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American Heartland Theatre (Equity) 2004-2005 Season: May 12-May 18: 1 0am Sat, Tue-Thr. Acting auditions should consist of two brief contrasting monologues, not to exceed one minute each. Singing auditions should con­sist of two brief contrasting songs. An ac­companist will be provided. To schedule an audition, please call the theatre Mon­day through Friday, between 10 am and 1 pm at 816-842-0202. The theatre is located in Crown Center at 2450 Grand Blvd., Suite 314, Kansas City, Missouri 64108. For more information on the theatre visit our website at ahtkc.com. Open auditions will be held for American Heartland Theatre's 2004-2005 season at the theatre. The 2004-2005 season includes three plays and three musicals. The plays are Fully Committed, Affluenza!, and Visiting Mr. Green. The musicals are Sanders Family Christmas, Swing! and From My Hometown. All audi­tions will be by appointment. Acting audi­tions will be held Wednesday, May 12; Thursday, May 13; and Saturday, May 15. Singing auditions will be held Saturday, May 15 and Tuesday, May 18. American Heartland Theatre, 2450 Grand Blvd, (816) 842-0202, www.ahtkc.com

Ballet North* (Professional) Ballet Under the Stars 2004 by Ballet North: Mar 15-Jun 1: 11 :30am Mon-Tue, Fri. Audition Deadline: June 1st 2004 by 5:00 pm. Maximum number of groups that can perform: 5 Max length of each group's per­formance: 25 minutes, no one piece longer than 9 minutes. Max number of pieces per group: 5 Minimum age of any participant: 14 years Dance types accepted: Bal let, Mod­ern, Jazz, Lyrical, Hip-Hop. Directed by Laura and Matthew Reinschmidt. Ballet North would like to ask any and all dance compa­nies to join in a free outdoor production this coming July. Exact date and time still TBA. Any and all performers must be 14 years of age or older please! Any group wishing to perform must submit an audition video of EXACTLY the piece to be presented. Non­profit groups preferred. Further details may be had upon contacting Ballet North. Ballet North, 6308 N Prospect, (816) 454-4859, www.balletnorth.com

Bell Road Barn Players* Our Town by Thornton Wilder: May 8-May

AUDITIONS

10: 7pm Mon; 1 pm Sun; 1 0am Sat. Auditions will be conducted with cold read­ings from the script. Rehearsals will begin Monday, May 17. Directed by Rick L Riley. Roles available-8 to 12 men, ages 18-90; 3 to 6 women, ages 18-90; 2 boys and 1 girl, ages 12-16, Old Gymnasium Bldg., 2nd Floor, Park University, (816) 587-0218, www.bellroadbarn.com

The Coterie Theatre & Unico111* (Equity) Combined Coterie and Unicorn Adult Au­ditions: May 15-May 17: 12pm Sat, Mon; 6pm Sun. Auditions by appt. only .from noon-5 p.m.,May 15; 6-9 p.m.,May 16; and noon-9p.m.,May 17 at The Unicorn, 3828 MainSt. Actors will perform 2 contrasting con­temporary monologues, 2 minutes each; nomusical material or classical material. Bring2 head shots and 2 resumes. For appts., callAnnette (816)47 4-6552,ext. 222, between 10a.m.-4 p.m.,M-F. No messages. Seewww.thecoterie.com for a list of TheCoterie's and The Unicorn's upcoming sea­sons. Featuring Adults (age 19 and older).Both the Unicorn and the Coterie are dedi­cated to multi-racial, non-traditional casting.Persons of color or ethnic origin are encour­aged to audition. The Coterie Theatre, 2450Grand Blvd, Suite 144, (816) 474-6785,karenmvanasdale@thecoterie.com

Liberty Performing Arts Theatre* Liberty Community Theatre

Brigadoon: May 9: 12pm Sun. Auditions for "Brigadoon" at the 750-seat Liberty Performing Arts Theatre. Audition Schedule: Date-Sunday, May 9, 2004 12pm to 2pm - Dance auditions (no singing re­quired) 2pm to 6pm - Speaking and cho­rus roles (readings and a 1-2 min prepared song*) 7pm to 9pm - Callbacks (as needed) Performance dates are August 19-22, 2004. Lead roles are for two males and two fe­males. Contact Paul Miller at 816-792-6130, PMiller@ci.liberty.mo.us, or www.LPAT. org. (accompanist not provided) Directed by Tanya Duncan-Dir; Laura Williams-Asst Dir. Liberty Performing Arts Theatre, 1600 S. Withers Rd., (816) 792-6130, www.LPAT.org

Raytown Arts Council Meet Me in St. Louis by Book: Hugh Wheeler; Lyrics: Hugh Martin, Ralph Blane;

MAY2004 • 13

Music: Hugh Martin, Ralph Blane: Apr 22-Apr 26: 6:30pm Mon. Meet Me in St. Louis is the story of a happy family's life as they anticipate the wonders of the 1904 World's Fair. Based on the Kensington Stories by Sally Benson and the 1944 MGM musical, it is one of those rare treasurers; a homespun tale of fantastic pro­portions. The play includes seven of the best loved songs from the film and ten other wonderful numbers written especially for the stage. A musical classic for the entire family. Directed by Carolann Leo; Musical Director-Bruce Marston; Choreography­Carolann Leo. The Raytown Education Cen­ter, 10601 E 59th Street, (816) 353-3593, ajstoll@prodigy.net

TBA Players* Comic Potential by Alan Ayckbourn: May 8-May 15: 10am Sat.Come prepared with 2 minute monologue,and comfortable with reading cold from thescript. Directed by Robert Paisley. Fea­turing 5 males, 5 females all color blind.Ages 20 to 60. High school or theatre ma­jors experienced, or persons only wantingto act. Able to crossover to play severalparts in fast paced romantic comedy. JustOff Broadway, 3051 Central, (816) 444-2459, vicmiles@juno.com 01

STAGESAWY

Continued from page 12

The New York Times. Yet each of his plays is based on things in his own life. "The theme is me, my outlook on life," he said in another inter­view with The New York Times. "If you spread [my career] out like a map, you can chart my emotional life: some of the growth, some of the changes, some of the side trips." And maybe that's why the audience is always there, for he taps into the basic emotions that, while we may not have, we can relate to. O' Contemporary Authors Online, Gale, 2004. Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004. http://galenet.galegroup.com/ servlet/BioRC

12 • KCSTAGE "'When once 1he ilch of literature comes over a man, nothing can cure it but the scratching of a pen." - Samuel Lover

FIGHTS STAGE SAVVY

Continued from page 11

to the untrained eye, while main­taining the safety of the actors in­volved. I always focus on safety first, but I try to include enough time to hide the safety factors from the audience. If a fight is obviously safe to ev­eryone that sees it, then it is not a

well-done fight in my opinion. A friend of mine refers to this fl.S "po­lite" fight choreography. I would rather have polite choreography than unsafe choreography, but what I strive for is dramatically effective choreography. In other words, we should not have to suspend our disbelief very far to be concerned for the safety of the characters, but we should not ever worry about the safety of the actors. All choreographers must walk that fine line. Concern for actor safety takes the audience out of the play. Lack of concern for

character safety also takes the au­dience out of the play. Fight cho­reography is a constant struggle to maintain that balance along the edge. Final Comments

It is important to remember that there is no one right way to cho­reograph a fight. Safety comes first (last and always), followed closely by dramatic effectiveness. Once you satisfy these two primary objectives, the sky is the limit as far as what you can create and how you go about it. Good choreography factors in the needs of the show, the vision of the director, the physical abilities of the actor, the agreed-upon inter­pretation of the character, and the story of the fight. It is a juggling act that takes years to master, and which the choreographer must convey to the combatants in a few short rehearsal hours. O'

Continued from page 3

ences, being about middle-class people with everyday problems. However, when examined criti­cally, the plays aren't funny on the surface. "My view is 'how sad and funny life is,"' Simon explained in a Newsweek article. "I can't think of a humorous situation that does not involve some pain." As Simon has gotten older, his plays have seemed to mature. His semi-autobiographical trilogy, Brighton Beach Memoirs, Biloxi Blues, and Broadway Bound in the 1980s were more dramatic in na­ture, bringing about the concept of the dramatic comedy and got the notice of the critics. His views have changed as to how he writes. "I used to ask, 'What is a funny situ­ation?' Now I ask, 'What is a sad situation and how can I tell it hu­morously?" he continues in the Newsweek article.

RUNNING G A G Simon has also written a number of screenplays - some adaptations of his own plays, but some origi-

Continued from page 3

children's theatre actors, and the women promptly returned to the other side of the bar. A few days off gave us the chance to visit a Mexican border town. We wanted to examine a different cul­ture than our own, holding hands with our fellow North Americans and singing a mariachi song of peace. This goal was forgotten when we stood face-to-face with a Mexican police officer asking for el dinero to let us leave the alley

nal films as well. Yet after a num­where one of our actors took a

leak. Even though he could not ber of years in Hollywood, Simonrealized he was facing the sameunderstand our language, we told

him we were children's theatre type of situation with the studiosthat he had with the television ex­

actors, and the officer promptly d h b ecutives, mainly having to pleasereturne to t e ar.

1 "w· h 1 Itoo many peop e. 1t a p ay, Back t� the States, bac� to the sch�ol · have only two people to please -cafeter�as, b�ck to this strange life myself and the director," he said as a children s theatre actor on tour. in the Washington Post interview.We have a few weeks to go, this time . . . . h d. t th G t Lak d A A prolific wnter, Simon has had aea mg o e rea es an p-

f al hi I' " ,, ti new play on Broadway or every P1.

ach

ansd

·n, m sure a so gay me theatrical season for three decades.ies a ea · v

h ·11 f" d · · d.ff. It But e sh m s wntmg 1 1cu ."Every time I start a play, I panic because I feel I don't know how to do it," he said in an interview in

Continued on page 13

PARK UNIVERS IT Y

Park University Announces New Theatre Major

Moving from the wings to center stage, Park University has reinsti­tuted a theatre major to be included in the 2004-2005 catalog. marsha morgan, Associate Professor of the Park University Theatre Depart­ment, worked with Dr. Bob Pevitts, departmental consultant and advi­sor, in designing the theatre program. "The way Bob designed it is actually quite inventive," morgan says with a smile. A dual focus, performance and tech design, it will incor­porate current classes in the Park University catalogue with only a few additional new classes. The performance major will be utilizing three classes from the psychology department to help character and person­ality development and the Shakespeare class in the English depart­ment. Meanwhile, the technical design major will include three tradi­tional art classes, working on drawing and color management, and two graphic arts design classes so as to help study computer design. "The faculty members that are involved with it are very excited to see the value of joint efforts which strengthen both programs," morgan says. "And it works well because the problem with theatre is that it isn't a single discipline - it incorporates all arts, and makes use of all sorts of learning options." Which goes along with history. Park theatre has always been a signifi­cant aspect of student life. "It goes all the way to the 1800s to the early days of Park," says morgan. "They taught Latin and Greek and the students had to perform a play in its original language. And every class had to work together to present a play at the end of the year." In fact, one of the prior theatre professors was Jenkin David, the founder of the Bell Road Barn Playhouse (in residence at Park as the Bell Road Barn Players). David would have students come out to help with the productions, "so there's a connection even there," morgan continues. Park had a theatre major, but in 1987 it was turned into just a minor for various financial reasons. Currently, morgan can boast of 30 theatre minors, several of which have expressed intent of turning it into a ma­jor, even though the final steps are still being put into place. "We have a lot of potential," morgan says. "Theatre graduates are very rounded students and can accomplish a lot for a variety of venues. It makes it all very exciting." For more information, call marsha morgan at 816-584-6450, or visit their website at captain.park.edu/ theatre. O'

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MAY2004• 1

CONTE NTS

Richard Buswell outlines his approach to fight choreography on Page 2

FEATURES

Choreographing a Fight: The Approach .................... 2

NOTES

Park University Announces New Theatre Major .......... 1

RUNNING GAG

Theatreless Towns Tour 2004 .................................. 3

STAGE SAVVY

Let's Simonize ......................................................... 3

STAND INS

Auditions ............................................................... 13

Calendar ................................................................. 6

Callboard ................................................................ 4

Film Clips ................................................................. 4

Performances .......................................................... 5

CR EW

Managing Editor .............................. Richard Buswell

Graphic Design ...................................... Bryan Colley

Subscriber Rep ............................ Tricia Kyler Bowling

Webmaster ........................................... Scott Bowling

Marketing .............................................. Angie Fiedler

Lackey .................................................... Diane Bulan

KCSTAGE Volume 05 • No. 5 • Issue 57 • May 2004

magazine@kcstage.com • 816·361 ·2325

PO Box 410492 • Kansas City, MO 64141·0492

July Submission Deadline: June 1

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© Copyright 2004 by KC Stage. All material contained in this publication

is the property of KC Stage. Any use, duplication, or reproduction of any

or all content of this publication is prohibited except with the express

written permission of KC Stage. KC Stage is a member ol the Just Off

Broadway Theatre Association. Printing by Kinkos. CJ>

2 • KCSTAGE "'The law is a sort of hocus-pocus science, that smiles in yer face while it picks yer pocket: and the glorious uncertainty of it is of more use to the professors than the justice of it. .. -Charles Macklin

FIGHTS

Choreographing a Fight: The Approach

by Richard Buswell • rbuswell@kcstage.com

I often teach workshops in stage combat. Frequently, . my students ask the question, "How do you choreo­graph a fight?" The answer really depends on the situation. Safety and technique form the fundamen­tal basis of all fight choreography, but they are only the building blocks. Safety is just the minimum re­quirement to good fight choreography. Listen in as I talk to myself about how to choreograph a fight.

What are the sources of inspiration?

I watch movies with fight sequences in them. Many movies. I collect movies with fight sequences in them. Many, many movies. Then, I steal bits and pieces of those fights and incorporate them into my own work. For example, there was a variation of the "Baronial Hall" in the movie Ring of Steel. I took the sword­play of two people moving across a pit on their feet, and turned it 90 degrees and put it into the Mercutio­Tybalt fight in Romeo and Juliet. Tybalt was on his back, crawling backwards as Mercutio stood above him, pressing his advantage. In both fights, the com­batants were moving across the floor, performing the same blade work, but from a completely different po­sitioning.

I also listen to music. I like soundtracks from action movies. I close my eyes and listen to the music to see what images appear. Frequently a piece of music will evoke a strong image of a fight. I also use music to create fights that have specific time constraints. The melody dictates the flow and story of the fight, while the beat and rhythms dictate the blows, hits, misses and footwork.

The final inspiration comes from the requirements of the show and the suggestions of the actors. Some­times I choreograph a fight around the inclusion of a specific move. Sometimes the actors will offer sug­gestions for a move, or will ask why they are doing a specific movement. Frequently this will lead to a slight change or even a complete reworking of a se­quence. Using the brains around me, I have a far greater creative pool to work with. Naturally, I will take credit for their ideas, because the decision to use the suggestion still rests with me.

What about the selection of moves?

The hardest move to develop is the first one. Every­thing usually flows from there. The question is where do you start? There are a limited number of moves in stage combat. My job is to string them together in an interesting sequence. For example, there are only 26 letters in the alphabet. You put those letters together to form words and phrases. You further put those words and phrases together to tell a story.

The story may be your creation, but the words be­long to everyone, as do the letters. The same is true with fights. All choreographers share a limited set of moves as part of their fight vocabulary. Each cho­reographer will combine those moves into individual phrases of a fight, which other choreographers may then copy or alter for their own use. The complete fight tells a story that moves the show forward in some fashion. Each production defines its own ver­sion of the story, which may or may not be appro­priate in another production.

What story does a fight tell?

The story can be simple or it can be complex. A simple story is the struggle for one character to domi­nate another. Apollo Creed and Rocky Balboa. They fight to determine who is the best, or the strongest. Although Rocky loses this fight in the first film, the difficulty Apollo had in keeping his title shows the strength of character of both men. The story resolves itself in the fight.

How a person fights reveals or reinforces the person's character. For example, Tybalt wounds Mercutio under Romeo's arm. Depending on how I choreograph this, we can learn something about Tybalt. Does Tybalt deliberately take advantage of the moment to stab Mercutio, or does he, in the heat of battle, stab Mercutio because he is unable to stop himself? I can choreograph the fight to show three different moments: Stabbing in cold blood, stabbing in heat of battle, or deliberately obscuring whether it is an accidental or deliberate wounding. Which method I choose will depend on discussions of char­acter with the director and the actor playing Tybalt. The answer we decide on will also affect how the

Continued on page 11

Continued from page 2

audience feels about Tybalt's death. Does Tybalt deserve to die, or is he a victim as well? Is Romeo justified in killing him?

Furthermore, how skilled is Tybalt and how skilled is Romeo? How is Romeo able to defeat Tybalt? The choreography should help to answer these questions. Clues to the answers of these questions also reside within the text. I must read the play and understand the char­acters before I can develop chore­ography that is suitable to them.

Then there are the actors .. .

What about the actors?

Choreography must reveal some­thing about the characters, but there are limitations to the skill level of the actors. What if I am choreographing fights for Tybalt, but the actor playing Tybalt can­not walk and chew gum at the same time? I have to tailor my choreography to the abilities of the actor, while remaining true to the character. This is the real artistry and difficulty of the choreographer's art.

As a choreographer, I am respon­sible for the safety of everyone on stage during a fight. I prefer to be involved in the casting process, conducting a movement audition to find who can move and take di­rection. I like to be able to suggest to the director who is able to play a fighting role, and who needs to stay as far away from the fights as possible. I don't always have that luxury.

I also have to keep in mind that my fights are only one small part of an entire production. The com-

FIGHTS

batant may have to sing an aria immediately following the fight. Actors must be able to perform the fight, and then continue with the show. There are no rest breaks. My choreography has to incorpo­rate enough down time for the ac­tors to recover.

What about blocking the fight?

I can block the fight the same way you block a show. In some cases, I will have the blocking pre­planned and written down. I hand it to the actors and they perform it. We make changes in rehearsal as necessary. Most choreographers begin from this position.

I also organically block fights, working through each individual fight. This approach usually takes more up-front rehearsal time. However, I actually prefer this technique to pre-planned blocking for a couple of reasons. First, when developing a mass battle se­quence or rumble, it's easier than developing each individual fight by myself, and more creative than giving your background characters a preset series of moves to perform and repeat. I also find that the per­formers remember organically blocked fights better. Performers have a stronger connection to moves they helped to create,. rather than to the moves assigned to them.

I must still fine-tune the fights, make adjustments for skill levels, etc. Once the technique is in place and the moves made solid, there remains the aspect of incorporat­ing the fight into the show. Act­ing the fight.

MAY2004 • 11

What is acting the fight?

Acting the fight is the aspect of choreography that I see most ne­glected. In most cases, I see this sequence of events. "Act. Stop act­ing. Start fighting. Stop fighting. Start acting." The sequence should be "Act. Start fighting while act­ing. Continue acting and fighting. Stop fighting while acting. Con­tinue acting."

A typical example is the build to a slap. Two people are arguing heatedly, and one slaps the other. What I usually see is that two people are arguing heatedly, and just before the moment comes, they pause briefly to get into their ready position for the slap. Then they perform the slap, then relax back into their characters and pro­ceed with the scene.

I always encourage my actors to develop their ready position as a part of the scene, so that when the time for the slap occurs, they don't have to adjust for it. They can fo­cus on maintaining the momentum and characterization within the scene, knowing that the fighting technique is already in place.

They can display the rage and lack of control as part of their charac­ters and still be controlled actors.

What about safety?

Safety is the most important fac­tor of stage combat. Safety in stage combat is not about eliminating risk. That is patently impossible to do. Safety is about reducing risk until it is at an acceptable level that does not compromise the integrity of the performance.

I prefer that fights appear unsafe Continued on page 12

10 • KCSTAGE .. Sure men were born to lie, and women to believe them!"' - John Gay

PERFORMANCES *Affiliate Theatre

< < < celebrating its triumphant 20th year off­Broadway, this years edition features its own great­est hits, including "The Lion King", "Miss Saigon", "Les Miz", "Beauty and the Beast", "Chicago", and "Cats"; new hits like Mel Brooks' "The Produc­ers", Abba's "Mamma Mia", and "Thoroughly Modern Millie"; and lots more Broadway past and present. Directed by Bill Selby. Featuring Cathy Barnett (Actor), Becky Barta (Actor), Sarah Crawford (Actor), Don Richards (Actor), Jake Walker (Actor), John-Michael Zuerlein (Actor). Crew: Nancy Caroline Cubine (Stage Manager). Call for Ticket Prices, H&R Block City Stage, Union

Theatre forYoungAmerica *

Miss Nelson is Missing by Joan Cushing: Apr 27-May 20: 10am Tue-Fri; 2pm Sat-Sun; 1 pm Fri; 12pm Tue-Thr. The students of room 201 are known for misbe­having. Then one morning Miss Nelson is myste­riously missing from school and the students have a moment of satisfaction, thinking they have suc­ceeded in driving her away. The celebration turns quickly to dread when the substitute, the mean and scary Miss Viola Swamp, descends upon the classroom. Now, the students realize how much

Union Station Kansas City, Inc.

Theater League

Forbidden Broadway: May 14-Aug 1 : 8pm Tue­Sat; 2pm Sat-Sun; 7pm Sun. $25- $30, City Stage Theater, Union Station (816) 460-2020, www.unionstation.org (Suitable forEveryone)

Late Nite Catechism II: Mar 4-May 9: 8pm Thr­Sat; 2pm Sun. Step back into the classroom for a second lesson in laughter. She's back! The nun unlike nun other.

Station (816) 421-7500, www. -----------------------�And she's got a whole bunch of new material to teach her new class, com­prised of students who didn't pass the first time around. It's time for a seriously refreshing, ridiculously sidesplitting sequel to the one­woman show that took the H&R Block City Stage by storm last year. $25- $30, City Stage Theater, Union Station (816) 460-2020, www.union station.org (Suitable for Everyone)

theaterleague.com (Adult Fare)

Late Night Catechism II by Mari pat Donovan: Apr 1-May 2: 8pm Thr­Sun. Late Night Catechism II H&R Block City Stage at Union Station Dates: March 4-May 2, 2004 (No perfor­mances April 8-11) Showtimes: 8 p.m. Thursday-Saturday and 2 p.m.Sunday Step back into the classroomfor a second lesson in laughter. It'stime for a seriously refreshing, ridicu­lously sidesplitting sequel to the one­woman show that took the H&RBlock City Stage by storm last year.Purchase your tickets by phone at(816) 460-2020, or visit the UnionStation Box Office. Call for TicketPrices, H&R Block City Stage atUnion Station, Union Station (816)421-7500, www.theaterleague.com(Intended for Children)

The Producers by Mel Brooks: Apr 27-May 9: 8pm Tue-Sat; 2pm Sat­Sun; 7:30pm Sun.

Theatre for Young America

The Lewis And Clark Show: Apr 16-Apr 30: 10am Wed-Fri. A new production developed to par­ticipate in the celebration of the bi­centennial of the famous expedition that opened the American west. $5-$6, City Stage Theater, Union Station (816) 460-2020, www.unionstation.org (Suitable for Everyone)

Word singer Productions The Kansas City Singers

Chasing Destiny: The Journey of Lewis & Clark by R E Grove: May 21-May 31: 10:30am Mon; 8pm Fri­Sat; 2pm Sun-Mon.

Based on Mr. Brooks' AcademyAward-winning 1968film of the same name, The Producers, the new Mel

(Clockwise from top) Brian Paulette, Jamaly Allen and Stuart Rider appear in the Unicorn Theatre's production

of Joe Penhall's Blue/Orange through May 23. Pl'llto by Cyntlia Levin.

"Chasing Destiny" follows Lewis andClark on their epic journey to the

Brooks musical is the story of down-on-his-luck the­atrical producer Max Bialystock and Leo Bloom, a mousy accountant. Together they hatch the ultimate scam: raise more money than you need for a sure­fire Broadway flop and pocket the difference. Their "sure-fire" theatrical fiasco? None other than the musical Springtime for Hitler. Directed by Susan Stroman. Featuring Bob Amaral (Max Bialystock), Andy Taylor (Leo Bloom), Rich Affanato (Carmen Ghia), Ida Leigh Curtis (Ulla), Stuart Marland (Roger De Bris), Bill Nolte (Franz Liebkind). Crew: Susan Stroman (Dance Choreography), Robin Wagner (Set Design), William Ivey Long (Costume Design), Pe­ter Kaczorowski (Lighting Design), Steve Kennedy (Sound Design), Glen Kelly (Music), Patrick Brady (Musical Director), Doug Besterman (Orchestra­tions). Ticket prices range from $58--$67, Kansas City Music Hall, 301 W 13th Street (816) 421-7500, www.theaterleague.com (Adult Fare)

they miss Miss Nelson and set out with the help of a police detective to find her. Directed by Valerie Mackey. $6.50 for individuals, group rate avail­able for groups of 10 or more, Theatre for Young America, 5909 Johnson Drive (913) 831-2131, www.tya.org (Intended for Children)

Unicom Theatre Blue/Orange by Joe Penhall: Apr 28-May 23: 7:30pm Tue; 8pm Wed-Sat; 3pm Sun. What begins as a power struggle between two psychiatrists from different generations soon be­comes a three-sided battle about race, class and mental illness. This dynamic and often comic play is an Olivier Award winner. $15-$23, Unicorn Theatre, 3828 Main Street (816) 531-7529, www. unicorntheatre.org (Adult Fare)

Pacific Ocean. Share the reminis­cences of an aging Meriwether Lewis and share in the magic as his thoughts are brought to life on stage by concert artists in their-evening gowns and tuxedos, actors in period costumes and full-mo­tion projections of the landscapes Lewis and Clark passed through. Financial assistance provided by the Missouri Arts Council and Lee Jeans. Directed by RE Grove. $35 Gala Opening; $18 at the door, $15 advance, Just Off Broadway Theater, 3051 Central (816) 361-0431 (Suitable for Everyone) IJ>

See the latest show listings on line at

.kstage.com

STAGE SAVVY

Let's Simonize

by Angie Fiedler • afiedler@kcstage.com

He's not just known as the author of the community theatre favorite The Odd Couple.

Neil Simon was born Marvin Neil Simon on July 4, 1927, in Bronx, New York. He's authored over 25 plays, 30 screenplays, and written for television with the likes of Sid Caesar and Mel Brooks.

Simon actually began his career working with his brother, Danny, as a ra­dio comedy team in the 1940s. Inspired by Charlie Neil Simon

Chaplin films, Simon was geared toward making people laugh. "My idea of the ultimate achievement in a comedy," he was quoted in Life as saying, "is to make a whole au­dience fall onto the floor, writh­ing and laughing so hard that some of them pass out."

After almost 10 years in the tele­vision business, Simon was ready to leave for something different. He and Danny had co-written a play, Come Blow Your Horn, and when it became a success (running for 84 weeks on Broadway), he left television for the stage. "I would rather spend my nights writing for an audience of 1,000, than an au­dience of 14 million," he said in an interview in the Washington Post.

Come Blow Your Horn's success was not a fluke - it was followed by several successful plays, including The Odd Couple. Simon's plays seem to hit a chord with audi-

continued on page 12

MAY 2004 • 3

RUNNIN G GA G

Theatreless Towns Tour 2004

by Ry Kincaid • rkincaid@kcstage.com

A riddle: Who sees two oceans and fifteen states, finds trouble in Mexico, and performs for a total of nine thousand kids? An actor on a children's theatre tour! Or a Beatnik church youth group leader.

Months ago, I walked into an au­dition with my usual nervousness and naivete. I performed some Shakespeare, played some jangle piano, and juggled some baked Alaska before I saw that none of these antics were being watched. The casting director yawned. "Ry, are you free for the next four months?"

Four months?! This person must be out of his mind. I possibly have college lecture engagements. I may have [your political party here] fundraising events to attend. Kansas City theatres are bound to finally see my talents in the next four months!

"Yes, I'm free."

Five of us lovers of freedom piled into a used minivan, slightly up­ended by an oversized trailer be­hind it. This vehicle may not have made it across town, but we de­cided to drive it to Ft. Lauderdale. The sunset on the beach was beau­tiful - three days later! I now fully realized why I don't drive to Florida every weekend.

We kept moving west, driving and performing at community theatres and elementary schools. Audi­ences of children behave differ­ently at these two venues. At the­atres, kids are on their best behav­ior. They understand the courtesy

of being respectful of strange sur­roundings. On their own turf, it's a different story. While our play is happening, social rules may not apply. The Blues Brothers' gig at that country bar was similar to a play performed at a school assem­bly. The most memorable reaction from an astute student came when, after a kiss between the female lead and me, the heckler called out, "You're so gay!" The mean­ing and/ or humor was lost on me.

Westward ho, we five graduated from beachfront bar to mountain resort bar. Snow and ice greeted us in Flagstaff, and even weirder, two Burbank babes approached a fellow actor and me. I was certain that Midwestern yokels were out of style in California. Then, my colleague and I remembered Lord Brad Pitt of Springfield. We told the approaching women we were

Continued on page 12

816-784-5020

3051 Central in Penn Valley Park

JOB ALL-STARS Variety Show Fundraiser

Showcasing the talented members of the

Just Off Broadway Theatre Association

Hors D'Oeuvres Silent Auction

6pm Auction/8pm Show Sat May 8 $25

Chasing Destiny Kansas City Singers • $18 $15 adv

8pm May 22 28 29 2pm May 23 30 31

Presented by Wordsinger Productions

www.justoffbroadway.org

4 • KC STAGE

"Killer Diller," whose working title was "Bottleneck," premiered at the South by Southwest Film Festival. The movie was shot in mid-Missouri last year.

A group of producers arrived in St. Louis the second week of March for a week-long scout of the state of Missouri. They were looking for caves as well as other key loca­tions for a modestly budgeted feature film. Production would start this summer.

The idea to make Kansas a production hub for independent movies received a boost in March. Topeka-based QuVis, a digital imaging technology company, has given its support to an innovative plan under con­sideration by the Kansas Legislature. QuVis provides film resolution digital imaging so-1 utions for motion picture production, postproduction and digital distribution. Since QuVis already exists it can assist an agency in running a motion picture eco­nomic plan without creating a new infra­structure. Their technology supports cost­effective solutions for producing indepen­dent movies in the $2 million budget range that perfectly fits the profile of movies The Kansas Connection had in mind.

Toby Lawrence shot "King For A Day" with mostly local talent and crew. It was shot on 16mm film in various locations around Kansas City. Andy Garrison was lead male talent.

Randall Moore's movie "Pandora's Box," shot in Springfield, MO, recently won awards at the Broadcast Educators Asso­ciation festival. The movie was awarded 1'1 place, the script came in 2nd and the DVD came in 3rd

• Cast and crew were from Springfield, MO.

For a behind-the-scenes look at "Fire­cracker", the feature film shot entirely in Kansas, go to www .aftertastemag.com

And another "Firecracker" note: "Sunflower Journeys," the popular PBS show on Kan­sas television stations, featured the direc­tor and his family on Thursday, April 22nd

as they reported on the making of the movie. The segment is part of "Authors and Film­makers." Go to http://ktwu.washburn.edu/ journeys/ for more information.

A design firm in New York City contacted a Kansas City location scout looking for a field of tall wheat to shoot for a print ad. The client is in Europe but wanted to shoot

FILM CLIPS

in Kansas in April. It was politely sug­gested they move the date to June when the wheat fields are ripe and just ready to cut rather than the short, green wheat fields they would see in April. The location scout reports many people from outside the Mid­west are under the impression ripened wheat stands tall in Kansas all year.

RumJungle Media was in Branson, MO shooting for The Food Network. NBC's Al Roker was talent. Production assistants were hired locally as interns for the April 6-10 production.

Mike Hall, a student at the University of Missouri - Columbia, was the sole survi­vor on ESPN's Dream Job reality show in late March. He won a new car and a $95,000 contract as a sportscaster with ESPN.

Many days of work by a Kansas City loca­tion scout in the fall of 2003 paid off. Eddie Bauer chose Wabaunsee County in north-

"There is no method but to be very intelligent.· - T.S. Eliot

eastern Kansas as the location for their fall 2004 catalogue. Over 100 models and crew were involved. One art director said she loved the rolling hills and stone houses and the area could easily be used in the future as a "fake" Scotland, England or Ire­land. One of the models had never been to Kansas before and had just arrived from Zurich, Switzerland. She also thought the area looked like her native England. Crews rented land and props making a positive economic impact.

HGTV has an idea for a new television show. It will be called Crafting Coast to Coast and they are currently looking for Missouri craftspeople and artists to profile for an upcoming episode. Go to http:// www.hgtv.com/hgtv/be _on_ hgtv/article 0.1783.HGTV 3222 2407653.00.html for

- -

more information.

Compiled by Larry Levinson • 1/evinson@

kcstage.com 01

CALLBOARD

J3 Productions* (Professional) Call for Authors: Jun 1: 8pm Tue. To submit a play, e-mail an MS Word doc to j3_producitions@yahoo.com attn 'new plays' or snail mail to Jake Walker, 9826 James A Reed Rd., KCMO 64134. All sub-­missions must be received by June 1'1• Jake Walker Producing Artistic Director. J3 Pro­ductions, headed up by professional actors Jake Walker, Jessalyn Kincaid and Justin Shaw, is accepting new play submissions. Playwrights who are chosen will receive an honorarium and a full production of their play. J3 Productions, 4010 Pennsylvania,

(816) 419-7692, www.geocities.com/j3_ productions

Dresser/Wardrobe, Theatre League Dresser/Wardrobe position needed for For­bidden Broadway- an Equity show playing at H&R Block City Stage at Union Station. Rehearsals begin May 9. Previews begin May 14 and show runs through August 1st. Prior dresser/wardrobe experience is pref­erable, but not madatory. Minimum sew­ing abilities desired. Applicants must be extremely organized, able to work quickly and efficiently in a fast-paced show, avail-

able Tuesday through Sunday evenings and Saturday and Sunday matinees. $45.00 per performance plus rehearsal pay. Call or e­mail Chris ASAP at(816)421-1801 ext. 107 or e-mail cmccoy@theaterleague.org. Fax: (816) 421-5259. www.theatreleague.com(Posted 04-20-04)

Director, Leawood Stage Company Director needed for musical revue "Red, Hot, and Cole" Production dates are September 9-12, 2004. This musical revue covers Cole Porter shows such as "Anything Goes" and "Kiss Me, Kate" while tracing the story of Porter's life. The cast is approximately 7 men and 6 women. Prior directing experience re­quired. Experience with choreography or mu­sical direction helpful. Experience with mu­sical revues also preferred but not required. Concept work and blocking. Work with pro­ducer in setting up auditions. Five day a week rehearsal schedule until week of show. Sal­ary dependent on qualifications. Contact Jerry Snider for more information. If interested, resume must be received by fax or mail by May 15. Jerry Snider, (913) 339-6700 Ext. 157, Fax (913) 339-6706, jerrysn@leawood. org, www.leawood.org (Posted 04-15-04) 01

MAY2004 • 9

PERFORMANCES * Affiliate Theatre

<<<

Accessible Arts

The Return of the Scarlet Pimpernel: May 5: 1 0am Wed. Like many teen-age boys, Percy dreams of perform­ing great deeds, heroics and swashbuckling ad­venture. But Percy has a problem: he has a dis­ability and uses a wheelchair. He despairs of ever becoming a hero. Cramps is quick to point out that both Percy and the Pimpernel have one great weapon in common; a brilliant mind. While Percy may have limited mobility, he is no less than a genius with a computer. $4-$3, Liberty Perform­ing Arts Theatre, 1600 S. Withers Rd. (816) 792-6130, www.LPAT.org (Intended for Children)

Lyric Opera of Kansas City Don Giovanni by Wolfgang Amadeus Mozart: Apr 24-May 2: 7:30pm Mon, Wed; 8pm Fri; 2pm Sun.Mozart's infamous playboy, Don Giovanni, hashis way with the ladies. He's basically an all­around creep. Go to hell, Don Giovanni! Liter­ally! This opera will be performed in Italian witheasy-to-read English translations above the stage.Directed by Linda Ade Brand. Single tickets rangefrom $10-$62 and are available beginning August18, 2003, Lyric Theatre, 11th and Central (816)471-7344, www.kcopera.org (Adult Fare)

Missouri Repertory Theatre Liliom by Ferenc Molnar; translated and adapted by Lillian Groag: Apr 30-May 23: 8pm Thr-Sat; 7pm Sun, Tue-Wed; 3pm Sat; 2pm Sun, Wed. The Rep commissioned Lillian Groag to create the first new American version of 'Liliom' in over a half a century, and this will mark its World Pre­miere! This 1909 European masterpiece combines the naturalistic tale of a carnival barker's rocky romance with a young woman, and his fantastic journey to the afterworld following his demise. An international staple for decades, 'Liliom' dis­appeared from the American stage after Rodgers and Hammerstein transformed it into the musical 'Carousel.' Directed by Lillian Groag. Featuring David DeSantos (Liliom), Molly Jo McGuire Oulie), Jennifer McKnight (Marie), Kandis Chappell (Frau Muskat), Larry Paulsen (Ficsur), Tom Beyer (Wolf Beifeld), Emily Peterson (Luise), Merle Moores (Frau Holl under), Rusty Sneary (Young Holl under/ Stefan Kadar (Poor Man)), Mark Robbins (Linzman/ Dr. Richman), Gary Neal Johnson (Chief of Po­lice/Woodcarver), Robert Gibby Brand (The Cap­tain/1 st Constable/1st Detective), Patrick Reynolds (Berkovics/2nd Constable/2nd Detective), Kevin Lind (The Doctor), Kristen Yelton (First Servant Girl (Giggly Girl)), Victoria Pickering (2nd Servant Girl (Giggly Girl). $10-$47, Missouri Repertory The­atre, Spencer Theatre in the UMKC Performing Arts Center (816) 235-2700, www.MissouriRep.org (Suitable for Everyone)

New Theatre Restaurant Barefoot in the Park by Neil Simon: Apr 14-Jun 20: 12pm Sun, Wed; 6pm Tue-Sun. "Barefoot in the Park" is the story of opposites. Paul Bratter is a young, conservative, attorney. His new bride Corie is a free-spirit, full of anticipa­tion. As the couple settles in to their first apart­ment together whatever can go awry, does. In spite of all the pitfalls, Corrie is so wrapped up in the warm glow of her new marriage that she can't help playing matchmaker to her widowed mother and a wildly eccentric, opera singing upstairs neigh­bor, with surprising and hilarious results. Directed by Richard Carrothers. Featuring Marion Ross (Mrs. Banks), Paul Michael (Victor Velasco), Craig Benton (Paul Bratter), Jennifer Mays (Corie Bratter). call theatre box office at (913) 649-7469, for ticket information. Prices subject to change, New The­atre Restaurant, 9229 Foster (913) 649-SHOW, www.newtheatre.com (Suitable for Everyone)

Oak Park Theatre Guild* Original One-Act Festival: May 4-May 8: 7pm Fri­Sat, Tue-Wed. Call for Ticket Prices, Oak Park High School, 825 NE 79th Terrace (816) 413-5300, sblay@nkcsd. kl 2.mo.us (Suitable for Everyone)

Olathe Community Theater* The Dinner Party by Neil Simon: May 7--May 22: 8pm Thr-Sat. This unusual play is set in a first rate restaurant in Paris. Five people are invited to dine by an un­known person. They do not know who the other guests will be or why they have been invited. Tossed together in a private dining room, they all have a sneaking suspicion that this strange dinner party will change their lives forever. It's a bitter­sweet tale of relationships that survive ... and don't. Directed by Art Suskin. $10 for adults, $9 for se­niors and $8 for children 12 and under. * Add $2 for a musical performance, Olathe Community Theater, 500 East Loula (913) 782-2990, www. olathetheatre.org (Adult Fare)

Olathe South High School* Charlie and the Chocolate Factory: Apr 29-Apr 30: 7pm Fri; 9:30am Thr. Willy Wonka's famous chocolate factory is open­ing at last! But only five lucky children will be al­lowed inside. The winners are: August Gloop, a greedy boy; Veruca Salt, a girl who is spoiled by her parents; Violet Beauregard, a girl who chews gum all day long; Mike Teavee, a boy who does nothing but watch television; and Charlie Bucket, our hero. Directed by David Tate Hastings. Olathe South High School, 1640 East 151st Street (913) 780-7160 (Intended for Children)

Princess Squid Productions Crash by Kara Armstrong, Gretchen Mais, Jeff Metzger, Michael Smith, and Heidi Van Middlesworth: May 28-Jun 7: 8pm Fri-Mon. In the tradition of our show "Furies" (named best theatre experiment 2003, Pitch Best Of issue) comes 11Crash", the newest collective collabora­tion by Princess Squid Productions. Investigating communication between people, performers, and the audience, Trash" examines how gender in­forms and affects identity. Directed by Kara Armstrong. Featuring Jeff Metzger, Heidi Van Middlesworth. Crew: Gretchen Mais (Stage Man­ager), Michael Smith (Dramaturg). $8, The Next Space, 512 E 18th St (816) 531-6639 (Suitable for Everyone)

River City Community Players The Boys Next Door: Apr 30-May 15: 8pm Fri­Sat; 2pm Sun. The place is a communal residence in a New En­gland city, where four mentally handicapped men live under the supervision of an earnest but in­creasingly 11burned out" young social worker. Mingled with scenes from the daily lives of these four where "little things" sometimes become mo­mentous are moments of great poignancy. We are reminded that the handicapped (like the rest of us) want only to love and laugh and find some mean­ing and purpose in the brief time which they are allotted on this earth. Directed by Sarah Van Horn. Adults $7, Child 12 and under $4, discount for senior citizens and groups, Leavenworth Perform­ing Arts Center, Historic Hollywood Theater (913) 682-7557, home.kc.rr.corn/finch/rccp.htm (AdultFare)

Ruskin High School Theatre* Student-Directed One-Act Plays: Apr 30: 7pm Fri. Directed by Drama Club Class of 2004. $3, Ruskin High School Theatre, 7000 E 111 th St (81 6) 31 6-7461 (Suitable for Everyone)

Shawnee Mission Northwest High School Lucky Stiff Book and Lyrics by Lynn Ahrens, Music by Stephen Flaherty: Apr 29-May 1: 7pm Thr-Sat. Directed by Keli Rodgers. Featuring Danny Shaw, Lindsay Shelton, Mindy Moritz, Noah Metzger, Shane Sleeper, Jeff Parsons, Val Smith, Sam Holscher, Joe Carey, Erin Juliff, Marisa Wilson. $5.00, Shawnee Mission Northwest High School Parker Auditorium, 12701 W. 67th St., (913) 993-7224, thespiantroupe888.com (Suitable for Every­one)

Theater League Forbidden Broadway by Gerard Alessandrini: May 14-Aug 1: 8pm Tue-Sat; 2pm Sun.Every year the madly inventive Gerard Alessandriniupdates his scathing homage to Broadway's big­gest shows and brightest stars. Now > > >

8 • KCSTAGE "Censorship, like charity, should begin at home; but unlike charity, it should end there.· - Clare Boothe Luce

*Affiliate TheatrePERFORMANCES

< < < Jackson (Sam's Dad), Nathan Jackson (Head of Army), Nancy Marcy (Queen of England), Nancy Marcy (Mrs. Clonkers), Nancy Marcy (Childchewer), Nancy Marcy (Miss Plumridge). Crew: Galen Pejeau (Set Design), Galen Pejeau (Properties), Art Kent (Lighting Design), Georgianna Londre (Costume Design), William Hill (Puppet Construction), Derrick DuBois (Sound Design), Tom Mardikes (Sound Design), William Hill (Miniature Properties), Amy Abels Owen (Stage Manager), Joe Beck (Master Carpen­ter), Ernie Nolan (Assistant Direc­tor), Ernie Nolan (House Manager). Adult tickets are $10. Student/ Youth/Senior tickets (18 or younger or full-time students with I.D. or 60 and older) are $8. Season tickets are $6 per person (when purchasing for at least 3 productions in our sea­son). Group tickets are $4.50 per person, The Coterie Theatre, 2450 Grand Blvd, Suite 144 (816) 474-6552 (Intended for Children)

The Young Playwrights Festival: May 6-May 7: 1 0am, 12pm Thr-Fri; 7pm Fri. The Coterie's Young Playwrights Roundtable features the city's best young writers in a bold and strik­ing writing project. The rich and varied theatrical writings which emerge from a year-long process will be forged into an ambitious festival of script-in-hand stagings -A highlight of The Coterie season.

-Sing Out Magazine. Directed by none. $15 inadvance $18 at door, All Souls UU Church, 4501Walnut (913) 287-3820, crosscurrentsculture.org(Suitable for Everyone)

Folly Theater Folly Jazz presents Ramsey Lewis: May 8: 8pm Sat. Three-time Grammy Award winner Ramsey Lewis is one of the nation's most successful jazz pianists with seven gold records to his name and chart-top-

Harriman Arts Program

Moscow Chamber Orchestra with Dmitri Hvorostovsky: May 5: 7:30pm Wed. Praised by critics for its cohesive and luminous sound, the orchestra is joined by soloist Dmitri Hvorostovsky. The acclaimed Russian baritone is in demand on the great opera stages around the globe. For tickets or information, call the Harriman Arts Program at 816-415-5025, Folly Theater, 300 West Twelfth Street (816) 474-4444, www.folly theater.com (Suitable for Everyone)

Full Frontal Comedy This, That, and Theater: May 14-May 22: 8pm Fri-Sat. Full Frontal Comedy is a professional improvisational comedy troupe that performs improvisational games based on audience suggestions. Shows might contain mature language and are not intended for children and/or up­tight adults. Directed by Tina Morrison, Stasha Case, Ryan Seymour. Featuring (May 14-15), Evan Absher, Stash a Case, Peggy Mal I, Dave Martin, Tina Morrison, Jerry Nevins, Reed Uthe, (May 21-22) Evan Absher, Bill Case, Stasha Case, Tina Morr ison, Jerry Nevins, Ryan Seymour, and Reed Uthe. Crew: Bill Case, Tricia Davenport, Peggy Mall, Dave Martin. $10, Chestnut Fine Arts Center, 234 N. Chestnut (913) 403-4340, www.fullfrontalcomedy.org (Adult Fare)

Ad ult tickets are $1 0. Student/ Just Off Broadway Theatre Youth/Senior tickets (18 or younger

Ca/a Fundraiser: May 8: 8pm Sat. Or full-t·1 me students with I.D. or 60 Little Sophie and Andy Garrison in theBFG (Big Friendly Giant/at the Coterie Theatre's through May 16.

Help us keep the lights on at the Just and older) are $8. Season tickets are $6 per per- ping hits including The In Crowd, Hang On Sloopy, Off Broadway Theatre with this gala fund raiser son (when purchasing for at least 3 productions and Wade In the Water. Long known for blurring featuring a variety of performances by members in our season). Group tickets are $4.50 per per- the boundaries between bop-oriented jazz and popu- of the Just Off Broadway Theatre Association. A son, The Coterie Theatre, 2450 Grand Blvd, Suite lar music, Lewis has in recent years returned to his silent action with hors d'oeuvres begins at 6pm. 144 (816) 474-6552 (Intended for Children) jazz-centered roots while remaining one of the great $25, Just off Broadway, 3051 Central in Penn Val­

Crosscurrents Culture* Sparky & Rhonda Rucker: May 14: 8pm Fri. They sing songs & tell stories from the American tradition, whether they are playing railroad songs, Appalachian music, blues, slave songs, Civil War music, gospel, work songs, cowboy music or bal­lads. $14 in advance and & 16 at the door, All Souls UU Church, 4501 Walnut (913) 287-3820, crosscurrentsculture.org (Suitable for Everyone)

Willow Productions

Deidre Mccalla by Deidre McCall: May 15: 8pm Sat. "A highly distinctive voice in a crowded field of contemporary folk music." -Austin American Statesman " ... her music ranges from highly politi­cal to love affairs to philosophical reflections on life and death. McCalla doesn't mince words ... "

live entertainers of our time! $35 & $30, Folly The- ley Park (816) 784-5020, www.justoffbroadway. ater, 300 West Twelfth Street (816) 474-4444, org (Suitable for Everyone) www.follytheater.com (Suitable for Everyone)

Krystian Zimmerman, piano: May 7: 8pm Fri. "There are few performances in which every mo­ment is seared into the consciousness, but this was one." The Guardian A performer that rarely trav­els in the US, The Friends is honored to present this Master Pianist after an absence of only two seasons. A rare pianist of profound clarity and pre­cision, many may recall his astonishing and reve­latory all-Brahms program from his last appear­ance in Kansas City. This is a recital not to be missed! Program TBA For tickets please call Friends of Chamber Music at 816-561-9999, Folly The­ater, 300 West Twelfth Street (816) 474-4444, www.follytheater.com (Suitable for Everyone)

Liberty PerformingArts Theatre* New Shanghai Circus: May 1: 7pm Sat. Performing to a capacity crowd in 2001, the the­atre has received more requests to bring back the New Shanghai Circus than any other performance. The Shanghai ensemble, founded in 1951, is se­lected from China's pool of highly skilled and trained performers. The show features a variety of visually stunning feats including juggling, acrobat­ics, contortionists, knife throwing, and even "nose balancing." By Email Request: $25 Child / $28 Adult ; In Advance: $27 Child / $30 Adult; Day of Show: $32 Child / $35 Adult, Liberty Performing Arts Theatre, 1600 S. Withers Rd. (816) 792-6130, www.LPAT.org (Suitable for Everyone) > > >

t

MAY2004 • 5

PERFORMANCES * Affiliate Theatre

American Heartland Theatre Menopause the Musical by Jeanie Linders: Mar 12-May 13: 8pm Tue-Sat; 4pm Sat; 2pm Sun. Meeting for the first time at Bloomingdale's in New York, four middle-aged women strike up a friend­ship, and the band, in a riotous exploration of life after 40. The show serves up over 21 parodies of 60's and 70's tunes on its way to the recognition that menopause is not so horrendous as it is hi­larious. The New York production has audiences on their feet and howling for more on a nightly basis! Here's a hot flash for you: Menopause the

Musical is a blockbuster hit! Directed by Patty Bender and Katherine Conte. Featuring Debra Bluford* (Earth Mother), Chavez Ravine* (Profes­sional Woman), Jacqueline Reilly* (Iowa House­wife), Licia Watson (Soap Star), Anthony T Edwards (Conductor/Keyboards), Tod Barnard (Percussion), Theodore Wilson (Bass). Crew: Patty Bender (Co-Director/Choreographer), Katherine Conte (Co-Director), Shane Rowse (Lighting De­sign), Paul Hough (Costume Design), David Kiehl (Sound Design), William J Christie (Properties Design), William J Christie (Stage Manager), Carole Jo Bradley (Stage Manager), Catherine Thomas (Musical Director), Jesse Poleschuck (Set Design), Gary Mosby (Set Construction). $15-$29 depend­ing on performance day, American Heartland The­atre, 2450 Grand Blvd (816) 842-9999, www. ahtkc.com (Adult Fare)

Bell Road Barn Players* Lend Me a Tenor by Ken Ludwig: Apr 29-May 15: 8pm Thr-Sat. The world famous tenor, Tito Morelli, is set to perform his greatest role at the gala season-opener for the Cleveland Grand Opera Company. A se­ries of mishaps (involving a double dose of tran­quilizers and booze) lands him passed out, taken for dead. The general manager persuades Max, his assistant (an aspiring singer) to take over the role. What happens next wil I keep you breathless with anticipation and laughter. Directed by Doug Ford. Featuring Joel Morrison (Max), Jennifer Rismiller (Maggie), Bob Hart (Saunders), Peter Fopeano (Tito), Shelly Stewart (Maria), Jennifer Zindell (Diana), Joyce Halford Oulia), Josh Davenport (Bell­hop). Adults: $8, Seniors 60 & Over and Children 6-12: $7, Jenkin & Barbara David Theater, AlumniHall, Park University (816) 587-0218, www.bellroadbarn.com (Suitable for Everyone)

Belton High School Theatre* Dear Phoebe by Tom Taggart and James Reach: May 7-May 8: 7pm Fri-Sat. This comedy centers around Bill Hastings, a like­able young college teacher, tired of correcting freshmen English themes, who decides to become a newspaperman. Through a fortunate combina­

tion of circumstances Bill gets hired at the Daily Star but as "Dear Phoebe Goodheart," dispenser of advice to the lovelorn. Hilarious madcap com-

plications ensue when romance and murder find their way into the editorial offices. $5 at the door, $4 with advance reservation, Belton High Forum Theatre, 107 W. Pirate Parkway (816) 348-2721, jshort@beltonschools.org (Intended for Children)

Blue Springs City Theatre* Little Shop of Horrors by Howard Ashman & Alan Menken: Apr 29-May 9: 7:30pm Thr-Sat; 2pm Sun. Pining with unrequited love for a co-worker, a meek florist makes a Faustian pact with an unusual plant-one that requires human sacrifice instead of the usual water and light. This dark musical com­edy was an Off-Broadway hit and now has "bloomed" into an overnight Broadway sensation Directed by Nino Casisi. Featuring Chris Cobbett (Seymour), Amie Carroll (Audrey), Nathan Stone (Mushnik), Bryan Bosch (Orin Scivello D.D.S.), Greg Lane (Audrey Two Voice), Jessica Taylor (Doo-Wop Girl), Amara Afuvai (Doo-Wop Girl), Marcie Ramirez (Doo-Wop Girl). Reserved Seat­ing $7 adult and $6 senior (65 + ), Blue Springs Civic Center, 2000 Northwest Ashton Drive (816) 228-0137, www.bluespringscitytheatre.com(Adult Fare)

Carlsen Center Paul Taylor Dance Company: Apr 30-May 1: 8pm Fri-Sat. In a much anticipated return engagement, the Paul Taylor Dance Company will perform two entirely separate programs, one on Friday and one on Sat­urday. A pre-concert talk by John Tomlinson, gen­eral manager, and Bettie Dejong, rehearsal direc­tor, begins at 7 p.m. $35 and $28, Yardley Hall, 12345 College Blvd (913) 469-4445, www.jccc. net (Suitable for Everyone)

Chestnut Fine Arts Center A Song For All Ages arranged by Brad Zimmerman: Apr 22-May 9: 8pm Thr-Sat; 2pm Sun. This musical concert will celebrate the ages of LIFE .... and the wonderful music that we all can share together. The stage of the Chestnut will be shared by talented musicians spanning the gen­erations, from 8 yrs. to 80 - all lifting their voices in a musical celebration. Directed by Brad Zimmerman. Adults: $12 Seniors: $11 Students/ Children: $7, Chestnut Fine Arts Center, 234 N. Chestnut Street (913) 764-2121, chestnutfac@com cast.net (Suitable for Everyone)

Cobblestone Theatre Co.* A. .. My Name ls Alice by Joan Micklin Silver & Julianne Boyd: Mar 26-May 1: 7pm Fri-Sat. The Cobblestone Theatre Co. is proud to present an all woman musical comedy, A. .. My Name Is Alice, conceived by Joan Micklin Silver and Julianne Boyd. Winner of the Outer Critics' Circle Award for Best Musical. This long running musi­cal at the Village Gate Off Broadway won these acclaims: "Delightful. .. " - N. Y. Times; "A boodle

of laughs." - N. Y. Post; "Rates an A!" - N. Y. Daily News; "Slick as can be." - Village Voice. Directed by Dan DeMott. Featuring Debra Glagola (5th Actress), Taylor Gass (2nd Actress), Sage Kimbrough (1st Actress), Cody Angelene (3rd Ac­tress), Anita Meehan (4th Actress). Crew: Dan Demott (Director), Tyson Minnick (Lighting De­sign), Jason Price (Stage Manager), Vance Baldwin (Choreographer), Daniel Doss (Musical Director), Beth Mclenaghan (Keyboard), Terry Minnick (Bass). $29.95-Adult; $27.95-Senior; $24.95-Stu­dent, Cobblestone Theatre Co, 103 W. Francis Street, St. Joseph, MO, (866) 282-SHOW, www. CobblestoneTheatreCo.com (Adult Fare)

ComedyCity* Chaos Theatre

Monkeys with Hand Grenades - 30 Plays in 60 Minutes: Apr 16-Mar 18: 10pm Fri. Chaos Theatre's Monkeys with Hand Grenades at ComedyCity continues to be a great success. The Pandemonium Players are always hard at work writing feverishly for the new upcoming shows. "Monkeys with Hand Grenades 3" will include the best of the first two shows plus 17 brand new plays!!! $13, Call 816-842-2744 for information and reservations, ComedyCity, 300 Charlotte, (816) 842-2744, www.comedycity.cc (Adult Fare)

Corbin Theatre Company The Taffetas: May 21-May 23: 7pm Fri-Sun. The Taffetas, a singing group of 4 sisters, gets their first big break on a live TV show called Spotlight on Music. The Taffetas bring back fond memories through a collection of hits from "Mr. Sandman" to "Johnny Angel." Recall a time of innocence when anything could happen - even stardom! Directed by Carolyn Rutherford. $10-$15, Corbin Theatre Company, 15 N. Water (816) 792-3200, corbintheatre.org (Intended for Children)

The Coterie Theatre* The BFC (Big Friendly Giant) by Roald Dahl, adapted by David Wood: Apr 13-May 16: 1 0am, 12pm Sun, Tue-Fri; 2pm Fri-Sun; 7pm, 10pm Fri. Little Sophie is whisked away from her orphanage to a giant's lair after she spots him during his nightly rounds of dispensing dreams. An unlikely friendship begins when Sophie and The BFG help each other gain confidence in a land run by other giants. Adapted by David Wood from the beloved novel by Roald Dahl, the play combines puppets both large and small with human characters. Di­rected by Missy Koonce. Featuring Heidi VanMiddlesworth (Sophie), Andy Garrison (The BFG), Kent Garrett (Gizzardgulper), Kent Garrett (Headmaster), Kent Garrett (Mr. Tibbs), Vanessa Severo (Bonecruncher), Vanessa Severo (Rebecca), Vanessa Severo (Mary), Vanessa Severo (Queen of Sweden), Matt Rapport (Fleshlumpeater), Matt Rapport (Sam), Matt Rapport (Head of Air Force), Nathan Jackson (Bloodbottler), Nathan > > >

KCSTAGE

MONDAY

26 Don Giovanni • lyric Opera of Kansas City

3 No Performances

10 No Performances

17 No Performances

24 Chasing Destiny: The Journey of lewis & Clark • Wordsinger

Productions

31 Chasing Destiny: The Journey of Lewis & Clark • Wordsinger

Productions Crash • Princess Squid Productions

TUESDAY

27 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant)• The Coterie Theatre* Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• The Producers • Theater league

4 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendl_y Giant) • The Coterie Theatre• Blue/Orange • Unicorn Theatre liliom • Missouri Repertory Theatre Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• Original One-Act Festival • Oak Park Theatre Guild* The Producers • Theater league

11 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant)• The Coterie Theatre• Blue/Orange • Unicorn Theatre Liliom • Missouri Repertory Theatre Miss Nelson is Missing • Theatre for Young America•

18 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Umcorn Theatre Forbidden Broadway • Union Station Kansas City, Inc. Liliom • Missouri Repertory Theatre Miss Nelson is Missing • Theatre for Young America•

25 Barefoot in the Park • New Theatre Restaurant Forbidden Broadway • Union Station Kansas City, Inc.

MAY 2004 PERFORMANCES WEDNESDAY

28 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant)• The Coterie Theatre* Blue/Orange • Unicorn Theatre Don Giovanni • lyric Opera of Kansas City The Lewis And Clark Show • Union Station Kansas Cify, Inc. Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• The Producers • Theater league

5 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant) • The Coterie Theatre• Blue/Orange • Unicorn Theatre liliom • Missouri Repertory Theatre Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young Amenca* Moscow Chamber Orchestra with Dmitri Hvorostovsky • Folly

Theater Original One-Act Festival • Oak Park Theatre Guild* The Producers • Theater league The Return of the Scarlet Pimpernel • liberty Performing Arts

Theatre•

12 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant) • The Coterie Theatre* Blue/Orange • Unicorn Theatre Liliom • Missouri Repertory Theatre Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America•

19 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre Forbidden Broadway • Union Station Kansas Cify, Inc. Liliom • Missouri Repertory Theatre Miss Nelson is Missing • Theatre for Young America*

26 Barefoot in the Park • New Theatre Restaurant Forbidden Broadway • Union Station Kansas City, Inc.

THURSDAY

29 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant)• The Coterie Theatre* Blue/Orange • Unicorn Theatre Charlie and the Chocolate Factory • Olathe South High

School* Lend Me a Tenor• Bell Road Barn Players* The Lewis And Clark Show • Union Station Kansas City, Inc. Little Shop of Horrors • Blue Sprifl{ls Cify Theatre• Lucky Stiff • Shawnee Mission Northwest Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre ft>• Young America· The Producers • Theater league A Song For All Ages • Chestnut Fine Arts Center

6 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre Lend Me a Tenor • Bell Road Barn Players• Liliom • Missouri Repertory Theatre Little Shop of Horrors • Blue Springs City Theatre• Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• The Producers • Theater league The Young Playwrights Festival • The Coterie Theatre• A Song For All Ages • Chestnut Fine Arts Center

13 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant) • The Coterie Theatre• Blue/Orange • Unicorn Theatre Lend Me a Tenor • Bell Road Barn Players• Liliom • Missouri Repertory Theatre Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America•

20 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre The Dinner Party • Olathe Community Theater• Forbidden Broadway • Union Station Kansas Cify, Inc. Liliom • Missouri Repertory Theatre Miss Nelson is Missing • Theatre for Young America•

27 Barefoot in the Park • New Theatre Restaurant Forbidden Broadway • Union Station Kansas Cify, Inc.

FRIDAY

30 A ... My Name Is Alice• Cobblestone Theatre Co.• Barefoot in the Park • New Theatre Restaurant

The BFG (Big Friendly Giant)• The Coterie Theatre* Blue/Orange • Unicorn Theatre The Boys Next Door • River City Community Players Charlie and the Chocolate Factory • Olathe South l{f!Jh School* Don Giovanni• lyric Opera of Kansas City lend Me a Tenor • Bell Road Barn Players• The Lewis Ard Clark Show• Union Station Kansas City, Inc. liliom • Missouri Repertory Theatre little Shop of Horrors • Blue Springs City Theatre• Lucky Stiff• Shawnee Mission Northwest Menopause the Musical• American Heartland Theatre Miss Nelson is Missing• Theatre for Young America• Paul Taylor Dance Company • Carlsen Center Student-Directed One-Act Plays• Ruskin High School Theatre* The Producers • Theater league A Song For AD Ages • Chestnut Fine Ms Center

7 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre The Boys Next Door • River City Communify Players Dear Phoebe • Belton High School Theatre* The Dinner Party • Olathe Community Theater* Krystian Zimmerman, piano • Folly Theater Lend Me a Tenor• Bell Road Barn Players* Liliom • Missouri Repertory Theatre Little Shop of Horrors • Blue Springs City Theatre* Menopause the Musical • Ameflcan Heartland Theatre Miss Nelson is Missing • Theatre for Young America• Original One-Act Festival • Oak Park Theatre Guild* The Producers • Theater league A Song For All Ages • Chestnut Fine Arts Center The Young Playwrights Festival• The Coterie Theatre•

14 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant) • The Coterie Theatre• Blue/Orange • Unicorn Theatre The Boys Next Door • River City Community Players The Dinner Party • Olathe Community Theater• Forbidden Broadway • Union Station Kansas City, Inc. lend Me a Tenor• Bell Road Barn Players• Liliom • Missouri Repertory Theatre Miss Nelson is Missing • Theatre for Young Ameflca •

Sparky & Rhonda Rucker • Crosscurrents Culture• This, That, and Theater • Full Frontal Comedy

21 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre Chasing Destiny: The Journey of lewis & Clark • Wordsinger

Productions The Dinner Party • Olathe Community Theater• Forbidden Broadway • Union Station Kansas City, Inc. liliom • Missouri Repertory Theatre Monkeys with Hand Grenades - 30 Plays in 60 Minutes •

ComedyCity •

The Taffetas • Corbin Theatre Company This, That, and Theater • Full Frontal Comedy

28 Barefoot in the Park • New Theatre Restaurant Chasing Destiny: The Journey of Lewis & Clark • Wordsinger

Productions Crash • Princess Squid Productions Forbidden Broadway • Union Station Kansas City, Inc.

•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.

SATURDAY

MAY1 A ... My Name Is Alice • Cobblestone Theatre Co.• Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant)• The Coterie Theatre* Blue/Orange • Unicorn Theatre The Boys Next Door • River City Community Players Late Nite Catechism II • Union Station Kansas City, Inc. lend Me a Tenor• Bell Road Barn Players* Liliom • Missouri Repertory Theatre Little Shop of Horrors • Blue Springs City Theatre* lucky Stiff • Shawnee Mission Northwest Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• New Shanghai Circus • liberty Performing Arts Theatre• Paul Taylor Dance Company • Carlsen Center The Producers • Theater league A Song For All Ages • Chestnut Fine Arts Center

8 All-Stars Fundraiser • Just Off Broadway Theatre Association Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre The BFG !Big Friendly Giant) • The Coterie Theatre• The Boys Next Door • River Cify Communify Players Dear Phoebe • Belton High School Theatre* The Dinner Party • Olathe Community Theater• Folly Jazz presents Ramsey lewis • Folly Theater lend Me a Tenor• Bell Road Barn Players* Liliom • Missouri Repertory Theatre Little Shop of Horrors • Blue Springs City Theatre• Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• Original One-Act Festival • Oak Park Theatre Guild' The Producers • Theater league A Song For All Ages • Chestnut Fine Arts Center

15 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant) • The Coterie Theatre• Blue/Orange • Unicorn Theatre The Boys Next Door • River City Communify Players Deidre Mc Calla • Crosscurrents Culture• The Dinner Party • Olathe Community Theater• Forbidden Broadway • Union Station Kansas City, Inc. Lend Me a Tenor• Bell Road Barn Players• Liliom • Missouri Repertory Theatre Miss Nelson is Missing • Theatre for Young America• This, That, and Theater • Full Frontal Comedy

22 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre Chasing Destiny: The Journey of Lewis & Clark • Wordsinger

Productions The Dinner Party • Olathe Community Theater• Forbidden Broadway • Union Station Kansas City, Inc. liliom • Missouri Repertory Theatre The Taffetas • Corbin Theatre Company This, That, and Theater • Full Frontal Comedy

29 Barefoot in the Park • New Theatre Restaurant Chasing Destiny: The Journey of Lewis & Clark • Wordsinger

Productions Crash • Princess Squid Productions Forbidden Broadway • Union Station Kansas City, Inc.

* Affiliate Theatres

SUNDAY

2 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant) • The Coterie Theatre• Blue/Orange • Unicorn Theatre Don Giovanni • lyric Opera of Kansas City late Nite Catechism II • Union Station Kansas City, Inc. liliom • Missouri Repertory Theatre Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• The Producers • Theater league A Song For All Ages • Chestnut Fine Arts Center

9 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre The Boys Next Door • River City Community Players Liliom • Missouri Repertory Theatre Little Shop of Horrors • Blue Springs Cify Theatre• Menopause the Musical • American Heartland Theatre Miss Nelson is Missing • Theatre for Young America• The Producers • Theater league A Song For All Ages • Chestnut Fine Arts Center

16 Barefoot in the Park • New Theatre Restaurant The BFG !Big Friendly Giant)• The Coterie Theatre• Blue/Orange • Unicorn Theatre Forbidden Broadway • Union Station Kansas City, Inc. Liliom • Missouri Repertory Theatre Miss Nelson is Missing • Theatre for Young America•

23 Barefoot in the Park • New Theatre Restaurant Blue/Orange • Unicorn Theatre Chasing Destiny: The Journey of Lewis & Clark • Wordsinger

Productions Forbidden Broadway • Union Station Kansas City, Inc. Liliom • Missouri Repertory Theatre The Taffetas • Corbin Theatre Company

30 Barefoot in the Park • New Theatre Restaurant Chasing Destiny: The Journey of Lewis & Clark • Wordsinger

Productions Crash • Princess Squid Productions Forbidden Broadway • Union Station Kansas City, Inc.

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