66.
8. Have the lead staff person or board chair sign every
letter of inquiry or proposal. Even if a development
director or grants assistant does the research and writing, the letter should be signed by the person at the top
of your organizational chart. If you like, say “Please contact so-and-so on my staff at (phone number) for more
information” in the last paragraph of your letter.
9. Don’t wait until the last minute to pull together
the attachments you will need for all full proposals and
some LOIs. You can be slowed down close to a deadline unless you already have current information on
your board of directors and advisory council members
(names, addresses, phone numbers, brief biographies).
Have you made copies of the letter from the IRS indicating your 501c3 status? Do you have the original in
a safe place?
10. If you are writing a proposal in-house, ask
someone not involved with your organization to read
a draft. It will be easier for them than for you to see
what important details may be missing or not described
well. It’s worth your time cooking dinner for a spouse
or good friend to get this kind (free) assistance.
We hope you find these Ten Tips useful. Following
them will help you make the most persuasive case that
the problem you address is real, that your organization
is the best one to do what needs to be done, and that a
funder can be confident in awarding you a grant. R
Judy Kunofsky is a grantwriting specialist with Zimmerman Lehman. Reprinted with permission from Zimmerman
Lehman, 582 Market St, Ste 1112, San Francisco, CA 94104,
www.zimmerman-lehman.com.
“As a matter of principle, I never attend the first annual anything.” ~ George Carlin
Alumni Headline Benefit for UMKC Conservatory
Nothing succeeds like success—so
goes the proverbial phrase—and so
goes the careers of three of Kansas
City’s most notable performing
artists: Charles Bruffy, director of
the Grammy award-winning Kansas City Chorale; J. Kent Barnhart,
executive director of the Quality Hill
Playhouse; and James Jordan, ballet master of the Kansas City Ballet.
All three are distinguished former
students of the University of Missouri Kansas City’s Conservatory of
Music and Dance and on November 1 all three will share the same
stage during Crescendo!—the annual
black-tie benefit to raise scholarship
funds for Conservatory students.
J. Kent Barnhart will act as master of ceremonies; Charles Bruffy
will conduct the Kansas City Chorale joined by Conservatory singers;
and James Jordan will choreograph
an original dance for the occasion.
Many Conservatory students
like Charles, Kent and James have
chosen to return or remain in Kansas City and have played key roles
in the founding of the Lyric Opera,
Kansas City Chorale, Quality Hill
Playhouse and Kansas City Ballet. More than 1,200 Conservatory
alumni live and work in greater
Kansas City, enriching the arts in
our community.
The Conservatory celebrated its
100th anniversary in 2006- making
it the oldest continuously operating
performing arts organization in
Kansas City. Conservatory enrollment last year reached 620 students.
Students come from all across the
United States and the world, representing countries such as China,
South Korea, Thailand, Ukraine, the
Czech Republic, Poland, Argentina
and Brazil.
Most recently the Conservatory
has earned recognition internationally
by initiating a new formal exchange
program with the Central Conservatory of Music in Beijing, a distinction
shared by only five Conservatories
in the world. For more information about the Conservatory, visit
www.umkc.edu/conservatory.
Crescendo! will begin at 6 pm at
the Hyatt Regency Crown Center
Hotel. Tickets are $200 per person. For more information contact
Nathan Shatto at [email protected]
or (816) 235-6260. All funds raised
go directly to Conservatory student
scholarships. R
u Showbiz
continued from page 1
apply for one touring grant in addition to another major or monthly
grant as long as the original funding
budget did not include the touring
fee. You no longer have to wait for
the annual deadline; applications
are accepted monthly for grants
up to 60% of the artist fees, with a
maximum of $5,000. Applications
are accepted the first Monday of
the month (Tuesday if holiday) for
performances that occur no sooner
than two months after that date.
Visit missouriartscouncil.org for
details.
Londré Garners Award
The Enchanted Years Of The Stage:
Kansas City At The Crossroads Of
American Theatre, 1870-1930, by
UMKC professor Felicia Hardison Londré, has won the George
Freedley Memorial Award, honoring excellence in writing on theatre
during 2007. The Theatre Library
Association will present its 40th
annual book awards on October 10
at The New York Public Library for
the Performing Arts, located at Lincoln Center. The awards ceremony
will be highlighted by presentations from the winning authors on
the research and writing of their
books, followed by questions from
the audience.
Starlight’s New President
A reception was held recently to
welcome Starlight’s new president
and executive producer, Denton
Yockey, to Kansas City. Hosted
by Burns & McDonnell on behalf
of Starlight Theatre and The Arts
Council of Metropolitan Kansas
www.kcstage.com
OCTOBER 2008
9
Performances
www.kcstage.com/performances
American Heartland Theatre
Menopause the Musical by Jeanie
Linders: Aug 23-Oct 26: 8 pm Fri-Sat;
7:30 pm Sun, Tue, Thr; 1 pm Wed;
4 pm Sat; 2 pm Sun
Four women at a lingerie sale with nothing in common but a black-lace bra and
memory loss, hot flashes, night sweats,
not enough sex, too much sex and more!
This joyful musical parody set to 25 classic
baby-boomer songs from “Puff, My God
I’m Draggin’” to the disco favorite “Stayin’
Awake, Stayin’ Awake” will have you cheering and dancing in the aisles! It’s definitely
not “The Silent Passage” anymore! Directed
by Kathryn Conte. Featuring Nedra Dixon
(Professional Woman), Licia Watson (Soap
Star), Valerie Mackey (Earth Mother), and
P.J. Jenkinson (Iowa Housewife). Crew:
Kathryn Conte (Director), Patty Bender
(Dance Choreography), Shane Rowse
(Lighting Design), Jesse Poleschuck
(Scenic Design), Paul Hough (Costume
Design), Alex Perry (Set Construction),
William J Christie (Stage Manager), Jan
Kohl (Stage Manager), Donna Miller
(Sound Designer), William J Christie
(Properties Design), Anthony T Edwards
(Musical Direction), Steven Eubank (Asst.
Choreographer), Dennis Coffman (Sound),
Sara E Beatty (Production Assistant), Jayson
Chandley (Production Assistant), Kathleen
Dickinson (Stage Management Intern),
Elizabeth Higbee (Stage Management
Intern), Diane Bulan (Spotlight), Katie
Ambrose (Electrician), Leah Bigley (Electrician), Diane Bulan (Electrician), Jayson
Chandley (Electrician), Jesse Cornelison
(Electrician), Kyle Crose (Electrician), Katie
Forster (Electrician), Chris Jones (Electrician), Amy Overman (Electrician), Eaton
Saylor (Electrician), Lee Saylor (Electrician),
Jake Sommerfield (Electrician), Jason Zorn
(Master Carpenter), Zach Thonen (Stage
Carpenter), Nick Uthoff (Stage Carpenter), Danny Welsh (Stage Carpenter),
Glenn Lewis (Stage Carpenter), Ken Delaney (Stage Carpenter), Nick Nickerson
(Stage Carpenter), Stephen Stone (Stage
Carpenter), Laura Burkhart (Scenic Artist), Gen Goering (Scenic Artist), Vaughn
Schultz (Scenic Artist), Ryan Riggs (Scenic
Artist), and Amanda Burkhart (Scenic
Artist). $38.50. American Heartland Theatre, 2450 Grand Blvd, (816) 842-9999,
www.ahtkc.com (Adult Fare)
The Barn Players*
A New Brain by William Finn & James
Lapine: Sep 19-Oct 5: 7:30 pm Fri-Sat;
2 pm Sun
An autobiographical musical based on
the composer’s near death experience.
The main character is composer Gordon
Schwinn who finds himself in a hospital with a “brain abnormality” that will
require risky surgery. He is surrounded by
his agent, mother, lover, nurses, doctors
and his boss, an opinionated, dominating
man who plays a frog called Mr. Bungee,
on a children’s show. Directed by Barb
Nichols, with Martha Risser as musical
director. Featuring Darin Parker (Gordon
Schwinn), Sarah Lamar (Homeless Lady),
Kristin Leathers (Rhoda), Jennifer Cannady
(Waitress/Nancy D.), Mark Murphy (Mr.
Bungee), Nick Uthoff (Richard), Brad Torres
(Dr. Berensteiner), Rob Reeder (Minister),
Kipp Simmons (Roger), and Janelle Grimes
(Mimi Schwinn). Crew: Lynn Reddick (Asst.
Director), Vicky Strawder (Dance Choreography), Skip Gordon (Lighting Design),
Pam Blackburn (Costume Design), Sean
Leistico (Sound Design), Marsha Gollady
(Stage Manager), Derek McCracken (Stage
Manager), Debbie Allen (Accompanist),
and Casey Carl (Accompanist). $12,
seniors $10, students $5, 10 or more
$8. The Barn Players, 6219 Martway St,
(913) 432-9100, www.thebarnplayers.org
(Adult Fare)
Blue Springs City Theatre*
Can’t You See What I’m Saying? by
David Muschell: Oct 18: 6:30 pm Sat
Bob Brown has come to Janice Trent’s
apartment for a blind date. He soon learns
that his blind date is really blind. As they
talk he finds himself growing attracted to
her. Janice realizes he is someone she
might want to build a relationship with, and
tells him the truth: she’s been pretending to
be blind in order to test him. Bob blows up.
But there’s more to his anger than being
lied to, and he too, finally comes clean.
*Affiliate Organizations offer discount tickets to members of KC Stage. Display your membership card at the box office or mention it when ordering tickets
over the phone. For a list of discounts and other offers, visit www.kcstage.com.
Don’t forget to rate or review the shows you see online!
Content Guide: Unless otherwise noted, the subject matter of performances
10
KCSTAGE
This is a story about sensitivity and dealing
with disability. Directed by Sheila M. Cage.
“Dreams Alive” Dinner Theatre - $20 per
person. Call Sheila Cage for reservations
at 816-228-5806. Blue Springs Civic Center, 2000 NW Ashton Dr, (816) 228-0137,
www.bluespringscitytheatre.com
The Connoisseur by Anthony Arnold:
Oct 18: 6:30 pm Sat
Jimmy, in a moment of uncharacteristic
behavior, steals a small work of art from
a local museum. He shows it to his old
friend Al. With Al’s help, Jimmy tries to
sell the work to a local gallery but soon
realizes that selling it secretly guarantees
it will never again be seen in a public
venue. There’s only one thing to do, return
it to the museum. But the museum has
doubled its security. They can’t return the
work without being implicated. They need
to find a simple solution to their problem.
Directed by Bryan Atkins. $20 per person.
Call Sheila Cage for reservations at 816228-5806. Blue Springs Civic Center,
2000 NW Ashton Dr, (816) 228-0137,
www.bluespringscitytheatre.com
Dreams Alive Gala: Oct 18: 6 pm Sat
In 2008 Blue Springs City Theatre held a
one-act play writing contest. With over 20
submissions from as far away as Canada
we are producing the winning play “Can’t
You See What I’m Saying?” and the runner up “The Connoisseur” at this event.
A world class dinner will be served first.
“Dreams Alive” is an event not to miss.
This dinner theatre is in honor of new
playwrights everywhere and their dream
of seeing their work come alive on the
stage. Blue Springs High School Auditorium (formerly Civic Center), 2000 NW
Ashton Drive, Blue Springs, MO. 6pm
Social Hour; 6:30pm dinner; 7:30pm
world premier of winning one acts. Semiformal attire requested. Tickets are $20
per person. Reservations due by Oct. 6.
Reservations may be made by contacting Sheila Cage at 816-228-5806 or
[email protected].
Tickets
may also be purchased at tix.com. Blue
Springs Civic Center, 2000 NW Ashton
Dr., www.bluespringscitytheatre.com
should be suitable for general audiences. Shows marked with A contain
adult material that may not be appropriate for children under the age of 18.
Shows marked C contain material that is specifically intended for children.
Please note that these content markings are designated by the individual arts
organizations, not by KC Stage.
“Culture is the arts elevated to a set of beliefs.” ~ Thomas Wolfe
u Performances
Byrd Productions*
Margolis Brown ADAPTORS Company
Cyclopedia: Oct 9-12: 8 pm Thr-Sat;
2 pm Sun
Cyclopedia pushes the boundaries of theatre, merging the company’s highly dynamic
physicality with state of the art multimedia
to create the award-winning productions
for which Kari Margolis and Tony Brown
have earned their international reputations. $15 in advance, $18 at the door.
Just Off Broadway, 3051 Central, (816)
753-0517, [email protected]
Carnegie Arts Center
Four-handed Piano Duets:
Oct 19: 3 pm Sun
Heather Marsh Lewis and John Scoville will
perform a four-hand piano duet concert.
They will perform Hungarian Dances by
Brahms, Slavonic Dances by Dvorák,
Debussy’s Petite Suite and Ravel’s Mother
Goose Suite. Donations benefit the Carnegie Arts Center. (913) 651-0765, 601
S. 5th Street, Leavenworth, KS 66048.
www.leavenwortharts.org
Goldenberg Duo: Oct 12: 3 pm Sun
The Goldenberg Duo in concert. Admission $10/$8 members and seniors.
(913)-651-0765. Carnegie Arts Center,
601 S. 5th Street, Leavenworth, KS 66048.
www.leavenwortharts.org
CenterSeason Theatre
Crazy For You by George and Ira Gershwin: Nov 1-16: 7:30 pm Sat
Crazy For You is the story of Bobby Child,
a well-to-do 1930’s playboy, whose
dream in life is to dance. And despite the
serious efforts of his mother and soon-tobe-ex-fiancé, Bobby achieves his dream!
Memorable Gershwin tunes include I Can’t
Be Bothered Now, I Got Rhythm, They Can’t
Take That Away from Me, But Not for Me,
Embraceable You and Someone to Watch
Over Me. It’s a high energy comedy
which includes fabulous dance numbers
and classic Gershwin music. Directed by
Director: Mark Swezey, Music Direction:
Laura VanLeeuwen, Choreographer: Ann
McCroskey. $10-$20. The Lewis and
Shirley White Theatre, on the campus of
The JCC of Greater Kansas City, (913)
327-8054, www.jcckc.org
Chestnut Fine Arts Theatre
Always ... Patsy Cline by Ted Swindley:
Oct 9-19: 8 pm Thr-Fri; 2 pm, 7 pm Sun
Always ... Patsy Cline is based on a true
story of the friendship between Patsy and
one of her devoted fans, Louise Seger. The
show features many of Patsy Cline’s biggest
hits, Crazy, Sweet Dreams, Walkin’ After
Midnight, among many others. Directed
by Brad Zimmerman. Featuring Stasha
Case (Louise) and Krista Eyler (Patsy
Cline). Crew: Terri Babbitt (Stage Manager), Brad Zimmerman (Director), Libby
Bradley (Costume Design), Kathleen
Helming (Scenic Design), Adam Dean
(Percussion), and Carolyn Robinson (Keyboard). Adults $18, Seniors $17, Children
$13. Chestnut Fine Arts Center & Theatre,
234 N. Chestnut Street, (913) 764-2121,
chestnutfinearts.com
Driving Miss Daisy by Alfred Uhry:
Sep 11-Oct 5: 8 pm Thr-Sat; 2 pm Sun
Driving Miss Daisy is a heartwarming story
of the friendship between an aging, determined white Southern lady and a proud,
soft-spoken black man who becomes her
driver. Changing times underline this story
about Miss Daisy, her son, and her chauffeur, Hoke. The play is about a relationship
that comes to a poignant conclusion as
the 97-year old Daisy admits to Hoke that
he is, in fact, her best friend. It is a journey full of laughs, history and meaning.
Directed by Brad Zimmerman. Featuring
Vicky DeLaughder (Miss Daisy), Damron
Armstrong (Hoke), and Eric Magnus (Boolie). $18, discounts for seniors, children &
groups. Chestnut Fine Arts Center, 234 N.
Chestnut Street, (913) 764-2121, chestnut
finearts.com (Adult Fare)
The Coterie Theatre
And Then They Came For Me: Remembering The World of Anne Frank by James
Still: Sep 16-Oct 24: 10 am Tue-Fri;
2 pm Sat-Sun; 7 pm Fri; 12 pm Wed-Fri
Part oral history, dramatic action, part direct
address, part remembrance, And Then They
Came for Me breaks new ground and has
been acclaimed by audiences and critics
in productions across the United States.
The unique weaving of interviews with two
Holocaust survivors (who were friends of
Anne’s), along with live actors recreating
scenes from their lives, gives this production
the power to live in the present as well as
a never-to-be-forgotten past. Directed by
Cynthia Levin. Adults: $14; Youth, Student,
or Senior: $9. The Coterie Theatre, 2450
Grand Blvd, Suite 144, (816) 474-6552,
www.coterietheatre.org
Night of The Living Dead:
Oct 9-29: 9 pm Fri; 7 pm Sun-Fri
It’s back. It’s true: On-stage zombies will
walk among you in Night of The Living
Dead. A satellite probe returns to Earth
carrying radiation that transforms the
unburied dead into flesh-eating zombies.
Seven people trapped in an isolated
farmhouse, held hostage by the ravenous
ghouls, begin to turn on each other as
the dead encroach. Featuring live music
from a guitar-wielding zombie. Directed by
Ron Megee. Adults: $14; Youth, Student,
or Senior: $9. The Coterie Theatre, 2450
Grand Blvd, Suite 144, (816) 474-6552,
www.coterietheatre.org (Adult Fare)
Dead Ringer Dinner Playhouse
Feaste of Fooles: Sep 6-Oct 13:
3 pm Sat-Mon
Dead Ringer Dinner Playhouse is performing a murder mystery for the Feaste
of Fooles at the Kansas City Renaissance
Festival! Come see us perform each Saturday and Sunday and Columbus Day, Oct.
13. A fantastic 6-course meal is served
as you try to solve the mystery set in a
medieval feasting hall with crazy characters
who all seem a bit shady. Featuring Valorie
Dodd (Eureka Well), Nick Padgett (Simon
Elliot), Patty Peden (Sabrina Hazelberry),
Tim Phillips (Ackbar Eurovonski), and
David Reyes (Shipley Esvang, Jr.). $54.95
(includes ticket to the Renaissance Festival)
$39.95 if you already have a ticket to the
Festival. Renaissance Festival, K- 7, (913)
789-PLAY, deadringerplayers.com
Eubank Productions*
The Rocky Horror Show by Richard
O’Brien: Oct 3-Nov 2: 11 pm Fri-Sat;
8 pm Thr-Sat, Mon
35th anniversary! On a late November
evening, Brad and Janet (“two young
ordinary healthy kids” from Denton USA)
take an unexpected journey to the castle of
the diabolical Dr. Frank N Furter, a “sweet
transvestite from Transsexual Transylvania”.
Before the night is over, Brad and Janet
will give themselves over to absolute
pleasure and to a host of crazed castle
creeps. Don you fishnet stockings and drag
your friends to this outrageous send-up of
1960s rock-n-roll and B horror movies!
Directed by Steven Eubank. Featuring
Doogin Brown (Frank N. Furter), Katie
www.kcstage.com
OCTOBER 2008
11
TUE
7
THU
9
Always ... Patsy Cline • Chestnut Fine Arts Theatre
TUE
14
WED
8
MON
13
Feaste of Fooles • Dead Ringer Dinner Playhouse
Night of The Living Dead • The Coterie Theatre
Anne Frank • The Coterie Theatre
BusyTown • Theatre for Young America*
Cabaret • University of Central Missouri*
The Last Romance • New Theatre Restaurant
Rhapsody in Gershwin • Quality Hill Playhouse
Saint George and the Dragon • Paul Mesner Puppets*
Menopause the Musical • American Heartland Theatre
Cyclopedia • Byrd Productions*
Fall Performance • Kansas City Ballet
A Flea in Her Ear • University of Kansas Theatre
The Legend of the Spooky Switchman • The Mystery Train
Mauritius • Unicorn Theatre
FRI
17
A Quarreling Pair • Lied Center
Proof • Johnson County Community College
A Tuna Christmas • Paradise Playhouse Dinner Theatre
FRI
10
Driving Miss Daisy • Chestnut Fine Arts Theatre
A Grand Night For Singing • Sonlight Productions
The Heidi Chronicles • UMKC Theatre
A New Brain • The Barn Players*
Rising Water • Unicorn Theatre
The Rocky Horror Show • Eubank Productions
The Servant of Two Masters • Shawnee Mission South
Suburbia • Park University Theatre*
FRI
3
All Shook Up • Lawrence Community Theatre
Can’t You See What I’m Saying? • Blue Springs City
Theatre*
SAT
18
Dictionary Soup • The Roving Imp Theater*
SAT
11
A Grand Night For Singing • Sonlight Productions
REVOLUTION: Sweat. Dance. Rock & Roll. • Lied Center
Tartuffe • UMKC Theatre
Trivial Prov-suit • The Roving Imp Theater*
SAT
4
OCTOBER 2008
The Servant of Two Masters • Shawnee Mission South
MON
6
THU
2
WED
1
TUE
30
MON
29
KCSTAGE
Radio Golf • Kansas City Repertory Theatre
SUN
19
Brasil Guitar Duo • Lied Center
SUN
12
Tartuffe • UMKC Theatre
SUN
5
*Affiliate Theatre
THU
23
TUE
28
THU
30
WED
22
MON
27
WED
29
The Lady’s Not For Burning • Metropolitan Ensemble Theatre
To the Rescue • University of Central Missouri*
Nadya • UMKC Theatre
One Act Play Festival • Shawnee Mission South
Urinetown, the Musical • Olathe South High School*
Deathtrap • River City Community Players
The Roving Imps • The Roving Imp Theater*
FRI
31
Arsenic and Old Lace • MidAmerica Nazarene University
FRI
24
Crazy For You • CenterSeason Theatre
Readings of Original Work by Inge House Playwrights •
William Inge Center*
Trivial Prov-suit • The Roving Imp Theater*
SAT
1
Arsenic and Old Lace • MidAmerica Nazarene University
Dead Air • The Theatre in the Park
The Harold • The Roving Imp Theater*
Legend of Sleepy Hollow • Puppetry Arts Institute
SAT
25
The Roving Imps • The Roving Imp Theater*
OCT 20 • Park University Theatre
OCT 20-21 • Lawrence Community Theatre
AUDITIONS
OCT 5-6 • CenterSeason Theatre
The Legend of Pocahontas • Christian Youth Theater
SUN
2
Crazy For You • CenterSeason Theatre
SUN
26
The Harlem Quartet, Take the ‘A’ Train • Lied Center
*Affiliate Theatres offer discount tickets to members of KC Stage. Display your membership card at the box office or mention it when ordering tickets over the phone. For a list of discounts and other offers, visit www.kcstage.com. Don’t forget to rate the show you see online!
TUE
21
MON
20
Making a Scene at the KC Library • Tantrum
THU
16
WED
15
u Performances
Karel (Janet), Evan White (Brad), Vanessa
Severo (Trixie/Magenta), Price Messick
(Riff-Raff), Katie Kalahurka (Columbia),
Noah Whitmore (Eddie/Dr. Scott), Brian
Shortess (Rocky), Bill Pellitier (Narrator),
Jacinth Lee Evans, Amy Hurrelbrink-Hover,
Ashley Otis, Stephen Plante, Eric Tedder,
and Rachael Tompkins. Opening night
$10; All other performances: Adults $18,
Students & Seniors $12; $11 @ 11:00
pm. Off Center Theatre, Crown Center,
3rd Floor, (816) 235-6222, www.eubank
productions.com (Adult Fare)
Johnson County Comm. College
Proof by David Auburn: Oct 2-12:
7:30 pm Thr-Sat; 2 pm Sun
On the eve of her twenty-fifth birthday,
Catherine, a troubled young woman,
has spent years caring for her brilliant but
unstable father, a famous mathematician.
Now, following his death, she must deal
with her own volatile emotions; the arrival
of her estranged sister, Claire; and the
attentions of Hal, a former student of her
father’s who hopes to find valuable work
in the 103 notebooks that her father left
behind. Winner of the 2001 Pulitzer Prize
for Drama. Directed by Beate Pettigrew. Free
admission. Black Box Theatre, Carlsen Center, 12345 College Blvd, (913) 469-8500,
www.jccc.edu/theatredept (Adult Fare)
Kansas City Ballet
KC Ballet’s Fall Performance: Oct 9-12:
7:30 pm Thr-Sat; 2 pm Sat-Sun
The 51st season will kick off with a program
for the young at heart with Trey McIntyre’s
“The Naughty Boy” and Jerome Robbins
“The Concert.” You’ll also enjoy the lively
“Rodeo” - this love story of the American
Southwest is from the choreographer of
Rodgers and Hammerstein’s popular musical Oklahoma! The Kansas City Symphony
will accompany these performances.
Tickets on sale now! Directed by Artistic
Director William Whitener. $30-75. Lyric
Theatre, 11th & Central, (816) 931-2232,
www.kcballet.org
Kansas City Repertory Theatre
Clay by Matt Sax: Sep 6-28: 2 pm Sun
Kansas City audiences will have the
opportunity to experience the explosive
new hip-hop musical Clay – one of
Rosen’s biggest successes – just prior to
its New York premiere at Lincoln Center.
Created by the award-winning young
writer/performer Matt Sax in collaboration
14
KCSTAGE
with Rosen, Clay is a coming-of-age story
told with the great humor, intensity and
lyricism of contemporary hip-hop music.
Directed by Eric Rosen. All tickets $25.
Kansas City Repertory Theatre, Copaken
Stage, (816) 235-2700, www.KCRep.org
(Adult Fare)
Radio Golf by August Wilson: Oct 17Nov 9: 8 pm Fri-Sat; 2 pm Sat-Sun;
7 pm Sun, Tue-Thr
A story with contemporary resonance
about a charismatic African American
political candidate running for office
while attempting to revitalize Pittsburgh’s
historic Hill District. Buy tickets now at
www.kcrep.org! Directed by Lou Bellamy.
Call for Ticket Prices. Kansas City Repertory Theatre, Spencer Theatre in the UMKC
Performing Arts Center, (816) 235-2700,
www.KCRep.org (Adult Fare)
Lawrence Community Theatre
All Shook Up by Joe DiPietro and
Stephen Oremus: Sep 19-Oct 5: 8 pm
Fri-Sat; 7:30 pm Thr; 2:30 pm Sun
Elvis songs punctuate a lonely young girl’s
dreams of hitting the open road with a
guitar-playin’ roustabout who changes
everything and kick-starts a hip-swivelin’, lip-curlin’ musical fantasy that will
have you jumpin’ out of your blue suede
shoes. Featuring songs like Heartbreak
Hotel, Burning Love, Jailhouse Rock, Blue
Suede Shoes and Don’t Be Cruel. The
show partners all-time favorite Elvis hits
with a whole new story. All Shook Up is
surefire fun for rock ‘n’ roll fans. Directed
by Mary Doveton, Musical direction by Judy
Heller, and choreography by Ivory Mazure.
$15.02-$21.46. Lawrence Community
Theatre, 1501 New Hampshire St, (785)
843-7469, theatrelawrence.com
Lied Center of Kansas
Bill T. Jones/ Arnie Zane Dance Co. in
A Quarreling Pair: Oct 10: 7:30 pm Fri
Using sound as art, multimedia images
and the artifacts of activism, A Quarreling
Pair is a vaudeville-structured theatremeets-dance production that centers on
questions about the world, our role and our
participation in it. Choosing not to draw
conclusions, but to focus on the question
itself, the Bill T. Jones/ Arnie Zane Dance
Company has a long history of exploring
a number of charged and controversial
themes through movement, music and
dance. Adults: $35/$25 Students under
18: $18/$13. Lied Center of Kansas, 1600
Stewart Dr, (785) 864-2787, lied.ku.edu
(Adult Fare)
Brasil Guitar Duo: Oct 12: 2 pm Sun
The Brasil Guitar Duo, one of the world’s
pre-eminent guitar ensembles, has an
unmatched virtuosity, expertise and musicianship well beyond their years. With a
broad repertoire ranging from the traditional samba, maxixe, choro and baiao
of their native Brazil to classical composers, the duo has a sublime synchronicity
and effortless performance style. Adults:
$24/$18 Students under 18: $12/$9. Lied
Center of Kansas, 1600 Stewart Dr, (785)
864-2787, lied.ku.edu
Revolution: Sweat. Dance. Rock & Roll.:
Oct 4: 7:30 pm Sat
Featuring the unique remixed styles of
tap-dancing/rock ‘n’ roll prodigy Michael
Schulster and champion Irish step-dancing martial artist Joel Hanna, Revolution
brings the excitement of Broadway and
popular television shows like Dancing with
the Stars and So You Think You Can Dance
live to the Lied Center. Adults: $49/$40
Students under 18: $25/$20. Lied Center
of Kansas, 1600 Stewart Dr, (785) 8642787, lied.ku.edu
The Harlem Quartet, Take the ‘A’ Train:
Oct 26: 2 pm Sun
The Harlem Quartet is dedicated to
advancing diversity in classical music
while engaging young and new audiences
through the discovery and presentation of
varied repertoire. At the Lied Center, the
quartet will perform classical and jazz
mixed selections from their 2007 album
Take the ‘A’ Train, including works by jazz
composer Wynton Marsalis, pianist Billy
Strayhorn and classical composer Joaquin
Turina. Adults: $24 Students under 18:
$12. Lied Center of Kansas, 1600 Stewart
Dr, (785) 864-2787, lied.ku.edu
Paul Mesner Puppets*
Saint George and the Dragon: Oct 8-19:
2 pm Sat-Sun; 10 am Wed-Fri
Directed by Paul Mesner. $7 for children;
$8.50 for adults. Unity on the Plaza, 47th
& Jefferson, (816) 235-6222, www.paul
mesnerpuppets.org
Metropolitan Ensemble Theatre
The Homecoming by Harold Pinter:
Sep 11-28: 2 pm Sun
A butcher, a boxer, a pimp, a philosopher
and a woman. Welcome to Nobel Laureate
Harold Pinter’s bizarre London household.
“What is more important in a library than anything else - than everything else - is the fact that it exists.” ~ Archibald MacLeish
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Sex roles, power, love and family all play a
part in this riveting negotiation. The men
of the family need someone like her, and
as her and as her husband exits for home
in America, they make her an interesting
proposition. Her answer has rocked audiences for four decades. “Bizarre, ominous
and taunting... Enthralling.” New York Post.
Directed by Bob Paisley. Featuring Allan
Boardman, Nigel Delahoy, Matt Rapport,
Jill Szoo, Hughston Walkinshaw, and Dale
Westgaard. Crew: Jan Chapman (Stage
Manager), and Winnie Weinrich (Asst.
Stage Manager). $20 (Students-$10) +
$2 handling for credit cards. Metropolitan
Ensemble Theatre, 3604 Main, (816) 5369464, www.metkc.org (Adult Fare)
New Theatre Restaurant
The Lady’s Not For Burning by Christopher Fry: Oct 24-Nov 22: 7:30 pm
Wed-Sat; 2 pm Sun
The year is “1400, either more or less
exactly” in the village of Cool Clary.
Thomas Mendip is a recently discharged
soldier who has tired of his life and wants
to end it. Jennet is a young woman whose
life, due to a false charge of witchcraft, is
to be ended and wants to save it. These
contrary agendas collide hilariously setting
the stage for this wickedly droll, fauxShakespearean comedy. Will perform in
repertory with “The Crucible”. Directed by
Linda Brand. $20 (Students-$10) + $2
handling for credit cards. Metropolitan
Ensemble Theatre, 3604 Main, (816) 5369464, www.metkc.org (Adult Fare)
Urinetown, the Musical by Mark Hollmann Book and Greg Kotis: Oct 23-25:
7:30 pm Thr-Sat
As Little Sally, one of the main characters in Urinetown says, “I don’t think too
many people are going to want to come
see this musical.” Officer Lockstock, the
narrator, replies, “Why do you say that,
Little Sally?” She simply responds with,
“The title’s awful.” However, she also
says, “The music’s so happy.” Urinetown
is a satirical musical about a water shortage that also pokes fun at many famous
musicals. If you can get past the title, you
will love this show. Directed by David Tate
Hastings. $7. Olathe South High School,
1640 East 151st Street, (913) 780-7160,
teachers.olathe.k12.ks.us/~dhastingsos
MidAmerica Nazarene University
Arsenic and Old Lace: Oct 31-Nov 1:
7:30 pm Fri-Sat
Adult: $10/students & children: $5. Bell
Cultural Events Center, 2030 E College
Way, (913) 971-3636, www.mnu.edu
The Mystery Train
The Legend of the Spooky Switchman
by Philip blue owl Hooser: Sep 5-Nov 1:
7 pm Thr-Sat
A woman’s past casts a shadow on a local
train, as suspicions rise and descendants
gather to absolve the sins of their fathers.
Little do they know, one of them is marked
for murder! Directed by Wendy Thompson.
$49-$59. The Mystery Train, Hereford
House, (816) 813-9654 (Adult Fare)
The Last Romance by Joe DiPietro: Sep 4Nov 9: 12 pm Sun, Wed; 6 pm Tue-Sun
The Last Romance is a heartwarming boymeets-girl comedy. What makes it unique is
that the boy and the girl are senior citizens!
Love, like aging, they discover, is not for
the weak or those without a lively sense
of humor. Directed by Richard Carrothers.
Featuring Marion Ross (Carol Reynolds),
Paul Michael (Ralph Bellini), Marie Lillo
(Rose Tagliatelle), and Joshua Jeremiah
(The Young Man). New Theatre Restaurant, 9229 Foster St, (913) 649-SHOW,
www.newtheatre.com (Adult Fare)
Olathe South High School*
Paradise Playhouse Dinner Theatre
A Tuna Christmas by Ed Howard, Joe
Sears and Jaston Williams: Oct 3-25:
6:15 pm Fri-Sat; 7 pm Thr; 12 am Sun
It’s Christmas in the third smallest town in
Texas. Radio station OKKK news personalities Thurston Wheelis and Arles Struvie
report on various Yuletide activities, including hot competition in the annual lawn
display contest. In other news, voracious
Joe Bob Lipsey’s production of A Christmas Carol is jeopardized by unpaid electric
bills. Many colorful Tuna denizens, some
you will recognize from Greater Tuna and
some appearing here for the first time,
join in the holiday fun. Directed by Marty
Williams. Featuring Larry Tesar (Thurston
Wheelis) and Fred Hack (Arles Struvie).
$25.95 or $27.95 includes all you can
eat buffet, $15.95 or $17.95 10/23/08.
Paradise Playhouse, 101 Spring St, (816)
630-3333, www.paradiseplayhouse.com
(Adult Fare)
Park University Theatre*
Suburbia by Eric Bogosian:
Sep 26-Oct 4: 8 pm Thr-Sat
The parking lot of a mini-mall convenience
store is the private domain of three men
in their very early twenties: Jeff, Buff and
Tim. Jeff is a sometime student, Buff
an easy-going party animal and Tim a
virtual alcoholic Air Force vet. They talk
trash, harass Nazeer, the owner of the
store and revel in their high-school glory
days. Directed by Mark Robbins. Featuring Carey McLaren (Tim), Damian Blake
(Buff), Andrew Cudzilo (Jeff), Marcelo
Henriques (Narcisso), Maysa Sapargeldiyeva (Pazeeka), Jessi Walker (Bee-Bee),
Thia Tomasich (Sooze), Will Hoverder
(Pony), and Chelsa Gibbs (Erica). $8
Adults, $5 Senior Citizens, Park Faculty
and Staff, and Alumni: Free to Park University Students with ID. For reservations
visit www.park.edu/theatre/season.shtml
or call 816-584-6451. Jenkin & Barbara
David Theater, Alumni Hall, Park University Home Campus, (816) 584-6451,
www.park.edu/theatre (Adult Fare)
Puppetry Arts Institute
Legend of Sleepy Hollow:
Oct 25: 2 pm, 11 am Sat
Based on the traditional story by Washington Irving, the Urban Prairie Puppet
Company’s hand and rod puppets bring
this spooky tale to life. All the characters of
Sleepy Hollow, Ichabod Crane, Katrina van
Tassle and Bram Bones and the Headless
Horseman will be included. $5 per person
regardless of age. Puppetry Arts Institute,
11025 E. Winner Road, (816) 833-9777,
www.hazelle.org (Intended for Children)
Quality Hill Playhouse
Rhapsody in Gershwin: Sep 26Oct 26: 8 pm Sun-Sat; 3 pm Sat-Sun;
1 pm Wed-Thr
A celebration of the brothers who brought
us such memorable songs as “Embraceable
You”, “Someone to Watch Over Me”, “The
Man I Love” and “S Wonderful” Directed
by J. Kent Barnhart. Featuring Lateesha
MacDonald Jackson, Melinda MacDonald, James Wright, J. Kent Barnhart
(Pianist and Emcee), Steve Lenhert (Bass),
and Ken Remmert (Drums). $24 adults;
$22 students/seniors/groups. Quality Hill
Playhouse, 303 West 10th St, (816) 4211700, www.QualityHillPlayhouse.com
www.kcstage.com
OCTOBER 2008
15
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River City Community Players
Deathtrap by Ira Levin:
Oct 24-Nov 8: 8 pm Fri-Sat
The play opens with playwright Sidney Bruhl
lamenting about his recent flops. Myra tries
to console her husband and he reveals to
her his idea to steal a play from a student
of his. A play so good, as Sidney says, “A
gifted director couldn’t even hurt it.” The
plot twists and turns, and only a psychic
could determine who will still be alive at the
end. Directed by Tisha Johnson. Adults $8,
children 12 and under $4, $7 for senior
citizens 60 & older, students with ID, and
groups of 10 or more. Leavenworth Performing Arts Center, 500 Delaware Street,
(913) 682-7557, home.kc.rr.com/finch/
rccp/rccp.htm (Adult Fare)
The Roving Imp Theater*
Back to School: Sep 20-Nov 28:
8 pm Fri; 7 pm Sat
Back to School: The Roving Imps remember their school days with a bunch of
games that challenge their knowledge
and force them to follow rules with no
point. They’ll also see how the first day of
school affects residents of a made up small
town in a brand new made up play. Jam:
At 9pm, you can join the Imps on stage
to play some great improv games. It’s the
most fun you can legally have with a large
group of adults in public. Directed by John
Robison. $7.50/4.50. The Roving Imp
Theater, 115 Oak St, (913) 441-2309,
www.rovingimp.com
Dictionary Soup: Oct 11-Dec 13:
7 pm Sat
Keith Curtis and John Robison have you
pick a word out of the dictionary at random, then create an entire world out of
that one word, whether anyone knows what
it means or not. Featuring John Robison
and Keith Curtis. $6. The Roving Imp
Theater, 115 Oak St, (913) 441-2309,
www.rovingimp.com
Omega Directive: Oct 25-Dec 27:
9 pm Sat
An elite group of Kansas City comedians
band together to create the best improvisation to be based on 40-year-old
television plots. When television fails, call
in Omega Directive. They boil a television
show down to its most basic concept, then
use that concept as the suggestion for a
brand new, updated program, complete
with commercials for products seen in the
show. It’s television for the new millennium!
$7. The Roving Imp Theater, 115 Oak St,
16
KCSTAGE
(913) 441-2309, www.rovingimp.com
(Adult Fare)
Red Rubber Ball: Oct 18-Dec 20:
9 pm Sat
An all-long form improvisational show
that takes the best conversations you’ve
ever had and distorts them to a nearly
unrecognizable state. In the second half
of the show, you’ll see the same characters bounce around in circles, somehow
avoiding concussions, but creating hilarity.
(Adult Fare)
The Harold: Sep 26-Nov 22: 7 pm Sat
Some of your favorite members of the Roving Imps join with improvisational newbies
to amaze you with their skills as they perform a Chicago-style Harold. This is the
only group currently performing a true Harold in Kansas City. Stop by and you’ll be
amazed at the art and hilarity combined.
Trivial Prov-suit: Oct 4-Dec 6: 9 pm,
9:30 pm, 7 pm Sat
Trivial Pursuit is pulled into the comedy
world, taking a trivia game places it was
never meant to go. You’ve never had this
much fun with a trivia game! John Robison and James Nelson go head-to-head,
forced to do something improv-related
each time someone answers a trivia
question wrong, using the correct answer
as a suggestion. Featuring John Robison
and James Nelson. $6. The Roving Imp
Theater, 115 Oak St, (913) 441-2309,
www.rovingimp.com (Adult Fare)
Shawnee Mission South
One Act Play Festival:
Oct 21-23: 7 pm Tue-Thr
$7. Shawnee Mission South Theatre,
5800 W 107th St, (913) 993-7524,
reptheatre.tripod.com
The Servant of Two Masters by Carlo
Goldoni: Oct 2-3: 6 pm Fri; 7 pm Thr
Written by the Italian comic genius Carlo
Goldoni in 1753, The Servant of Two Masters is a wild comedy full of confusion and
surprises. When a hungry servant named
Truffaldino starts working for two masters
at the same time, he must frantically run
across town and quickly devise excuses
to stay out of trouble with each of them.
Come see Commedia dell’Arte at its finest!
Directed by Cathy Wood. Featuring Scott
Fagan (Truffaldino), Cody Ross (Pantalone),
Preston Brethour (Silvio), Camille Hendricks (Clarice), Jordan Tankel (Beatrice),
Rob Williams (Florindo), Parker Rydbom
(Lombardi), Amanda Carter (Smeraldina),
and Shara Abvabi (Brighella). $7. Shawnee
Mission South Theatre, 5800 W 107th St,
(913) 993-7524, reptheatre.tripod.com
Sonlight Productions
A Grand Night For Singing by Rodgers
and Hammerstein: Sep 26-Oct 4:
7:30 pm Fri-Sat; 2 pm Sun
“Taste and Imagination, the two key ingredients for a first-rate revue, abound in this
fresh take on the Rodgers and Hammerstein canon.” Directed by Kevin Bogan.
Featuring Jon Daugharthy (Martin), Diane
Robertson (Lynne), Julie O’Rourke (Victoria), Travis Murray (Jason), and Mackenzie
Zielke (Alyson). Crew: Nick Cline (Lighting
Designer, Lighting Technician, Light Board
Operator), Mike Collins (Sound Engineer),
and Barbara Williams (Costume/Wardrobe
Manager). $15 general; $12 groups (15
or more). H&R Block City Stage/Union Station, 30 W Pershing Rd, (816) 460-2020,
[email protected]
Tantrum
Making a Scene at the KC Library:
Sep 17-Nov 12: 7 pm Wed
Comedy troupe Tantrum is Making a
Scene at the Central Library, 14 W. 10th
St. Using audience suggestions, Tantrum
spins stories that generate a succession
of spontaneous scenes. Tantrum is Trish
Berrong, Pete Calderone, Nikki Dupont,
Rob Grabowski, Megan Mercer, Michael
Montague Jr., and Josh Steinmetz. Cash
wine bar opens at 6:30pm; admission is
free. Call 816.701.3407 for reservations.
Free parking in the Library District Parking
Garage at 10th and Baltimore. Free. KC
Library, Plaza Branch, 4801 Main, (816)
678-8886, city3.org
The Theatre in the Park
Dead Air by Lee Mueller:
Oct 25: 6:30 pm Sat
Radio station WEZ-Y established a winning format in the 1950s. Unfortunately,
nothing has changed much since then. A
decision that would change WEZ-Y forever
would be the rumored corporate buyout.
It has both talent and crew on edge as
they begin the annual anniversary show
hosted by Guy Godfry, “Your Voice in the
Night.” During the live broadcast, the show
takes an unexpected turn. It results in every
“A good actor must never be in love with anyone but himself.” ~ Jean Anouilh
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radio station’s worst nightmare. Come help
solve the mystery of “Dead Air.” $25 per
person for dinner (mystery included), call
913-236-1269 for reservations. Matt Ross
Community Center, 8101 Marty, (913)
312-8841, www.theatreinthepark.org
Theatre for Young America*
BusyTown by Kevin Kling and Richard
Scarry: Oct 7-Nov 1: 12 pm Thr-Fri;
10 am Tue-Fri; 7 pm Fri; 2 pm Sat
This brand-new musical play is based on
Richard Scarry’s popular books for young
readers, including What Do People Do All
Day? Kevin Kling adapted the books, and
Michael Koerner composed original music
for the play, which premiered at the Seattle
Children’s Theatre. Using fantastic movement and puppetry, in the same tradition of
Go, Dog. Go! this show brings the classic
children’s story to vibrant, singing, dancing,
exuberant life—just as children imagine it.
Directed by Gene Mackey. $8 per ticket
with group discounts available. Theatre
for Young America, City Stage at Union
Station, (816) 460-2083, www.tya.org
(Intended for Children)
UMKC Theatre
Nadya by Tom Mardikes: Oct 22-26:
7:30 pm Wed-Sat; 2 pm Sun
Tom Mardikes has arranged a collection
of short stories, including The Mire, The
Lady and the Dog, Boots, and The Looking
Glass, into the story of Nadya, an unconventional young woman struggling against
conventional thinking in Russia from the
1880s and 1890s. Directed by Tom Mardikes. Adult: $15; Seniors: $10; Students:
$6; Group rates available. Grant Hall Theatre, UMKC Campus, (816) 235-6222,
www.umkc.edu/theatre (Adult Fare)
Tartuffe by Molière: Sep 27-Oct 5:
7:30 pm Tue-Sun; 2 pm Sun
In 1664, they laughed, they howled, they
snickered and they gasped, ¬and then they
banned the play from public performance.
Come see what all the excitement and
controversy was (and is) about. Molière’s
comic masterpiece Tartuffe—coming to
the Spencer Theater—for your consideration and absolute delight! Directed
by Theodore Swetz. Adult: $15; Seniors:
$10; Students: $6; Group rates available.
$50 benefit performance Oct 4. Spencer
Theatre, 4949 Cherry St, (816) 235-6222,
www.umkc.edu/theatre (Adult Fare)
www.kcstage.com
Comedy UMKC: Oct 4: 7:30 pm Sat
Benefit Performance of Tartuffe. Event
tickets $50. Tickets for the benefit may
be purchased through the Central Ticket
Office. Spencer Theatre, 4949 Cherry St,
www.umkc.edu/theatre
The Heidi Chronicles by Wendy Wasserstein: Sep 20-Oct 3: 7:30 pm Sun,
Tue-Fri; 2 pm Sun
Wendy Wasserstein’s Pulitzer Prize and Tony
Award-winning play traces the life of Heidi
Holland, through the turbulent 1960s into
the late 1980s. Much more than a simple
depiction of living through the “age of
feminism”, The Heidi Chronicles paints a
complex portrait of all it takes to assume
adulthood. This timeless coming-of-age
play offers wit and intensity, and holds a
mirror up to our inner selves. Directed by
Donna Thomason. Adult: $15; Seniors:
$10; Students: $6; Group rates available. Studio 116, PAC, 4949 Cherry St,
(816) 235-6222, www.umkc.edu/theatre
(Adult Fare)
Unicorn Theatre
Mauritius by Theresa Rebeck:
Oct 17-Nov 9: 3 pm Sat-Sun;
8 pm Fri-Sat; 7:30 pm Tue-Thr
Suspenseful and surprising, this tightly
woven story centers on two estranged half
sisters as they vie for rights to a recently
inherited and possibly valuable stamp collection. One wants to keep it for sentimental
value while the other comes face-to-face
with a couple of machine-gun mouthed
con artists who move in to handle the sale.
Filled with scams and double-crosses,
playwright Rebeck takes us on a twisting,
turning and wildly hilarious ride. Directed
by Cynthia Levin. Featuring Cinnamon
Schultz (Jackie), Jennifer Aguilar (Mary),
Bob Elliot (Sterling), Phil Fiorini (Philip),
and Darren Kennedy (Dennis). Unicorn Theatre, 3828 Main Street, (816) 531-7529,
www.unicorntheatre.org (Adult Fare)
Rising Water by John Biquenet:
Sep 5-Oct 5: 8 pm Fri-Sat; 3 pm Sun;
7:30 pm Tue-Thr
A New Orleans couple awakens in the
middle of the night to fine their house filling
with water. Seeking refuge in their attic, the
grapple with the rising water and the life
they have lived together. Caught between
an attic of memories and a rooftop that
reveals a sea of sunken houses and wailing
sirens, the man and woman wait for rescue.
Rising Water was nominated for a 2008
Pulitzer Prize in Drama. Directed by Sido-
nie Garrett. Featuring Danny Cox (Sugar)
and Merle Moores (Camille). Unicorn Theatre, 3828 Main Street, (816) 531-7529,
www.unicorntheatre.org (Adult Fare)
In-Progress New Play Reading Series:
Oct 19: 7:30 pm Sun
Get a first glimpse of new works from
local and national playwrights. Donation requested at the door. No tickets or
reservations. Seating on a first come first
serve basis. Unicorn Theatre, 3828 Main
Street, www.unicorntheatre.org
University of Central Missouri*
Cabaret by Joe Masteroff, Fred Ebb,
and John Kander: Oct 8-12: 7:30 pm
Wed-Sat; 2 pm Sun
What good is sitting alone in your room?
Come to the Cabaret! With these opening
lines from the musical Cabaret, you will
immediately be pulled into the world of
1929 Berlin where Sally Bowles is the feature performer at the Kit Kat Club. Winner
of 8 Tony Awards including Best Musical,
Cabaret continues to command audiences
through its songs and dances including
the popular musical numbers Don’t Tell
Mamma, Two Ladies, Willkommen, and
Cabaret. Directed by Richard Herman.
$14 general, $12 faculty and seniors, $7
students. Highlander Theatre, University
of Central Missouri (660) 543-8811,
www.ucmo.edu/theatre (Adult Fare)
To the Rescue by Joel Moses and T.W.
Rothwell: Oct 29-Nov 1: 12:30 am
Wed; 12:30 pm, 7:30 pm Thr; 9:30 am
Wed-Thr; 10 am Sat
When Samantha’s grandfather is kidnapped by the monsters that exist only
in her bad dreams, she faces the difficult
choice of never seeing him again or facing her biggest fears and mounting a
daring rescue. Come ready to cheer for
this adventurous heroine and her band of
unlikely heroes. Directed by John Wilson.
Available only through the Performing Arts
Series. Call (660) 543-8888. Hendricks
Hall, University of Central Missouri (660)
543-8811, www.ucmo.edu/theatre
University of Kansas
A Flea in Her Ear by Georges Feydeau,
translated by David Ives: Oct 3-11:
7:30 pm Thr-Sat; 2:30 pm Sun
An adaptation of one of the classic French
farces of all time. Directed by Jack B. Wright.
$16 public, $15 senior citizens, $10 all
OCTOBER 2008
17
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students. Crafton-Preyer Theatre, Murphy
Hall-University of Kansas, (785) 864-3982,
www.kutheatre.com (Adult Fare)
The King Stag by Sylvia Ashby:
Sep 27-28: 2:30 pm Sun
A magical fable based on “Il Re Cervo” by
Carlo Gozzi. Directed by Dennis Christilles.
Featuring Julie Bayliff (Professor Magico/
Parrot), Cassandra Hollmann (Larissa),
Lizzie Hartman (Old Woman), Debbie
Diesel (Mistress of Shadows), Rebecca Ralstin (Briggi), Rochelle Herman (Angelica),
Brittney Barney (Emmi), Logan Walker (King
Seren), Matt Crooks (Periglio), Adam Luttrell (Leandro), Jake Smith (Maxim), Rob
Schulte (Truffles), Garret Lawson (Kovar),
and Jordan Gouge (Keno). Crew: Erin
Niedenthal (Scenic Design), Liz Banks
(Lighting Design), and Tammy Keiser
(Costume Design). $10 public, $9 senior
citizens, $5 all students. Inge Theatre,
Murphy Hall-University of Kansas, (785)
864-3982, www.kutheatre.com
William Inge Center for the Arts*
Play Readings: Nov 1: 2 pm, 7:30 pm Sat
Professional directors and actors will perform readings of new plays-in-progress
by William Inge Center for the Arts playwrights-in-residence Patricia Loughrey and
Kristen Palmer. Free. William Inge Theatre,
58 Road (800) 842-6063, bpeterson@
ingefestival.org (Adult Fare)
Johnson County Community College
Twelfth Night by William Shakespeare:
Nov 13-23: 7:30 pm Thr-Sat;
2 pm Sun
Kansas City Repertory Theatre
A Christmas Carol by Charles Dickens:
Nov 22-Dec 27: 2 pm, 8 pm Fri-Sat;
10:30 am Mon-Tue; 7 pm Tue-Wed;
1 pm, 5 pm Sun
Lee’s Summit High School*
Singin’ in the Rain: Nov 14-23: 7:30 pm
Fri-Sat; 8 pm Fri; 2:30 pm Sun
Lied Center of Kansas
Jerusalem Symphony Orchestra:
Nov 5: 7:30 pm Wed
Soweto Gospel Choir in African Spirit:
Nov 9: 2 pm Sun
Sweeney Todd: Nov 12: 7:30 pm Wed
Lyric Opera of Kansas City
Julius Caesar: Nov 8-16: 9:30 am
Sun-Sat
Martin City Melodrama
Rudolph the Recycled Reindeer, or It’s So
Easy Being Green! by Jeanne Beechwood and Dan Hall: Nov 7-Jan 4:
7:30 pm Fri-Sun; 3:30 pm Fri-Sat
Paul Mesner Puppets*
Blueberries For Sal: Nov 5-16:
2 pm Sat-Sun; 10 am Wed-Fri
Metropolitan Ensemble Theatre
The Crucible by Arthur Miller: Nov 6-23:
2 pm Sat-Sun; 7:30 pm Tue-Sun
Olathe Community Theatre*
Rabbit Hole by David Lindsay-Abaire:
Nov 7-22: 8 pm Fri-Sat; 2 pm Sun
The Book of Liz by Amy and David
Sedaris: Nov 20-22: 8 pm Thr-Sat
Quality Hill Playhouse
Christmas in Song: Nov 20-Dec 28:
8 pm Wed-Mon; 3 pm Sun
Rockhurst University*
The Wiz by Charlie Smalls: Nov 13-16:
8 pm Thr-Fri; 2 pm Sat-Sun
Shawnee Mission South
Sweeney Todd by Hugh Wheeler and
Stephan Sondheim: Nov 19-22:
7 pm Fri-Sat, Wed
UMKC Theatre
Five by Tenn by Tennessee Williams:
Nov 29-Dec 14: 7:30 pm Sat-Sun
Unicorn Theatre
Sister Mary Ignatius Explains It All For
You by Christopher Durang: Nov 21Dec 28: 3:30 pm Sat-Sun; 8:30 pm
Fri-Sat; 8 pm Tue-Wed
University of Central Missouri*
Beyond Therapy by Christopher Durang:
Nov 11-20: 7:30 pm Tue-Sat; 2 pm
Sun
University of Kansas
Street Scene by Kurt Weill: Nov 7-15: 7:
30 pm Fri-Sat; 2:30 pm Sun R
Coming in November
American Heartland Theatre
A Tuna Christmas by Jaston Williams,
Joe Sears and Ed Howard: Nov 6Dec 28: 8 pm Fri-Sat; 2 pm Sat-Sun;
7:30 pm Sun, Tue-Thr; 1 pm Wed;
4 pm Sat
The Barn Players, Inc.*
Jekyll & Hyde by Frank Wildhorn and
Leslie Bricusse: Nov 7-23: 7:30 pm
Fri-Sat; 2 pm Sun
The Barstow School
Rent: School Edition by Jonathan Larson:
Nov 6-8: 7:30 pm Thr-Sat
Chestnut Fine Arts Theatre
Home For the Holidays: Nov 6-Dec 14:
8 pm Thr-Sat; 2 pm Sun
The Coterie Theatre
Seussical by Lynn Ahrens & Stephen
Flaherty: Nov 11-Dec 28: 4 pm FriSat; 2 pm Sat-Sun; 7 pm Fri; 10 am,
12 pm Mon-Fri
18
KCSTAGE
“Having once decided to achieve a certain task, achieve it at all costs of tedium and distaste.
The gain in self-confidence of having accomplished a tiresome labor is immense.” ~ Enoch Bennett
u Spotlight on Dave Martin
with Full Frontal Comedy, Martin
feels the trust will not be misplaced.
He knows the evolution each production takes and believes that the
finished performance is worthy
of the discriminating Kansas City
theatre patron. Ultimately, Martin
just seems to know that Full Frontal
has become the kind of group that
understands how to create theatre
that is, at its core, worth watching.
“It just kind of depends on the
twisted minds working together
and how it all flushes out and it’s
great fun to watch. So it’s just this
wonderful collaborative process,
and it’s great fun to be a part of.”
Martin seems to thrive on the
variety offered by improvisational
theatre, and seeks to find that diversity in each aspect of his theatrical
career. While many actors limit
themselves, Martin looks to make
his performance experience as
varied and interesting as possible.
“I like to try to be as well rounded as
www.kcstage.com
I can and try to do as much as I can.
My favorite thing is when I can look
at my resume, my theatre resume,
at any point and see the three most
recent non-improv shows that I’ve
done be a comedy, a drama and a
musical. I love all of that stuff.”
Martin’s love of the stage, any
stage, began the summer before his
eighth grade year at the Camelot
Performing Arts Summer Camp.
The program included instruction
in dance, voice, guitar, drama and
art, with weekly showcases and an
end of summer full length production. Martin participated first as an
actor and then as a director in an
experience that would impact his
future in ways he never anticipated.
“You can’t put Camelot on your
resume and then go to Julliard in
any of those fields. It’s not like this
real intensive ‘We’re going to teach
you to be the best actor in the world
or teach you to be the best dancer
in the world.’ But what it really
did more than anything was it just
instills that love of theatre in you.”
This passion for the arts led Martin
to a degree in theatre from the University of Kansas and ultimately, a
lifelong place in the footlights and
the title of “actor.”
Despite finding quick success in
the cast of a theatre troupe in Chicago
after graduating from KU, Martin
decided that “be it ever so humble,
there’s no place like home.” Martin
quickly settled back into the Kansas
City theatre community and into
such shows as 1776, Closer, Beauty
and the Beast and Proof. When asked
about the performance opportunities
in Kansas City, Martin is able to list
theatres both professional and ama-
teur, along with their theatrical and
venue styles, with dizzying length
and detail. Having performed at Theatre in the Park, The CenterSeason,
Chestnut Fine Arts Center, The Barn
Players, Leawood Stage Company
and Bell Road Barn among others,
Martin speaks from the experience
of performing on so many Kansas
City stages.
Above all, Martin is the quintessential performer, happy in
roles that challenge or shows that
inspire. “I want to deliver good
performances in good shows on a
consistent basis. That’s my goal.”
After all, Dave Martin is an actor.
He performs in plays and musicals,
improvisational theatre and even,
once, karaoke. He acts wherever
and whenever he can, because Dave
Martin is an actor. Dave is an actor
because performing brings him joy.
So he seeks joy wherever and whenever he can. He finds it in plays and
musicals, improvisational theatre
and even, once, karaoke. Never
mind that the karaoke was part of
his “day job”, a charity event that
rose out of the routine of the regular
work day. Dave is an actor, and the
pleasure he finds while performing
is shared with those who are willing
to go along with him on whatever
journey is presented.
Full Frontal Comedy’s First Full
Length Musical! will be performed
at the Olathe Community Theatre
at October 3-4, 10-11 at 8:00 pm. For
more information visit www.full
frontalcomedy.org. R
Laura Sternberg has a degree in theatre
and music from the University of Kansas
and is a local actor, singer and writer.
OCTOBER 2008
19
u Events
u Inspiration Grants Awarded
on the actor as central to the creative
process. The skill sets of actor, director
and playwright are merged to develop a
powerful three dimensional theatre artist.
Cost is $25. Space is limited. Call 816753-0517 to reserve your spot or go to
www.byrdproductions.org for more information. Just Off Broadway, 3051 Central,
[email protected].
Tex Jernigan: $1,000
Kansas City Ballet
BARRE Fall Happy Hour:
Oct 10: 5:30 pm Fri
Kick off the season with the BARRE happy
hour at 5:30, featuring drinks and appetizers provided by Hotel Phillips. Free for
BARRE members, $30 for non-members.
12 Baltimore Cafe & Bar, 12th and Baltimore, www.kcballet.org
The Roving Imp Theater*
Ascot J. Smith: $500
Adult Comedy Classes:
Apr 27-Oct 25: 1:30 pm Sat
Here’s the chance for anyone age 18
and up to learn improvised stage comedy, sculpted precisely for your own level
of expertise, from basic to advanced. You
can get past fears of speaking in front of
an audience, learn how to work better in
teams, and learn quick “on your feet”
thinking. This class uses a combination
of workshops and performances, so you
not only learn techniques, but also get a
chance to use them. You’ll take classes
one month at a time, so you’re not
locked into anything long-term. Classes
take place once a week. You’ll learn all
the skills necessary to be a better actor,
skills which are easily transferable to your
professional life as well as to musicals and
plays. Performances will take place once
per month (but not before you’re ready!).
Tuition for these adult improv classes is
normally $100 per month, but you get a
reduction in tuition for each person you
bring to your monthly show. You can take
classes for free by bringing just six people
to your show. The new session starts Oct.
4 at 1:30pm. Classes and shows happen at the Roving Imp Theater in Bonner
Springs, the home of big comedy in a small
town. Still need convincing? Students in
the improv classes get free admission to
Saturday Roving Imp shows! Still have more
questions? Ready to sign up? Feel free to
e-mail [email protected], or to call
913-441-2309. The Roving Imp Theater,
115 Oak St, www.rovingimp.com R
20
KCSTAGE
Visual artist Tex Jernigan is creating a
new interactive sculpture/installation
project that he will take on tour
throughout the Midwest and East
coast. He will build a 50’x 5’ ovalshaped pool and take portraits of
patrons in the pool, using its reflective properties to display the sky and
clouds above. Although he has tested
this approach with a small prototype,
this grant will help fund the materials
to construct the full pool which will
be suitable for touring.
Filmmaker and visual artist
Ascot Smith has created the short
science-fiction film, The Last Man of
Idaho, as the story of a daydreaming
struggling artist who finds a talking
potato that provides guidance in life.
The film is completely comprised of
digital photographic stills. While the
film is nearly complete and in the
final stages of creation, funding
will be used for post-production
expenses, including audio editing.
Mark Southerland &
Jeff Harshbarger: $1,000
Jazz musicians Mark Southerland
and Jeff Harshbarger are organizing a concert series for the public
featuring a core group of musicians
who are highly invested in “deep
improv.” The concerts are planned
to take place on the rooftop terrace of
the Kansas City Library central location in downtown Kansas City.
Heidi Stubblefield: $2,000
Arts educator, actress and director Heidi Stubblefield wrote and
produced The Coppelia Project:
A Clown Ballet in Three Acts, a
nonverbal movement piece that
debuted at the Kansas City Fringe
Festival in July 2008. The show was
developed to be a touring production, and Inspiration funding will
assist in building a portable set and
creating an enhanced sound design
commensurate with current professional touring standards.
Letters of inquiry from artists interested in applying for the third and
final round of 2008 grants are due
November 14. Visit www.ArtsKC.
org for more details. R
Film Clips
by Larry F. Levenson
Kevin Janke started shooting his feature
movie, The Sunset Sky, in Wichita. He had
been looking for crew members.
Lawence-based director Patrick Rea will
begin shooting his newest short movie,
Mrs. Brumett’s Garden, in September.
Locations will be in Lawrence.
If you have digital photographs or video
tape of lawn art, contact Lee Crowe and
Barbara Donahue. They are putting
together both a book and a television
series. Contact them at www.grandprix
productions.com or lawnart2008@aol.
com or 310 889-9310.
Two commercials for a bank were shot in
K.C. using local union talent and local
crew. The female principle talent was also
used an additional two days for the print
advertisements.
A videographer is being sought to
shoot in west central Missouri during
the waterfowl hunting season. Contact
[email protected] for information.
An idea for a travel/destination television
show is being brought to fruition. Randall
Smith of K.C. hired a videographer to
shoot pilot footage. R
“When you’re safe at home you wish you were having an adventure; when you’re having an adventure you wish you were safe at home.” ~ Thornton Wilder
u Showbiz
City, the reception provided an opportunity for members of the Renaissance Circle of the ArtsKC Fund to
meet Yockey and learn about the many educational and
community outreach programs that Starlight provides
to Kansas Citians.
Philanthropy Conference
Heather McLeod Grant, co-author of Forces for Good:
The Six Practices of High-Impact Nonprofits, will be the
keynote speaker on November 11 at the 16th annual
Philanthropy Midwest Conference. The Philanthropy
Midwest Conference, sponsored by the Ewing Marion
Kauffman foundation, is the four-state region’s largest annual education and networking event for the
nonprofit sector, offering 25 workshops in six learning tracks, two keynotes, the Grantmakers Institute,
exhibits, a nonprofit bookstore and more. The conference begins on November 10. Watch the video about the
conference at www.kcphilnet.org (click Philanthropy
Midwest Conference). View the conference catalog and
register at www.philanthropymidwest.org. For detailed
information, contact Michelle Davis at (816) 235-6426
or [email protected].
Joan Israelite to Retire
Arts Council of Metropolitan Kansas City Board Chair
Fred Logan recently announced that Joan Israelite has
decided to retire as the president of the Arts Council
effective December 31. Israelite has been with the Arts
Council since it was just an idea posed by the Muriel
McBrien Kauffman Foundation and the Greater Kansas
City Community Foundation. For ten years, Joan has
been a passionate advocate for both the arts and the
Arts Council. She has overseen the creation of a new
regional united arts fund—ArtsKC—which, in its first
two years, has raised over $1 million for artists and
arts organizations. Also under her leadership, the Arts
Council has documented the economic impact of the arts
industry in the region, implemented a program to help
businesses more effectively partner with artists and arts
organizations, and facilitated numerous collaborative
research and marketing projects that impacted a broad
cross section of the arts community. For more information about the Arts Council, visit www.ArtsKC.org.
Fall Arts Mangement Workshops
The Kansas Arts Commission once again offers its free
workshop series for arts management professionals.
These workshops are tailored for arts and nonprofit organization staff, volunteers and board members. Critical
planning expert David Stallings will teach how to build
a solid infrastructure while connecting an organization’s
strategic and financial goals with his workshop “Arts
Management Professionals, Critical Planning: Strategic
and Financial Planning for Success”. Workshops will
be held November 11, 1 pm-3:30 pm, Lawrence Public
Library, 707 Vermont St., Lawrence; November 12, 1 pm3:30 pm, McPherson County Old Mill Museum, Swedish Pavilion, 120 Mill St., Lindsborg, KS; November 13,
1 pm-3:30 pm, Pittsburg Public Library, 308 N. Walnut St., Pittsburg, KS. Space is limited and workshop
attendees are advised to register in advance. Register
online at arts.ks.gov/workshops/kac.shtml or by contacting the Kansas Arts Commission at (785) 296-3335
or [email protected]. R
www.kcstage.com
OCTOBER 2008
21
u Fighting on Film: Rigged Memories
was great to work with because he
kept asking me for the best angles
to shoot from, and I kept telling
him, “I’ll adjust to what you have.”
Sometimes I would throw in an idea
for a camera shot as they occurred to
me. One was the cliché of throwing a
punch directly into the camera lens,
which I had a feeling would work
and did end up in the final cut.
As I have said, film fighting happens much closer and faster than
stage fighting. As it turns out, I had
to substitute for one of the fighters,
so I actually had to learn one of
my own fights. On the day of filming, we were getting a close-up of
the knockout punch, and the star,
Rebecca Neuenschwander, kept
hitting me in the face. No matter
where I adjusted to, she kept hitting me in the cheek. I wasn’t getting
hurt because I was rolling with the
punch, and she wasn’t hitting with
any real force.
I pretended annoyance and told
Jonathan that “Since she’s going to
hit me anyway, why not get a closeup with blood?” So I now had
to do a spit-take with blood in my
mouth. On one of the takes, I spit
too early, and blood came out as my
head started to turn, I realized I was
going to spit into the camera, so I
held it in, passed the camera, and
finished spitting out the remainder
of the blood. Hanu was wowed by
the fact that I managed to spit blood
on everyone except the camera. We
did at least three takes, maybe five
of that bit, but it ended up on the
cutting room floor, for very good
reasons, I am sure.
One location shoot was in a very
cold warehouse in Kansas City, Kan-
22
KCSTAGE
sas. During one of the takes, tragedy
struck. While the camera was rolling, I was watching the monitor, and
while the fighters were temporarily off screen, I heard the sound
of contact being made. The actor
fighting Rebecca had accidentally
made contact with her chin. Unlike
when Rebecca hit me, this contact
resulted in injury. Rebecca’s neck
muscles were pushed beyond their
limits just enough to shut down production for six months.
While the fighters warm up prior
to each shoot, the location was so
cold that by the time the cameras
were ready to roll, the muscles had
stiffened up again. This is probably
the primary reason the injury was
so serious. As with most mistakes
in a staged fight, it’s the simple bits
where people get hurt. The big stunts
get everyone’s undivided attention
and focus. The ordinary stuff tends to
get short shrift from everyone else.
Most of the boxers in the film
were amateur and semi-pro boxers
or martial artists in real life. Many
of them gave me tips on boxing,
telling me when my choreography
made no sense to them. In many
cases, I had to remind them that
the people they were portraying in
the film were less skilled than they
were and prone to making the kinds
of mistakes I was choreographing.
I had done my homework, and I
was creating a build in skill level
with each successive fight. I listened
to the advice they gave me, and I
learned from them, using their
advice in later bouts.
The interesting thing about the
experience was that each one of
these experienced boxers told me the
same thing. Going into the ring and
hitting someone and getting hit in
a real boxing match was easier and
less exhausting for them than the
work I was putting them through.
“Culture makes all men gentle.” ~ Menander
u Fighting on Film: Rigged Memories
After Rebecca recovered from
her injury, we were able to stage
the final match of the movie. Once
on set, I realized that I had not
choreographed enough material
for each round. We hastily threw
in some time-extending material,
some feints and circling. What really
saved the day was Jonathan’s skill
in the editing room. This fight was
the first one rehearsed and the last
one filmed. The six-month hiatus
had diminished the freshness of
the fight somewhat, but it was still
an exciting and thrilling finale.
While there were a few setbacks,
the experience of working on Rigged
remains one of the most deeply satisfying and positive experiences of
my fight choreography career. At
a private screening in the Daryl F.
Zanuck theatre at the Twentieth
Century Fox studio lot, the girl
who was the inspiration for the
film was introduced. At the afterparty I attempted to talk to her,
when I was interrupted by the
world’s most famous body double
(it said so on her card). While I was
waiting for my turn to speak, I kept
getting those side-long looks as she
tried to figure out if I was someone
important, or if I could be safely
ignored.
Finally, once it became obvious
that I was not going to interject
myself into the schmooze-fest, she
introduced herself and asked my
name. “Richard Buswell,” I replied,
offering no other information.
www.kcstage.com
“And what did you do with the
film?”
“I was the fight choreographer.”
At that moment, I became the center
of attention, and the young lady I
wanted to talk to extricated herself
from the ensuing mob. Apparently
I ranked higher on the Hollywood
schmooze meter.
While it was flattering to have
my work praised so highly, I didn’t
fool myself into thinking that anyone in Hollywood was going to
make a special journey to Kansas
City to offer me work. Which, in
hindsight, is kinda what Jonathan
actually ended up doing, now that
I think on it. I eventually ended up
spending most of my evening in a
very interesting conversation with
the Vegas Vampire and his posse,
but that’s another story.
The film is currently making the
rounds of the film festival circuit.
In the 2008 Action On Film Festival
International, Rigged was nominated
for Best Action Sequence Feature,
Best Action Sequence Martial Arts
Feature, Breakout Female Star Feature (Rebecca Neuenschwander),
and won in the categories of Best
Cinematography Feature and
Female Action Performer of the Year
(Rebecca Neuenschwander).
Rigged was the final film of the
Kansas International Film Festival
on September 25 and has a limited
theatrical release at both the Screenland and Glenwood Arts Theatre
from through October 2. R
2008
THE BARN PLAYERS
WWW.THEBARNPLAYERS.ORG
913-432-9100
A New Brain
William Finn and James Lapine
SEPTEMBER 19-21, 26-28 OCTOBER 3-5
Jekyll and Hyde
Frank Wildhorn and Leslie Bricusee
NOVEMBER 7-9, 14-16, 21-23
Ten-Minute
Play Festival
DECEMBER
5-7 • NEW THIS YEAR
2009 SEASON
Godspell
Side Show
Barefoot in the Park
Stop Kiss
Lucky Stiff
A Midsummer Night’s Dream
Disney’s Jungle Book
The Secret Garden
Private Eyes
Cabaret
Six by Ten
OCTOBER 2008
23
u Beth Byrd Brings Movement Theatre to Kansas City
BOOM! recently performed with
Byrd Productions and at the KC
Fringe Festival this summer. Largely
through the influence of professor
Ted Swetz, the university has routinely brought in guest instructors
from Europe who are skilled in
movement theatre. Most of them
were trained by the renowned
French artist Jacques Lecoq, who
received his training from Etienne
Decroux, known as the father of
movement theatre.
Kansas City audiences perhaps
know movement theatre best
through mimes—silent performers
who create imaginary obstacles and
props with their bodies, often for
laughs. The white face popularized
by the world’s best known and most
imitated mime, Marcel Marceau, is
derived from an ancient tradition of
masks and face paint. Marceau was
also a student of Etienne Decroux,
although he received his training
much earlier than Lecoq and it
was very different training. Decroux
refined his technique continuously
and was able to spawn two separate movement disciplines through
Marceau and Lecoq.
Very late in life, after his technique had evolved even further,
Decroux trained two students
named Kari Margolis and Tony
Brown. They met in 1975 and later
used their training to form the Margolis Brown Adaptors Company in
New York City in 1983, eventually
relocating to Minneapolis in 1993.
They have produced thirteen largescale productions that have toured
the world, and they train students
in movement theatre year round.
Beth Byrd trained with them over
24
KCSTAGE
a period of five summers. They’re
currently building a training school
in the Catskill Mountains of New
York.
Their technique begins with
physics—the laws of nature that
govern motion and therefore create conflict and balance within
movement. Their artistic statement
further explains, “We see ourselves
as visual poets using our bodies to
create living poetry.... We merge
other media to create a modern theatre or spectacle and celebration that
is rich with metaphor, one that will
grab an audience both emotionally
and intellectually and affect them
for a long time afterwards.”
Margolis explains that her goal
with movement theatre is to “create
a compelling, dynamic, total theatrical experience. I want to discover
the most exciting way to tell a story,
whether it’s with movement, or
vocally, or with multimedia, music,
puppetry. I don’t want there to be
limitations. I want to make it as
exciting as possible.” The process
begins with by bringing a concept
into their workshop where the idea
is developed with her students. She
explains that, “we generate the piece
from an initial seed, developing it
with research, training, improvisation, everything we practice with
the art form until we’ve created an
original work.” Text is added from
their research, or from improv.
Sometimes it will begin with a
short script, or a piece of music or
other media.
Margolis Brown’s latest work,
which Byrd Productions will be
presenting at the Just Off Broadway Theatre this month, is called
Cyclopedia. Kansas City is the third
stop for Cyclopedia, after a preview
in New York City and a premiere in
Minneapolis. Margolis said the piece
will incorporate music and puppetry, and she explains the concept:
“Cyclopedia explores a phantasmagorical world of endless words,
countless symbols, piles of paper,
broken pencils and mountainous
stacks of books. In this strange and
dusty world all the thoughts of
mankind have accumulated in to an
odd and ever-changing room shared
by two men—and a shadow. They
find themselves on an unpredictable
search for knowledge, for answers
to yet unknown problems and of
course the greatest questions of all:
who are we, why are we here and
where are we going?”
Of course, explaining movement
theatre verbally is inherently a challenge, which may be one reason
why descriptions tend toward the
philosophical. It also may be why
it’s generally difficult to promote,
critique, and discuss movement
theatre. It’s not so much telling a
story as it is performing a story, and
what makes it special—the movement—can’t be related in words.
Luckily videos of Margolis Brown’s
work can be viewed online at their
website, www.margolisbrown.org,
and at www.youtube.com/user/
margolisbrown. This will hopefully
give some idea of what they’re all
about, and provide a taste for
what’s coming this October to Just
Off Broadway.
For more information about Byrd
Productions and Cyclopedia, visit
www.byrdproductions.org.
“I learned that hard work and long hours does not guarantee success. Raw energy and
great ideas spark the public interest better than attention to ‘quality.’” ~ Suzanne Vega
Auditions
www.kcstage.com/auditions
A
C
C
Academic Theatre
Community Theatre
E
P
Equity Theatre
Professional Theatre
CenterSeason Theatre
Ragtime by Terrence McNally, Lynn Ahrens, and Stephen Flaherty:
Oct 5-6: 6:30 pm Mon; 2 pm Sun
Ragtime intertwines three distinct stories that poignantly illustrate
history’s timeless contradictions of wealth and poverty, freedom and
prejudice, hope and despair, and love and hate. The award winning
score by Lynn Ahrens and Stephen Flaherty is just as diverse as the
melting pot of America that it seeks to recreate. This momentous musical is sure to inspire actors and audiences alike! Directed by Mark
Swezey. Performance Dates: January 10, 11, 17, 18, 24, and 25,
2009. Please prepare 32 measures of music from a musical theatre
selection and be prepared to participate in a movement audition.
Callbacks will take place on October 12 at 2:00pm by invitation only.
The Lewis and Shirley White Theatre, on the campus of The JCC of
Greater Kansas City, (913) 327-8074, www.jcckc.org
The Scarlet Pimpernel by Nan Knighton and Frank Wildhorn:
Oct 5-6: 6:30 pm Mon; 2 pm Sun
The Scarlet Pimpernel is an action/adventure show based on Baroness
Orczy’s famous 20th century novel about the French Revolution: the
battle for liberty, equality and fraternity. The book and lyrics by Nan
Knighton are at times funny and at others horrifying. Frank Wildhorn’s
music is moving and passionate. Directed by Mark Swezey. Performance dates: February 21, 22, 28, March 1, 7, and 8, 2009. Please
prepare 32 measures of music from a musical theatre selection and
be prepared to participate in a movement audition., Callbacks will
take place on Sunday, October 19th at 2pm., The Lewis and Shirley
White Theatre, on the campus of The JCC of Greater Kansas City,
(913) 327-8074, www.jcckc.org
C
Lawrence Community Theatre
A Christmas Story by Jean Shepherd, adapted by Phil Grecian:
Oct 20-21: 7 pm Mon-Tue
Remember the leg lamp? The pink bunny pajamas? the Holy Grail of
Christmas presents: “a genuine Red Ryder 220-Shot Carbine Action
Air Rifle” and the little boy with his tongue frozen to the flag pole?
The whole family will enjoy this affectionate, wacky, and heart warming portrayal of the typical Christmas joys and troubles in small-town
Depression-era Indiana. Directed by Charles Goolsby. Roles available
for 2 women, 2 men, 2 girls and 5 boys. Lawrence Community Theatre,
1501 New Hampshire St, (785) 843-7469, theatrelawrence.com
A
The Book of Liz by Amy and David Sedaris: Oct 20: 6 pm Mon
Sister Elizabeth Donderstock’s cheese balls sustain the existence of
her entire religious community, Clusterhaven. Liz feels unappreciated among her Squeamish brethren, and decides to leave. Things
are going great for Liz, until she’s offered a promotion to manager.
Unfortunately, Liz has a sweating problem, and to get the job, she’ll
have to fix it. Back at Clusterhaven, they can’t seem to duplicate her
recipe. Does Liz go through with the operation? Will the cheese balls
ever taste good again? Directed by Crissy Mundey-Young. Casting up
to eight men, seven women. Jenkin & Barbara David Theater, Alumni
Hall, Park University Home Campus,, (816) 584-6451, www.park.edu/
theatre R
www.kcstage.com
OCTOBER 2008
25
KCSTAGE
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And Then They Came For Me: Remembering The World of

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