The Woman in Black- Elite Theatre Company, Oxnard

THE ELITE THEATRE COMPANY PRESENTS THE GHOSTLY DRAMA 

THE WOMAN IN BLACK

Arthur Kipps, a middle-aged solicitor, hires a theatre and the services of a professional actor to help him re-enact -- and thereby hopefully exorcize -- a ghostly event which befell him many years previously with horrifyingly tragic results. From the cluttered stage, the actor portrays the young Kipps, sent north by his London firm to settle the estate of an elderly recluse, the late Mrs. Drablow, in whose isolated marshland house Kipps encounters the Woman in Black. This specter, seeking vengeance for the death of her young child, attaches herself to Kipps and unleashes a macabre sequence of events, which culminate in a truly chilling twist in the play's final moments.

The Woman in Black will be presented August 17- September 16.  

Fridays at 8:30pm, Saturdays at 8:00pm, and Sundays at 2:00pm.  

Tickets are $15 for students and seniors, $17 for general admission.  

The Elite Theatre is Located in Oxnard’s beautiful and historic Heritage Square. 730 South B Street Oxnard, CA 93030. 

For more information call 805-483-5118 or visit http://www.elitetheatre.org/. 

Review: The Woman in Black- Stage Happenings

THE WOMAN IN BLACK

By: Robert Lilly

http://www.stagehappenings.com/Robert_Lilly/reviews/_2012/womaninblack.php

One of the longest running and most successful ventures in the history of the London theatre scene has now been brought to Oxnard. The Woman in Black is a fascinating and ambitious undertaking presented with a unique style of storytelling seldom seen in Ventura County.

The majority of shows produced in area fall into a predictable pattern of production and presentation. The Woman in Black, currently on stage at the Elite Theatre Company in Oxnard, does not fall in to that convention. The tale is told in a distinctive and creative way that exposes local audiences to one of the traits that made this show a long running sensation on the British Stage.

At the onset, we find an awkward and nervous “actor” (Terry Fishman) in the throes of reading aloud from pages of a manuscript that he himself has penned. Now voicing it for the first time, he is urged on to better his performance by a young professional actor and director (Curtis Cline). Soon we learn that both men are in a theatre with the shared goal of telling the story of Arthur Kipps to the public, but with very different motives. The younger sees the deep dramatic value of the yarn, both as a human experience and as a haunting ghost story; whereas the writer of the tale wishes only to unburden his soul of the events he lived by speaking them in a public forum. As the play within the play unfolds, we see what is ostensibly a final dress rehearsal of a multi layered autobiographical play that the two men have prepared for public consumption in the local London theatre district. In their play, Cline plays the part of the Kipps as a younger man, and Fishman takes on the roles of the various people that Kipps met along the way, all of whom are brought together by the recent death of a mysterious and troubled woman who lived and died secluded in a house so surrounded by marshland that the path to it is only visible at low tide.

The “actors” guide us through the story of the unsuspecting and diligent Kipps on his journey to the enigma of a woman’s now empty house. In due course, we discover that whenever the ghost of the woman in black is seen, a child dies. As they prepare their story for presentation, they discuss story-telling techniques of the late Victorian age, including the recent innovation of recorded sound and modern theatrical ambiance. All the while they remain under the constant and watchful eye of the ever present Woman (Debbie Price) dressed all in black, whose existence is a source of both fear and excitement to the men as they prepare their production. Their play, as well as ours, culminates in a startling dream like a final scene where reality is intermingled with the supernatural and eventually we see that the storytellers have become a part of the narrative as they told it.

So successful was the original stage production that it was made in to a film of the same name, starring a now grown Daniel Radcliffe of Harry Potter fame as the youthful Kipps. The movie focused on the ghost story, but it is the unusual structure and individual boldness of concept that made the stage play such a hit. Those essentials are alive in this production and are further supported by strong acting and many fine production elements.

Fishman takes on the mammoth task of building a multitude of diverse characters, all the while playing a man learning to be an actor. He skillfully delineates dialects and his face tells a different story for each character he plays. Cline plays well the energetic and younger version of Kipps, and Price adds mystery and presence in the silent title role. Director Tom Eubanks braves the difficult script well and succeeds particularly well in building a strong relationship between the two male leads. Eubanks offers up a skillfully staged production that makes use of every inch of the intimate theatre. The costumes suggest well the time and the set by Eubanks is a prime example of ingenuity and inventiveness, though it is at times under used. The show occasionally lacks the jump that one desires in a ghost story, but strong characters, able performers, and a clear grasp of the theatrical value of the piece are well at work here. This show is as difficult as it is stirring and deserves to be performed more often by venues such as this.

The Woman in Black runs through Sept. 16th at the Elite Theatre in Oxnard. http://www.elitetheatre.org/

Review: The Farnsworth Invention- Ventura County Star

Ventura County Star

'West Wing' creator explores the birth of TV in Camarillo play Who invented TV?

• By Rita Moran
• Posted August 1, 2012 at 2:47 p.m.
• http://www.vcstar.com/news/2012/aug/01/west-wing-creator-explores-the-birth-of-tv-in/

A world without television would be a world few today could imagine. But there was such a world, just as there was one without radio, and without motion pictures.

Thanks to Philo T. Farnsworth, a Utah farm boy with a flair for electronic and mechanical invention, TV arrived sooner than it might have, even though he didn't always get full credit for his crucial contributions.

The battle among a multitude of potential innovators at various U.S. research and business sites is a focus of Aaron Sorkin's play "The Farnsworth Invention," now on stage at Camarillo Skyway Playhouse. At 13, Farnsworth was the youngest to envision all-electronic television and his insights were phenomenal. Sorkin, who many TV fans will remember as creator-writer of "The West Wing" series, brings the same kind of quick-and-clever dialogue to the stage that he did to the tube. That's both a virtue, thanks to the riveting intensity it produces, and a bit of a drawback as technical information comes at an audience fast and furious, leaving some at opening night missing essential strains of the argument, while at least catching the funniest of the comeuppances delivered. Farnsworth's relentless drive and many-faceted mind can at times be as confusing as it is compelling.

Central figures in the cast do their utmost to deliver the information-laden lines crisply and persuasively. Best at communicating the fast-moving text is Patrick Beckstead in the title role. From the opening scene when as a bumptious student he asks his new science teacher if he can skip the basic course and the teacher says no, it's obvious something's in the air. The next day Farnsworth produces his "homework," a mass of papers that cover the entire course, and the teacher changes his mind.

From that moment on, Beckstead, as convincing as a grown up as a kid, fuels Farnsworth's fire though endless experimentation on crucial elements of TV transmission, working with only a few friends who are equally surprising innovators.

The major confrontation of the play, it turns out, comes from another young man, David Sarnoff, who emigrated with his mother and siblings from Europe to America in 1900, when he was 9. Sarnoff was a driving force in the expansion of radio, eventually heading Radio Corporation of America (RCA), and alert enough to recognize the possibilities of television as an even more world-changing communications force. Of course, it took quite a while before the technical problems of making television actually work were solved. And possibly, some shenanigans to latch on to Farnsworth's key work. The smooth Sarnoff is effectively played by Eric Mello, who gets to utter the words that define him in Sorkin's play, "The ends do justify the means … that's what means are for."

Sorkin's play has been criticized by some history buffs for its crucial courtroom scene in which Farnsworth loses the patent-right contest. It seems that he actually won, but that would have made a different kind of story. The explanation centers on the fact that there was more than one legal skirmish and that Farnsworth lost some even while ultimately winning and going on to invent many other patents in his areas of interest.

Director Elissa Anne Polansky effectively handles the cast of 23, many in multiple roles, with action taking place against a simple backdrop that includes a second-level area to accommodate a continuous flow of scenes. There are familiar faces in the cast along with welcome new ones, all obviously committed to a serious performance of the play, presented for the first time on a major county stage.

But the most striking element of the production comes at the opening when two large screens on either side of the stage come alive with unforgettable television moments, from grainy shots of Walter Cronkite announcing John F. Kennedy's death and the appropriately unearthly sight of an American walking on the moon to silly flash-by shots of Lucy and Desi, "All in the Family" and Richard Nixon gamely intoning "Sock it to me!"

Now that television and other means of mass communication have flooded the world the question no longer seems to be how are we going to communicate with the rest of humanity, but can we try to make what we send out worth the electronic trip?

"The Farnsworth Invention" may not be the most colorful drama onstage, but it is a timely reminder of what life was like before TV, and how much struggle went into making it a reality.

'The Farnsworth Invention'

Aaron Sorkin's take on Philo T. Farnsworth's battle to create television in the early years of the 20th century will be staged through Aug. 26 at the Camarillo Skyway Playhouse, 330 Skyway Drive, Camarillo. Performances are at 8 p.m. Fridays and Saturdays, 2 p.m. Sundays. Tickets are $18 general, $13 seniors, military and students; and $10 children 12 and younger. Call 388-5716 or visit skywayplayhouse.org.

Email Rita Moran at ritamoran@earthlink.net.

© 2012 Ventura County Star. All rights reserved. 

Elephant's Graveyard- Santa Paula Theater Center, Santa Paula

SANTA PAULA THEATER CENTER TO PRESENT "ELEPHANT'S GRAVEYARD"

http://www.youtube.com/watch?v=19rAPi-ynjg

The Santa Paula Theater Center proudly presents ELEPHANT'S GRAVEYARD by George Brant from June 29 - August 5, 2012 at the Santa Paula Theater Center, 125 South 7th Street in Santa Paula.  Performances of ELEPHANT'S GRAVEYARD are at 8 pm on Friday & Saturday and 4 pm on Sunday.  Tickets are $18 Adults, $15 Seniors & Students, $12 Children.  For reservations, call (805) 525-4645 or visit www.santapaulatheatercenter.org

It was 1916.  There was a Town. There was a Circus. And there was a Murder. When The Sparks World Famous Shows Circus pulls into the quiet town of Erwin, Tennessee, the residents of the sleepy little hamlet can hardly contain their excitement.  But when a member of the circus commits a horrific crime, the townsfolk demand justice.  Building on both historical fact and legend, Elephant’s Graveyard questions how good people can, if only for a moment, turn into monsters, unleashing a deep-seated American craving for spectacle and revenge.

Elephant's Graveyard is directed by Fred Helsel and David Ralphe, with Leslie Nichols producing.  Scenic design is by Mike Carnahan with lighting design by Gary Richardson and costume design by Justine Abbitt.  Karl Krause will stage manage the production.

Featured in the ensemble cast is Ronald Rezac, Taylor Kasch, Dan Tullis, Nancy Solomons, Anthony Stetson, Scott Blanchard, Cynthia Killion, Mona Leah, Johnny O'Grady, Eric Burton, Maryann Shilo, Robert Sabotka and Robert MacNeal.   

Elephant’s Graveyard is the third production of SPTC’s 2012 season.  Following this production SPTC will present Athol Fugard’s Hello and Goodbye from September 7 – October 14 and Death Takes A Holiday from November 16 – December 23.

For ticket information and reservations, contact SPTC at (805) 525-4645 or visit www.santapaulatheatercenter.org

Assassins Auditions- Camarillo Skyway Playhouse, Camarillo

AUDITION ANNOUNCEMENT! 

“ASSASSINS” at Camarillo Skyway Playhouse – 

July 29^th and July 30^th by appointment from 7 PM-10PM with callbacks on August 1^st from 7 PM-10 PM. Music & Lyrics by Stephen Sondheim, Book by John Weidman. Directed by Brian Robert Harris, Produced by Dean Johnson, Musical Direction by Dave Watkins.

Please be prepared to sing one song (either uptempo or ballad) that showcases your range best. Musical theater only, no pop or classical. Can be from a Sondheim-composed show but not required. No dance audition required. Callbacks will consist of singing and/or reading from the show.

FOR MORE INFORMATION AND TO MAKE YOUR APPOINTMENT, CONTACT PRODUCER DEAN JOHNSON AT dean.johnson373@roadrunner.com OR (805) 285-0730

FOR SPECIFIC QUESTIONS, CONTACT DIRECTOR BRIAN ROBERT HARRIS AT brianrobertharris1979@yahoo.com

CHARACTER BREAKDOWN

The Balladeer: 18-40, tenor, Woody Guthrie/Joan Baez type, open to casting male or female and all ethnicities, must have strong acting chops and a storyteller’s presence, ability to play guitar or banjo a plus.

John Wilkes Booth: 25-35, baritone, intense, darkly handsome and charismatic. Requires an exceptional actor.

Charles Guiteau: 35-40, tenor, bright, sunny, completely out-of-his-gourd insane.

Leon Czolgosz: 25-32, bass, brooding, uneducated, blue collar, strong sense of being wronged. Has a slight Eastern European accent.

Giuseppe Zangara: 25-35, tenor, angry, heavily-accented immigrant. Mostly speaks Italian. Under 5’5 is a plus.

Samuel Byck: 35-50, baritone, hysterically irate loser in a Santa suit. Not as much singing for this role.

John Hinckley: 18-25, baritone, depressed college student obsessed with Jodie Foster. Ability to play guitar a plus.

Lee Harvey Oswald: 20-30, tenor, suicidal and lonely, may be doubled with the Balladeer, but if not does not sing much. Preference is for someone who really looks like Oswald.

Lynette ‘Squeaky’ Fromme: 18-25, mezzo, hippie girl with a very sharp and dangerous edge, a follower of Charles Manson.

Sara Jane Moore: 30-45, mezzo, overwhelmed, confused, clumsy housewife.

The Proprietor: 30-55, baritone, runs the shooting gallery. Friendly carnival barker type, but must have vague air of menace. Will also play in the ensemble.

Ensemble: All ages, all genders, all types, ideally around 10-15. Seeking a microcosm of America. Ensemble members will play supporting roles, including Emma Goldman and some of the assassins’ victims, and have several key songs, including “Something Just Broke”, a number which is solely for them.

Ability to play musical instruments is a plus for all actors auditioning.

Damn Yankees Auditions- Simi Valley Cultural Arts Center, Simi Valley

DAMN YANKEES AUDITIONS AT SIMI VALLEY CULTURAL ARTS CENTER

 

Simi Valley Cultural Arts Center will hold auditions for the All American musical DAMN YANKEES on Monday & Tuesday, July 9 & 10 at 7 pm.  ALL ROLES OPEN and include: 

 

Mr. Applegate  male baritone 30 – 50 lead

Joe Hardy  male baritone 18 – 27 lead

Joe Boyd  male tenor 40 – 50 supporting

Meg Boyd  female mezzo 40 – 50 supporting

Sister  female soprano 40 – 60 supporting

Doris  female spoken 40 – 60 supporting

Smokey  male tenor 18 – 27 supporting

Gloria Thorpe  female mezzo 21 – 30 supporting

Van Buren  male baritone 35 – 65 supporting

Lola  female alto 20 – 35 supporting

Henry  male baritone 18 – 27 cameo

Sohovik  male baritone 18 – 27 cameo

Linville  male baritone 18 – 27 cameo

Mickey  male baritone 18 – 27 cameo

Lowe  male baritone 18 – 27 cameo

Welsh  male spoken 40 – 75 cameo

The Commissioner  male spoken 35 – 75 cameo

Baseball players and batboys  male various 6 – 27 chorus

 

DAMN YANKEES - THE GRAND SLAM MUSICAL THAT KNOCKS IT OUT OF THE PARK!

Among the most beloved musicals of all time, "Damn Yankees" won seven Tony Awards in 1956, including Best Musical.  Joe Boyd, a middle-aged fan of the hapless Washington Senators, trades his soul to the devilishly charming Mr. Applegate for the chance to dethrone the vaunted New York Yankees and lead his team to the pennant. He becomes young baseball phenom Joe Hardy and transforms his Senators into a pennant contender. But at what cost? Hardy leaves Boyd's life in the lurch, and only with the help of the seductress Lola does he have a chance at redemption.

 

Pulsating with energy and hit songs like "You Gotta Have Heart" and "Whatever Lola Wants," "Damn Yankees" instantly assumed its place as one of the great Broadway musicals. In addition to the seven Tony Awards it won in 1956, the 1994 Broadway revival garnered another five nominations including Best Revival (Musical). George Abbott and Douglass Wallop wrote the book, with music and lyrics by Richard Adler and Jerry Ross. "Damn Yankees" is based on the novel "The Year the Yankees Lost the Pennant" by Wallop.

 

From the artistic team that brought SVCAC audiences HAIRSPRAY and PIPPIN, Damn Yankees is directed by Fred Helsel with musical direction by Gary Poirot and choreography by Becky Castells. 

 

DAMN YANKEES will play September 8 - October 14, 2012 with performances Friday & Saturday at 8 pm, Sunday at 2 pm.  Rehearsals begin the week of July 22.

 

Auditions are BY APPOINTMENT but WALKUPS are welcomed.  Please call director Fred Helsel at (805) 583-7902 or via frhelsel@aol.com to set up an audition appointment. There is NO PAY, NON UNION.

Much Ado About Nothing- Libbey Bowl, Ojai

Thousand Oaks Repertory Company & G.A.T.E.players
with the Ojai players
Present
Shakespeare's MUCH ADO ABOUT NOTHING
Set in the Roaring 20s!
Directed by Allan Hunt

July 6-8 & July 20-22 
(Please note that these are the 1st and 3rd weekends of July; there are no performances the 2nd weekend of July)

All performances are at 7:00pm

Pre-Show at 7:00pm, Curtain at 7:30pm

Tickets: $20 (general), $10 (seniors age 62+), Free (age 18 & under)
Credit Card sales available online, Cash and Check ONLY at event

Performed at the beautiful Libbey Bowl in Ojai

To purchase tickets http://www.brownpapertickets.com/event/253614

For more info go to www.gateplayers.org or call 805.231.3604


Much Ado About Nothing is one of Shakespeare's most imaginative and exuberant comedies, contrasting two pairs of lovers in a witty and suspenseful battle of the sexes.
Attracted to each other, the maddeningly skeptical Beatrice and Benedick are deadlocked in a lively war of words until their friends hatch a plot to unite them.
The mutually devoted Hero and Claudio, on the other hand, all too quickly fall victims to a malicious plot to part them. Near fatal complications ensue, but with the help of the hilarious Constable Dogberry and his confederates, the lovers are ultimately united.