TICKETS and AUDITIONS

https://www.kickstarter.com/projects/1668278454/a-nite-of-2-one-acts

New Rock Opera THIS CHILD Ready to Workshop

Work on the rock opera THIS CHILD has gone well. The musical numbers, by Marc Keele and Vic Sorisio, are all complete. I have finished the working script/libretto and the show is ready for workshop.

Now the real work sets in as we prepared to produce the show.

In the next weeks we will be meeting together to complete a proposed budget, produce a production schedule and begin a marketing/promotional plan. We will be creating a Kickstarter campaign to raise capital.

We hope to produce the world premiere of the show this spring and will likely hold auditions in December if funding goes well. If you are an opera-quality singer/actor you are welcomed to audition.

OPINION: Slocum Struggles for Survival

Slocum Player's new location in uptown
Vancouver. Photo by Ruth Zschomler.

It has come to my attention that the Slocum Players (formerly the Slocum House Theater) continue to struggle toward their resurrection. As you will recall the company had no choice but to vacate their long term home at the Slocum House in Esther short Park after city officials, who own the building, significantly raised their rent. (See related story here.) A move which in the least was a blow to the arts in Vancouver and a greed-driven, heartless, money-grabbing play; at the most a derisive and calculated attack on the arts and a stupid action.

Now that Slocum has endeavored to “pull itself up by its britches” and reinvent itself elsewhere—in uptown’s former Sassy Dress Shop turned, for a time, into Ape Over Music—as The Slocum Players at Sassy Ape Theater, the city continues to thwart their efforts.

Slocum had hoped to open the theater by August’s end and yet that time has come and gone by over a month. It seems they can’t get an occupancy permit from the city. This is not an uncommon struggle for small non-profits moving into older buildings due to newer and more strangling codes. However, it causes one to wonder if the city has a vendetta against such entities and even Slocum in particular. They were, after all, quite vocal about the city’s heartless decision to take from the company and the public the timeless gem that had graced the community for so long.

Indeed, it is my opinion (as well as the opinion of many others in the arts community) that the city (as well as the local newspaper for that matter) does not support the arts and may even be hostile towards them—especially the performing arts and the non-profit sector of said arts in particular. 

After all, non-profits, including churches, do not contribute to the tax base as do business enterprises for which the city seems to bend over backwards. (Having worked with a number of churches and non-profits on building and remodel projects I have seen this over and over again.)

However, though these small, non-profit ventures may not pay certain taxes, they are what makes a community livable. 

They contribute to the culture, the lifestyle and the happiness of the people—making them want to move into and stay in a community. (Anyone who’s played SimCity knows this fact.) The arts in particular add a great deal to the quality of life.

And as for how they affect a city’s income: When an arts patron goes out on the town for an evening of entertainment, they often have dinner out before or a few drinks after. They also, due to those evil meters, may have to pay for parking (or, if not, pay a ticket) to support the city’s coffers (that do not in turn contribute to the arts). People who live in Vancouver will stay in Vancouver to be entertained if the entertainment is there.

Our city’s council members are supposed to be, you’d think, the brightest and best; people who make decisions based on the will and good of the populace. But, well, that doesn't seem to be the case.

Incidentally, according to a source, Mayor Tim Leavitt was personally and directly contacted by phone and invited to come to Slocum’s recent fundraiser at Latte Da, but declined saying, “I think I’ll stay at home.” I know that mayors have way too much to do and all, but you’d think a brief appearance might show a little support. So, what about a shun? Not many of the city’s council members would do differently.

Finally, I note (somewhat on the side) that this same city council recently voted to ban the discharge of fireworks on every day but the 4^th of July. Not only does the sale of fireworks support the work of area non-profits (coincidence?) but the move, ironically, takes away the traditional freedom to exercise and celebrate freedom on a day set aside to celebrate freedom.

Stupid is as stupid does.

Therefore, I urge you to make your voice and your vote be heard. Vote out those incumbents who have voted against the arts and non-profits and livability and freedom. Vote in those who will bring back the life these organizations bring to our city.

And, if you can, contribute to the livelihood of your local theater—especially Slocum in its time of need. Perhaps you, your business, or theater, can make a contribution.

Related article.

By Gregory E. Zschomler

ARTIST PROFILE: Sparks Flies as Vancouver Writer, Director, Producer and Filmmaker

Dennis J. Sparks. Source: The Columbian files.

Dennis J. Sparks could be regarded as somewhat of a Renaissance Man. He’s a writer, director, producer, filmmaker, actor, visionary and entrepreneur. The Vancouver man has long been a fixture on the local theater scene.

The 66-year-old Sparks, graying now, but looking at least ten years younger, is a story-teller.

His love for stories and theater began at an early stage, performing in front of the blanket that served as a curtain. He and his friends would put on shows—short plays based on TV programs they watched as kids. Then, as a sophomore at Hudson’s Bay High School he got involved in drama and the fire was ignited.

The Sparks That Ignited It All

“It was sort of on a whim,” said Sparks, “my Mom talked me into it.” And he found that he loved the applause and laughter. He said, “at the time it was [only] acting, but evolved into a whole lot of other things.”

Over time he began directing as well. Then he was starting and running new theater companies. Soon he was writing shows, producing and more. Now he’s ventured into filmmaking.

His new film “Nightbumpers” will premier at Kiggins Theater this June. A year in the making, this feature length movie stars local talent and was shot entirely in Clark County. But that journey began more than 60 years ago.

After high school Sparks went to Clark College and studied under Hermine Decker, performing in nearly every show (up to six per year) for his two-year stint. The theater bug was burning like a fever and, with an internship landed at the Oregon Shakespeare Festival, he moved to Ashland to fan the flame.

Fanning the Flames

He recalls that the experience was a great one and even though he played only small roles he got exposed to great talent. After a while, he decided to stay in Ashland to attend Southern Oregon College (now University). Two years in, Uncle Sam came calling him to Vietnam. Registered as a conscientious objector, he “served his time” stateside in Buffalo, NY, working with children.

Sparks stayed in New York nine years and was involved in several theater companies. Finally, in 1977, the bitter winters drove him back home to Vancouver. That year the snow there was so deep the city closed down and declared Marshall Law. Upon return to Vancouver he became involved in community theater.

At first, he worked with Blue Parrot Theater in Camas as their Artistic Director, directing most of their shows for two years. He played Capt. Von Trapp in the Peanut Gallery production of “The Sound of Music” and directed their production of “Oliver!” He was doing a lot of shows as an actor in Portland, as well, and was in the very last show at the Civic Theater there.

Sparks in his film "Nightbumpers"

In the 1980s, he founded On the Edge theater company and then Heartland Theatre Productions. Heartland has created productions for more than 20 years at The Old Church in Portland and at the Columbia Arts Center in Vancouver. The company’s shows and actors have won numerous acting and production awards including the coveted C.A.T.E. Awards for best over-all productions of “West Side Story,” “Sweet Charity” and “Witness For the Prosecution.”

Sparks is the recipient of the Decker Award for “outstanding contribution to Clark County theatre.”

He’s enjoyed playing The Old Shakespearean in “The Fantastics!” which he said he played four or five times, and the role of Starbuck in “The Rainmaker.” Having played more lawyers than anything else, he said his most difficult role was He in the Russian play “He Who Gets Slapped” because he had to do a Russian accent and get slapped so many times.

Stoking the Inferno

He began writing plays while in Buffalo; his first being “Games” an avant-garde piece modeled after shows he liked. The one-act, now a full length play, was nominated for several awards. Sparks has written half a dozen plays and as many screenplays. His short film “Wordspeaker,” was a finalist at the 2008 Sundance Film Festival.

Sparks likes to kindle appreciation in new theater-goers.

“It’s amazing what kinds of minds you can wake up,” he said, “it’s not something you can predict. There’s something that can be said about theater waking up a part of the psyche.” He said to never underestimate people and what you think they may or may not enjoy. He believes in the educational value of theater in the culture, but he also believes in cinema as a great storyteller.

He got into filmmaking when he realized there was "no place to do [original] theater." He could do the writing, but “didn’t have the ‘whatever’ to do the technical” so he gathered others about him to ignite his vision. The first effort was “Wordspeaker” a movie starring KXL’s Clyde Lewis as an end of the world talk show host.

The film "Nightbumpers" premiers at
Kiggins Theater this June.

Soon he produced the first 30 minutes of “Nightbumpers” and showed it at the Battle Ground theater. A year later—slowly funding the effort and shooting around the casts’ busy schedules—the film is complete. It premiers at Kiggins Theater June 9 showing at 8:15 p.m. and again at 2 p.m. on the 10^th.

The theme of “Nightbumpers” is the importance of stories and storytellers in our civilization—a theme that burns passionately in the heart of Sparks. The fantasy-thriller tells the tale of Val Corman (John Rowe) a graphics novelist whose stories revolve around creatures of the night. But one of his creations of the Dark doesn’t want to be exposed and it comes after him with a vengeance. Thus begins an epic battle between the Light and Dark for the control of the Stories of the World.

“True, there may be things that go ‘bump in the night’ but, there are also, on occasion, things that…bump back!” says filmmaker, Sparks.

The film was completely shot in Vancouver and all of the actors are from the local area. Sparks not only wrote and produced the film, he stars in a supporting role.

The Blaze Burns On

But it is theater that has always been Sparks’ love. He loves seeing it, doing it and writing about it. He has reviewed shows for this blog as well as the (now defunct) Vancouver Voice and for UnCouvered.com.

So what does the future hold for Mr. Sparks?

“I’m going to write film off after this,” said Sparks with a half chuckle, citing all the work involved. “Well, of course, we learned a lot,” he said, so three months from now, “maybe I’ll change my mind.” He’s ready to direct another play, he said, eager to tinder another story.

“We’re losing our story-telling—our stories,” said the storyteller, “and storytellers are important in our culture” and, that, he adds, is what “Nightbumpers” is all about.

To learn more and see the “Nightbumpers” trailer visit: http://www.facebook.com/pages/Nightbumpers/324390524298231

By Gregory E. Zschomler

REVIEW: Evergreen High School's "Beauty and the Beast" is Both

“The magic of Disney has always been captivating to me,” writes Evergreen High School drama teacher and director Stephanie Kerns McCrea, “I have wanted to direct this show for many years…”

A word to the director:

Just because you want to do something doesn’t mean you should.

Those who know me understand that I relate quite well to McCrea’s sentiments about Disney. So, I see a little Disney theater from time to time—real Disney theater (I've seen the professional tour of "Beauty and the Beast" twice, the world premiere of "Aladdin," "Lion King" at the Pantages in L.A. and on tour twice as well as multiple shows repeatedly in the Disney parks). Well, I’m going to stick with the genuine article from here on out.

I’m just not going to see amateurs mess with their material again. I’m sure it makes Disney some good money, but I think they made a mistake licensing their shows to others—it cheapens their brand.

Disney’s “Beauty and the Beast” is a wonderfully written musical. It can be a glorious theatrical experience, but it must be done with…magic. This production lacked that. It was a step up from the Metropolitan junior production I saw last month, but still came up quite short.

Not that the show was bad for a high school production. It was just too big of an undertaking. I think another, smaller scale musical might have been a better choice; because the performing talent, I believe, was there.

This production was like a bookshelf on which are some great books held in place by two homely book ends—deep and wonderful in the middle with a beginning and end that lacked sparkle and energy.

The Beautiful

There were some truly decent performances. I don’t think a single line was dropped. I believe every performer gave 100% (and I know the stage crew was working hard, too). There were many good actors/actresses. There were a handful of really good singers. However, rarely did the two reside in the same body.

As Belle, Victoria Hardy was simply de toutes les manières remarquables. She could sing, she could dance (after all girl, this is France), she could act, she had the perfect voice and she was a true belle. Even her line delivery was like listening to the DVD (which I’m sure she did).

Lucas Schneider—a third-grader from Fircrest Elementary—was simply delightful as Chip. Morgan Tache, as Babette, was funny, flirty and fabulous (also a nice accent).

James Taylor did a good job with the role of The Beast and, though not as strong a singer as his namesake, he handled the soaring range of If I Can’t Love Her with control and great emotion. I was moved.

Shadan Leggett (Lumiere) was, perhaps, the shows strongest actor. His singing was fine, but not exceptional. He maintained his accent well and seemed to really, ah, shine.

Paige Child (Mrs. Potts) has a beautiful voice and poured out the title song quite well, but she wasn’t a particularly strong actor.

Quinn Carahan (Gaston) fit the role in voice and physique. His singing voice was equally strong, but he was difficult to understand while singing (due to diction).

The choreography was generally well done, but the ballroom scene was certainly the highlight of them all; it was a truly beautifully executed. What surprised me was that the traditional “show stopper” number Be Our Guest was surpassed by the dance to Gaston.

I’d compliment the costumes, but they were borrowed. Several intelligent lighting fixtures were used to good effect in the production.

The Beastly

Most of the sets were well done—especially the library—but cumbersome. I’m sure that a good quarter of my viewing time was taken up by set changes. I don’t like that, and who does?

The show was haunted by some other familiar technical ghosts. There were wireless mic troubles. [You know, this doesn’t have to be an issue.] Much of the lighting design had a rich and beautiful palette, but was inadequate; it did not properly light faces for registration—especially needed during solos.

A live orchestra can be a delight, but it must be well balanced and not overpower the singers and it must be tight and with every player in tune. Otherwise it is a distraction. This orchestra's balance was good and they pretty much stayed together, but there were many notes that strayed from the written—mostly from the brass section (especially a trumpet).

And overall the illusions, by Rob Lake Theatrical, just didn’t cut it…at all. There was absolutely no magic in them. A lot of fog and a lot of waiting, yes, but how does that seem like magic?

The show continues May 4, 5, 11 and 12; 7:00 p.m. curtain; matinee, May 12th 2 p.m. curtain at Evergreen High School Auditorium, 14300 NE 18^th Street, Vancouver, Wash. Tickets, adults $10, students and honored citizens $7, can be only purchased on the date of the show at the Evergreen High School Auditorium Ticket Booth starting at 5:30pm.

Visit www.ehsdrama.com for more information.

This curtain warmer shot was the only photo we could snap before being
tersely told not to take pictures. There was no notice in the program and the
the pre-show announcement only forbade flash photography. Sorry.

NOTE: I would have loved to have provided you with a slide show of these students, but we were told not to take any photographs during the production.

By Gregory E. Zschomler

Mental Illness Highlighted in Saturday Presentation at Serendipity Playhouse

We Are Still Here a collaboration between Well Arts Institute and NAMI of Washington County will bring the voices of mental illness to stage this weekend.

The production “lifts the silence and tells the stories” of mental illness through theatrical performance. What’s Important is the Story, the culmination of Beautiful Minds—a pilot project supported by Oregon Arts Commission and the Autzen Foundation—joins professional directors, actors, and theatre technicians to people living with mental illness or caring for a mentally ill family member in a workshopped theatre production that explores the experience of mental illness.

Their stories of grief and hope, fear and courage come alive on stage and bring awareness to the public—a public in which one in four people are affected by a mental illness.

Well Arts collaborates with the National Alliance on Mental Illness (NAMI) Washington County Center to perform stories written about mental illness and written by people living with mental illness.

The Well Arts Institute is an eleven year old arts-in-healthcare non-profit that creates and facilitates workshops in which professional theatre artists work with people facing life-altering health challenges to create professional theatre productions written by participants and performed by actors.

The sole SW Washington performance will take place 2 p.m. Saturday, April 28 at the Serendipity Playhouse, 500 Washington Street in Vancouver, Wash. Tickets are $8 online at www.wellarts.org, or by calling 503-459-4500. Tickets will be $10 at the door. For more information email to: info@wellarts.org

By Gregory E. Zschomler

REVIEW: No Man is an Island in the Love Street Playhouse Production of "An Inspector Calls"

“Those were the Days, my Friends…” 

The time—1912.  Behind us---the Edwardian Age in England.  Ahead of us—a New Tomorrow?  But for now--a bridge between the old and the new.  What will we do?

This is the setting into which Priestley has deposited the viewers. Before the Titanic; before WWI.  But still suffocating in a caste-type system and gender inequality.  For the upper-class, the Birling family this, indeed, will be the threshold for a new tomorrow. 

But at a terrible price!

The Plot

It is the evening of the engagement of their daughter, Sheila, to another upper-crust businessman, Gerald Croft.  The young couple fiercely grinning.  Mom and Dad are pleased as punch.  Son, Eric, has had too much punch.  And isn’t everything just too fine for words in their insular world.

And into this mock world appears Inspector Goole.  He informs them of the suicide of a young woman.  A lady in which they all might have known and, perhaps they, in some way, may have been responsible for her death.  And, like the stages of an inevitable death—at first denial, then making excuses, blame, and finally acceptance.

David Roberts as Gerald Croft, Jennica Krohn as Sheila Birling and Paul

Segren as Inspector Goole in the Love Street Playhouse production of "An 

Inspector Calls." (Photo provided.)

The death throes of their life style is painful to observe, but necessary for removing the cancers of ignorance and intolerance.  The Inspector leaves, giving the family space to wallow in private and explore their shared guilt.  And, as a parting shot, he concludes...

“We do not live alone.”

We are our Brother’s Keeper, then.  Ah, yes.  But will they heed the warning…the lessons they have learned?  A hint: some do, some don’t.  A microcosm of humanity, then.

But the struggle is not yet over.  A couple of major twists remain. For, you see, the questions of…ah, but that would be telling, wouldn’t it?!  Trust me when I say that Ms. Christie, the Grand Dame of mysteries, would have been proud.  Even Rod Serling, in his Twilight Zone years, would have approved.

The Production

The Birling family enjoys their engagement party prior to the
Inspector's call. Photos here and below by Ruth Zschomler.

Priestley is not an easy playwright to digest or to stage.  One’s palate must be prepared for the sensations that will accompany the feast.  Go, knowing you will be challenged as a viewer and thinker.  For Priestley brings the Past with hurling force into our immediate Present, pleading with us to change, or we will be stuck in reliving it.

The accents of the cast are uneven, seeming to range from cockney to none at all.  And a couple members of the cast seemed to have trouble with lines.  But, with time, these, I’m sure, will be ironed out.  They strive mightily and well, forging through this difficult material.

Particularly good is Paul Segren as Inspector Goole.  His command of the stage and  knowledge of purpose in this pivotal role is captivating.  Nicholas Dibartolomeo as the son, Eric, smoothly transcends from a drunken sot to a raging animal, as the truth descends upon him. 

Jennica Krohn as Sheila Birling

And, as the smart, and quite entrancing bride-to-be, Jennica Krohn fits the role to a tee.  Also rounding out the cast are Don Smith as the smug father, JoAnn McClanahan as the mother, David Roberts as the groom-to-be and Rebekah Krohn as the maid.

The costumes, especially the women’s, are quite stunning by Fran Krohn, and Melinda Leuthold, Producer and owner of the company.  The design and direction are bravely executed by Gregory E. Zschomler.  And Jeff Leuthold, as always, has built a terrific set.

This production is well worth attending.  It runs weekends through May 13.  For further information go to their website at lovestreetplayhouse.com and/or call for tickets at 360-263-6670.

Review by Dennis J. Sparks

Mr. Sparks has years of experience in theater as a teacher, director and performer. He was formerly a Portland theatre reviewer for the Vancouver Voice (now defunct), and is currently a free-lance reporter living in Southwest Washington.

"An Inspector Calls" Opens Friday at the Love Street Playhouse in Woodland, Wash.

David Roberts, Jennica Krohn and Paul Segren in "An Inspector Calls"

"An Inspector Calls," by J.B. Priestly, opens at the Love Street Playhouse, 126 Love St., Woodland, Wash. this Friday, April 20, 2012 for a four weekend run.

The classic play, written in 1945, is set in Edwardian England. The proceedings take place on a single night 100 years ago (in the spring of 1912) just prior to the launch of the Titanic. The story examines a prosperous middle-class family celebrating the engagement of their daughter to Mr. Gerald Croft, the son of a business rival.

The family is visited by a mysterious man calling himself Inspector Goole. He questions the family about the suicide of a young working-class woman named Eva Smith. The family members are interrogated individually and each is revealed to have in some way been responsible for the young woman's exploitation, abandonment and social ruin, effectively leading to her death.

There are major domestic upsets, some surprising twists and turns and some very revealing insights...

But what is really uncovered?

The play is being produced by Melinda Leuthold, owner and Artist Director of the playhouse, and is designed and directed by Gregory E. Zschomler.

CAST:

• Paul Segren, Inspector Goole
• Don Smith, Mr. Arthur Birling
• JoAnn McClanahan, Mrs. Sybil Birling
• Nicholas Dibartolomeo, Master Eric Birling
• Jennica Krohn, Miss Sheila Birling
• David Roberts, Mr. Gerald Croft
• Rebekah Krohn, Edna the maid

The show will play Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. from April 20 through Mother's Day, May 13. Tickets, now on sale, range from $11-$15, available at Columbia Bank in Woodland, Minuteman Press in Longview, online at www.lovestreetplayhouse.com or by calling 360.263.6670 begin_of_the_skype_highlighting            360.263.6670      end_of_the_skype_highlighting .

Parental Advisory: This play contains subject matter, dialogue and language that may not be suitable for pre-teen children. The show can best be enjoyed and appreciated by an adult audience.

An independent review will be posted by noon Saturday, April 21.

Magenta's "The 39 Steps" a Hit Homage to Hitchcock

Magenta Theater's production of Patrick Barlow's tribute to Alfred Hitchcock is a gem. The first night's audience ate it up.

It's no wonder. The Tony Award winning comedy-thriller is brilliant and oh, so much fun! Director  Bryan Schmidt is a genius. While he attributes the wonder of the work to the script, his comic knack is surely evident.

The show is a real undertaking not to be taken lightly. With over 25 locations, nearly a hundred costume pieces and as many set pieces, it's a wild circus. While creative, the sets changes are the show's only real downfall--done in the dark, they create far too much down time. They might have been more interesting had they taken place in the light before the audience's eyes.

And the four (count 'em, only four?) talented actors are challenged as well. Matt Newport is marvelous as the lead, Richard Hannay. The other three--Shaye Eller, Tony Provenzola and Justin Tanner--rather creatively play nearly 100 of the other characters, sometimes switching roles right on stage.

They embrace the strenuous job (you can see them sweating) of recreating a train chase, a nefarious spy organization, the hunt for a fugitive, and even a parade using "every theatrical trick in the book." (Well, maybe not all of them, but quite a few.) Some are quite humorous and enchanting even though they are sometimes simple.

Opening night played to a near full house. The odd, quirky play is full of melodrama, slapstick and broad humor. Many of Hitchcock's films are referenced in this comic adaption of the 1939 film.

The thriller follows Richard Hannay as he encounters a beautiful spy (wonderfully played by Eller who is killed off all too quickly, but she has other roles); He is framed for her murder and then must take a perilous journey across the United Kingdom to unravel the conspiracy.

From left to right: Tony Provenzola, Shaye Eller, Justin Tanner and
Matt Newport in Magenta Theater's  production of "The 39 Steps."

The show is full of hilarious gags--both visual and auditory. A bit of it was just dumb, but for the most part rather entertaining. While quite British, the play none-the-less makes fun of the English as well as Germans and Scots.

The lighting was well conceived and the costumes just too much fun. With so much good, it was almost easy to overlook the lack of attention to several non-period set pieces. It also bogged down a bit in the second act, but that is trivial compared to the the whole and Newport's well delivered and funny monologue (also in the second act).

Newport has a striking resemblance to a young Walt Disney and he played his role with true talent. The energy level from the entire cast was phenomenal. The ending a bit of a surprising twist. Even the curtain call was fun.

Don't miss this show!

The show plays April 14, 19-21, 25-27 at 7:30 p.m., as well as April 22 and 28 at 2 p.m. at the Magenta Theater, 606 Main St., Vancouver, Wash. Tickets are $12-$15. Details at their website.

CVTV taped part of the show and a featurette will be posted to YouTube later this week (I'll let you know when it's up). Here it is:

By Gregory E. Zschomler

NOW PLAYING at a Theater Near You (04/13/12): Magenta's "The 39 Steps" & Metro's "Anything Goes"

The 39 Steps & Anything Goes open.

Did you know it's considered bad luck to say, "good luck" in the theater? Instead, for good luck, you say, "break a leg." Makes perfect sense, huh? I don't know if I'd be brave enough to open a show on Friday the 13th--someone could break a leg--but here are two that are debuting today:

1. "The 39 Steps" (see previous post for details) at Magenta Theater
2. "Anything Goes" (see related post) by Metropolitan Performing Arts Academy

Based on my previous, but limited, viewing experiences with both companies my bets are on Magenta. If I could see just one show this weekend I'd pick "The 39 Steps." Of course, if you can see both, go out and support the teen cast presenting "Anything Goes" as well. And...

Break a leg.

Look for my review of "The 39 Steps" tomorrow (04/14/12) at noon.

By Gregory E. Zschomler

OPENING THIS WEEKEND (04/13/12): "The 39 Steps" at Magenta Theater

It looks like this production may sell out. There were only a few seats left for opening night when I got mine and, according to marketing information, a performance has been added "due to popular demand."

Based on the movie by Alfred Hitchcock, the play was adapted for  stage by Patrick Barlow. The Tony-Award winning "The 39 Steps" brings the classic Hitchcock spy thriller to the stage, re-imagined as a fast paced comedy. The Magenta production is being directed by Bryan Schmidt.

In a nutshell the comedy follows Richard Hannay as he encounters a beautiful spy only to end up framed for her murder. The only way he can clear his name is to unravel a conspiracy that will lead him on a race across England and Scotland.

The performance stars four actors--Matt Newport, Shaye Eller, Tony Provenzola, Justin Tanner--who embrace the challenge of recreating over a hundred characters from the movie. They will attempt to bring to life a train chase, a nefarious spy organization, a hunt for a fugitive, and even a parade using every theatrical trick in the book.

For more information (and a video from the West End production) please view my earlier post.

There will also be more information presented in my REVIEW post coming this Saturday. 

For ticket information see the Magenta website.

By Gregory E. Zschomler

ARTIST PROFILE: Paul Segren, Actor

Paul Segren - 2011. All photos provided.

Paul Segren has his usual cup of Starbucks with him. A method actor “to a certain degree, probably primarily” in preparation for an up coming role, he speaks in a British accent.

His side burns are long and dyed a chestnut brown. He’s just finished a run of “Sealegs: Board to Death” with Vancouver’s Magenta Theater as Mr. Banks, but has been rehearsing his next show on top of that.

Acting has been in his blood since childhood. His first stage show, during grade school, was “Cinderella” in which he played a bluebird. He recalls, “I was a damn good bluebird.” While participating in high school and college theater he also found time for community theater, but a stint with the U.S. Coast Guard following his education put acting on hold.

As a tie-wearing print plant worker he also put off acting for a time, but came back recently with a vengeance after he was laid off. For Paul, his first love is once again a priority.

Segren as Colonel Brandon in "Sense
and Sensibility," Magenta Theater - 2012

Before “Sealegs” he played Colonel Brandon and John Dashwood in the Magenta production of “Sense and Sensibility.”

He’s also recently played Adam Pontipee in Longview’s Rising Star production of “Seven Brides for Seven Brothers” and both Mr. Darling and the Indian chief in the Longview Stageworks production of “Peter Pan.”

Segren as Mr. Darling in a Longview Stageworks pro-

duction of "Peter Pan" at the Columbia Theater - 2011

“I love performing,” he said, “I love the fourth wall.” Acting is his goal and “all I want” he chimes. “Anything I do for employment will support my acting habit.”

He prefers drama and doesn’t pursue a lot of comedy since he doesn’t see himself as being very comedic, but he can sing and dance, so musicals fall into his interests. He’s also interested in one day playing King Arthur in “Camelot.”

Segren as John Dashwood in "Sense and

 Sensibility" at Magenta Theater - 2012

I asked Segren if he did much in the way of back stage tasks and he said he has experience there but stated, “I don’t much like doing behind the scenes, I like to be on stage.”

And he’s not yet ready to direct. “There’s so much more to worry about [like lighting, scheduling, etc.], but I don’t want to do that. I want to [concentrate] on acting.” He said he wants to take on as many acting roles as he can.

He admires Michael Keaton, Dustin Hoffman, Jeffery Rush, and Robin Williams as actors. And Peter O’Toole. “I want to be Peter O’Toole,” he said, laughing lightly. Matthew Broderick and Julie Andrews are also on his list. “I’d die for Julie Andrews,” he said with a wry smile.

Segren as Inspector Goole. (c) LSP

He prepares exhaustively for his parts and enjoys the immersion. I’m directing him now in the Love Street Playhouse production of “An Inspector Calls.” He is playing the title role and is quite professional and a joy to work with.

As the interview draws to a close he pulls out his favorite candy bar—a PayDay—it’s his second at this week’s rehearsals. When I asked him about his PayDay and Starbucks diet the slim and fit actor of actors confessed, “I’m horribly addicted to SweetTarts,” and I couldn’t help but wonder if he would insist on them in his dressing room. It would be a small price to pay to have him on board.

Segren as Adam Pontipee in a Rising Star Productions presentation
of "Seven Brides For Seven Brothers" in Kelso, WA - 2011

Paul Segren lives in Longview and is available for his next audition—probably beginning rehearsals even before "Inspector" closes on April 13. You can reach him at: aspegren@gmail.com

By Gregory E. Zschomler

SW Wash. Stage & Theater Arts Review Blog Passes the 1,000 Hit Mark in Less Than 30 Days!

Woot! Woot! 

68 page views today (so far)! Thank you fans and friends! The blog has PASSED the 1,000 hits mark in LESS than 30 days! It's party time!

We are looking forward to doing our first actor profile this week. I have someone in mind, but I haven't asked him yet. Keep your eyes peeled.

And later this week we'll also have a "what's playing this weekend" post. Plus, we've added some additional theater companies to our link list.

And, yes, I know that animated gif is annoying.

By Gregory E. Zschomler

TICKETS NOW ON SALE for "An Inspector Calls" Opening April 20th at Love Street Playhouse

"An Inspector Calls," by J.B. Priestly, will open at the Love Street Playhouse, 126 Love St., Woodland, Wash. on April 20, 2012 for a four weekend run.

The classic play, written in 1945, is set in Edwardian England. The proceedings take place on a single night 100 years ago (in the spring of 1912) and focus on a prosperous middle-class family celebrating the engagement of their daughter to Mr. Gerald Croft, the son of a business rival.

The family is visited by a mysterious man calling himself Inspector Goole. He questions the family about the suicide of a young working-class woman named Eva Smith. The family members are interrogated individually and each is revealed to have in some way been responsible for the young woman's exploitation, abandonment and social ruin, effectively leading to her death.

There are major domestic upsets, some surprising twists and turns and some very revealing insights...

But what is really uncovered?

The mystery-drama is being designed and directed by Gregory E. Zschomler. Paul Segren stars as the Inspector, Don Smith as Mr. Arthur Birling, JoAnn McClanahan as Mrs. Sybil Birling, Nicholas Dibartolomeo as Master Eric Birling, Jennica Krohn as Miss Sheila Birling, and David Roberts as Mr. Gerald Croft. The play is produced by Melinda Leuthold, owner and Artist Director of the playhouse.

The show will play Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. from April 20 through Mother's Day, May 13. Tickets, now on sale, range from $11-$15, available at Columbia Bank in Woodland, Minuteman Press in Longview, online at www.lovestreetplayhouse.com or by calling 360.263.6670.

Parental Advisory: This play contains subject matter, dialogue and language that may not be suitable for pre-teen children. The show can best be enjoyed and appreciated by an adult audience.

REVIEW: Metropolitan presents Disney's "Beauty and the Beast, Jr." Tonight and Tomorrow ONLY

"It was a face that only a mother could love." You've heard the saying. Well, this was a production that only a mother could love. Don't get me wrong, there were some things to like about this show, but I didn't LOVE it.

The cast performs "Be Our Guest." Photo by Gregory E. Zschomler.

First of all I didn't know what to expect. I'd never been to a Metropolitan Performing Arts Academy production, but I knew it would be children performing all the roles. MTI rents a variety of junior show packages including an array of Disney classics.

These are truncated versions of the Broadway musicals that come with just about everything you need to put on a show but the set, costume and props, but you can even rent some of those.

I admit, I'm not a big fan of amateur kid shows, especially when I have to shell out more than five bucks to see one (this was nearly $12 with the ticket fee). They don't tend to be all that good and to really get jazzed you need to know someone in the to-do. I didn't.

And yet, this production had some charm. The chorus numbers were very nice. They were full of energy, sounded great and the dance numbers were pretty tight. The costumes were great, too! (I do believe that Disney imposes particular standards on certain things, so that you get a classic Disney experience.)

The female leads, while sometimes slipping from the written melody or key, sang well enough. The young men? Not so much. Out of a cast of around 40, only eight were boys and the show calls for "mostly men." It seems beggars can't be choosy--you take what you get and work with it.

The entire cast at curtain call. Photo by Gregory E. Zschomler

And that's the nature of Metropolitan: Parents sign their kids up for classes and pay for them to go. All the kids get to be in the show which is both good and bad. It builds confidence, skill, self-esteem and more, but it can't create talent. It can bring it out and hone it, but if it isn't there to begin with...

The Good

You have to admire the director (Noah Scott, directed) that would take on a show like that. He's gotta love kids and believe in them and...well...have LOTS of patience. I am reminded of the words of W.C. Fields: "Never work with children or animals." I imagine it's a lot like herding cats. And that does not take into account of having to deal with "stage moms" (which should include hazard pay).

But I digress. 

The best lead performance of the show was given by Bridgette McCarthy in the role of Lumiere. Her accent was fun, her singing nearly dead on and her acting delightful. Kiara (what a pretty name) Kennington, as Mrs. Potts, also gave a winning performance all around, though she began her solo a little shaky. I'm sure it was performance anxiety; there's a lot of pressure in singing the well-known title song.

The very lovely Aubrey Porter starred as Belle and did nicely in the role. She has a nice voice and with some more training she will learn to keep it on pitch. I THINK that Mardee Willman (Cogsworth) sang well, but most of the time her mic wasn't working. Sigh.

"Silly Girl" Kelly Jung

The stand out performance of the entire production was delivered by Kelly Jung who was one of the Silly Girls that fawn over Gaston.

She was a pure delight.

The energy, the facial expression, the acting, the dance moves--everything was star quality right down to her dimple. I can envision this kid in a real Disney production. 

The Not So Good 

The show was NOT well lit--the castle scenes, especially, were difficult to see. But the real irritation came from a generally bad audio mix and a lot of malfunctioning wireless mics. Pretty much what could go wrong, did go wrong. They hummed, the crackled, they boomed, they fell off, they weren't turned on... 

I really felt bad for the kids; that sort of thing doesn't help your confidence level. [You'd think after more than a dozen different shows over a three year period they would have worked out these kinds of bugs.]

And the set needed textured and detailed to bring it completely to life.

All in all, the production has such a great story and the music is so well written (by Alan Meken, Howard Ashman and Tim Rice) that you can't help but be moved. Even with the simplified effects (quite a bit less magical than the professional tour) and technical distractions, the show was uplifting and fun.

The show plays again 7 p.m., Saturday, March 31 and Sunday April 1, 2012 at the Washburn Performing Arts Center in Washougal, Wash. Tickets can be purchased by calling 360-975-1585 or at www.metropaa.org. "Anything Goes" opens in April. See the website for more information about classes, shows and auditions.

Here's a short video of "Be Our Guest" from the show.

Story, photos and video by Gregory E. Zschomler

AUDITIONS: Golden Garter Family Theater's Potter School Musical

Steve Taylor's Golden Garter Family Theater is seeking seven actors, three adults and four young people (age 16 and older) for roles in their upcoming production, "Potter School Musical." (See video below.)

Much in the vein of last year's musical-comedy spoof on the Twilight series, "Twi-Lite," this show spoofs the Harry Potter and High School Musical films.

The production is slated to open in June at the Woodland, Wash., Love Street Playhouse. Auditions will be held at 1:45 p.m. and 4 p.m., April 7 at the playhouse, 126 Love St., Woodland, Wash.

Actors should be prepared to sing a short a cappella song and read cold from the script. They should also bring their personal calendar, theater resume and a head shot.

For more information: info@goldengarter.com

Here's a video sample of selections from the show.

By Gregory E. Zschomler

Magenta Theater presents the West End hit "The 39 Steps"

As Magenta Theater's "Sealegs" (see earlier post) sails off into the sunset, they open a new show this April. "The 39 Steps," adapted from the classic 1939 Alfred Hitchcock film, a cloak and dagger tale, features four actors playing multiple roles.

The thriller follows Richard Hannay as he encounters a beautiful spy, is framed for her murder and then must take a perilous journey across the United Kingdom to unravel the conspiracy.

The show plays April 13, 14, 19-21, 25-27 at 7:30 p.m., as well as April 22 and 28 at 2 p.m. at the Magenta Theater, 606 Main St., Vancouver, Wash. Tickets are $12-$15.

For more information see the Magenta website or call 360-635-4358.

The video above is from the West End production of the play.

I will be reviewing this on opening night. 
Look for my review on Saturday, April 14 by noon.


By Gregory E. Zschomler

OPINION: Southwest Washington Center for the Arts, can it happen?

Are you aware of the ongoing effort to build a civic performing arts center in SW Washington? Did you know that a proposed potential site has been selected?

Are you like me and wonder if it will ever happen?

They are the Southwest Washington Center for the Arts, a group of dedicated and persistent citizens led by Val Ogden pursuing this lofty and seemingly evasive goal.

Their mission is "to facilitate the building of a world class center for the arts to enhance the educational, economic, and cultural vitality for SW Washington, to be centrally located in the city of Vancouver."

And, quite frankly, I'm all for it, but my enthusiasm wanes.

It ain't happenin' baby

How many years (decades) have we been talking about this now? How much money has been raised? Who among our city's council has done little more than wind-bag the idea? As far as I'm concerned, it ain't happenin'. It's just an idea and nothing more.

Oh, I'd like to believe--really I would--but it's hard to remain excited over the long haul when the city officials are a bunch of sticks-in-the-mud and the bulk of our citizens seem to care less.

I mean, we can just go to Portland, right?

I must admit, it is nice to be so close to such a large, cultured city. But then again, it ain't exactly "ours" is it. Wouldn't it be nice to have a home for OUR art?

Sure it would! We nod our heads, drool out of one side of our mouths and...

...do nothing.

Maybe it's time we got behind this idea, this effort, and made it a reality! Ya think?

Art enlivens, inspires and enables

But, is it "a need?" I mean, these are "hard times" and we should invest our resources where they are essential, no?

That depends on how you look at it. Humans can exist without the arts, but that's not a way to live. We are enlivened by the arts and artistic expression. Art is what inspires us and defines us as human beings. And art enables us to more fully express who we are.

Can you get by without music, theater, dance, sculpture, painting, etc.? Yes, you can. Is it pretty? No. Without art in the heart, life...well...sucks. It's like a grey world with a grey cloud over it. You slog through it and achieve so little due to lack of ambition and vitality.

Have you seen the movie Joe Verses the Volcano? (I don't know why I brought that up, I'm sure it's relevant.)

Anyway, people who engage in culture are happier. Vancouver would be a happier place with a civic arts center. Sure, we've got pockets of culture here, but as a city? I've eaten yogurt with a more active culture.

Maybe, just maybe, the dream is attainable

I've been guilty. I create art, but I've been happy in my own little pocket. I've nodded my head and enthusiastically drooled along with most of the masses about a Vancouver performing arts center. But I have done little more.

Maybe it's time I spoke up (I just did). Maybe it's time I wrote my city council. Maybe it's time I followed this movement on Facebook (I do) and read their e-newsletter. [It is sad that as of this writing they have only 164 Facebook fans.] Maybe, I should put some money where my mouth is and/or volunteer...

So, what about YOU? Can we, finally, make this happen? In our lifetime? I think maybe, we can.

For more info email communications@center4thearts.com or visit the center4thearts webpage.

By Gregory E. Zschomler