TICKETS and AUDITIONS

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

Not Quite Curtains for Love Street Playhouse

The Love Street Playhouse, Woodland, Wash.

BREAKING NEWS:

It was a bitter-sweet night for us all, but none felt the love and angst so much as Melinda Leuthold, the founder and Artistic Director of Love Street Playhouse (LSP) which she and her husband Jeff bought ten years ago. The theater opened a little over two years later in 2007 after extensive remodeling and a trying permit process.

More than fifty friends (family really) of Love Street Playhouse gathered February 23, 2014 for an announcement not quite like everyone expected. With the gradual demise of theater in Southwest Washington over the past year, we all, sadly, wondered if closure was on the books. Thankfully, it wasn't quite like that.

After many hugs and a potluck celebrating ten wonderful years, constituents of the theater listened as Melinda, seating aptly in a directors chair, recounted the years of joy and productivity.

Christmas Dinner Theater inside the Love Street Playhouse

The journey began, she said, when, one day, Jeff told her, "I think I've found your theater." He took her down to the little Open Bible church in the heart of Woodland, Wash. She took one look and said, "I don't think so." But Jeff is not only a visionary and a contractor he had a way of convincing her it could be done.

In 2007, recounted the Artistic Director, the small playhouse was finally ready to roll. The first show evolved out of a ten-day summer children's theater camp culminating in the production of "The Emperor's New Clothes" followed by a Christmas production of "It's a Wonderful Life" presented as a live radio show.

The next year they presented the children's workshop production of "Charlotte's Web," "The Night of January 16th," and a repeat of "It's a Wonderful Life."

"Steel Magnolias" at Love Street Playhouse

In 2009, the company produced "The Sword in the Stone" (a children's production), "Steel Magnolias" (directed by Tony Bump), and a variety show called "Christmas Pudding."

2010 brought the melodrama "No Opera at the Opera House" (the first show I saw at LSP), the children's show "Robin Hood," "Seven Keys to Baldpate" (directed by me), and the radio show "Yes, Virginia, There is a Santa Claus." The year marked substantial growth for the theater--both artistically and popularly--garnering rave reviews from the critics. Production qualities and talent base also increased markedly.

2011 opened with "Leaving Iowa," followed by a collaborative production of  "The Magician's Nephew," then "Dirty Work at the Crossroads" (another melodrama), the children's production "The Princess and the Pea," Agatha Christie's "The Mousetrap," and the Christmas variety show "Noel." Their shows continued to become increasingly complex, stunningly produced and expensive.

"An Inspector Calls" at Love Street Playhouse

2012 brought their first musical to the stage when Tony Bump directed "You're  a Good Man, Charlie Brown." The year also included "An Inspector Calls" (directed by me), the children's show "Alice in Wonderland," the gritty thriller "Wait Until Dark" (directed by David Roberts),  and a radio show of  "A Christmas Carol."

Last year opened with "Crossing Delancy" (again directed by Tony Bump and, for the first time in the playhouse's history, featuring Melinda in an acting role--a return to the stage after years of hiatus).

"Crossing Delancy" at Love Street Playhouse; that's Melinda (right)

Next, Christopher Cleveland directed "Harvey." The children's production that year, "Dr. Doolittle," was the theater's second musical. "Arsenic and Old Lace" followed. The year closed with a collaborative production of "The Trial of Ebeneezer Scrooge" between LSP and The Columbia Theater in Longview. The show played at The Columbia. Melinda said it was a wonderful experience in which all she had to do, for once, was direct. But, she indicated, it was nothing like the intimacy and warmth of doing a show at her own playhouse.

Since that time, the LSP website has been devoid of announcements regarding future productions. We were beginning to wonder. Then we got an email from Melinda inviting us to a mysterious potluck announcement.

Melinda Leuthold, Artist Director

The night of the event Melinda, LSP's owner, director, designer, chief cook and bottle-washer, now at the top of her game, shared all that and then came to the difficult part of the script. With a tear in her eye and a choke in her voice she said, "Now I come to the spot in my notes that's blank because I don't know what to say."

There was a silent, dramatic pause before she continued. 

"I'm really burnt out," she said, "I'm going to take a break...let's just say it's for a year..."

"I need to see my kids, they need me...and I need them them." Her husband later explained that for years they would come home from school and she would leave for the theater. And Melinda expressed much joy at pursuing her craft in the art, that the theater never really made any money and that she needed to put her creative efforts into something that paid. She is pursuing a career in her second vocational love: graphic design. She has opened her own studio and is also working as a custodian at The Columbia Theater while looking for other work.

"Seven Keys to Baldpate" at Love Street Playhouse

The decision to step back for a time is not an easy one, she explained. While Melinda loves collaborating at the theater with the adults and children she dearly loves, she will miss the children the most. She admits that she wants to maintain her theater students "because they're so important to me." Because of what it means to invest in others, Melinda will deeply miss the interaction...at least for the time being. She needs to rest and enjoy her family and make some money to pay back the bills of a costly enterprise, she said.

"The Mousetrap" at Love Street Playhouse

The news follows closely on the heels of many setbacks on the southwest Washington theater scene. Many local companies have closed their doors over the past year. Some are desperately trying to reinvent themselves. Vancouver's Magenta Theater, and Longview's Rising Star Productions and Stageworks Northwest are the only companies still operating in their own space outside of educational entities (high schools and colleges).

Hopefully, LSP and Melinda will soon find a way to, once again, pick up where they left off and brighten the southwest Washington theater spotlight. They are one of the best and will be sadly missed.

Friends gather at Love Street Playhouse. Taken Sunday, Feb. 23 by Ruth A. Zschomler.

By Gregory E. Zschomler
All photos, courtesy of Love Street Theater, by Darcie Elliott (except as noted)

9 Ways a Theatre Degree Trumps a Business Degree

From the Change Agent website:

My advice? There IS no weakness in having a theatre background. There is only strength. Here are just a few skills that a theatre degree gave me that have served me enormously well in business: For the 9 Ways click here.

24 Ways Musical Theater Made You A Better Person

Minions of the theater world, you will LOVE this:

http://www.buzzfeed.com/mattortile/24-ways-musical-theatre-made-you-a-better-person

Click the link and enjoy.

Thanks to Prairie Ground Drama for sharing this.

REVIEW: "Good Grief" Skyview High School's "Charlie Brown" Feels Good!

"You're A Good Man, Charlie Brown" the musical, based on the Peanuts comic strip by Charles Schulz, runs THIS WEEKEND ONLY at Skyview High School, 1300 NW 139th St., Vancouver, Wash.

The Skyview show is the third production I've seen of "Charlie Brown" and the second time I've reviewed it for this blog.

I include these few comments from the former review:

Laura McDonnell as Lucy and Colin Smith as Charlie Brown

"Somehow, as a 1970s high school theater geek, I acquired an LP of “You’re a Good Man Charlie Brown” and played it repeatedly while singing along to the title track, My Blanket and Me, Happiness, Suppertime and the show’s other catchy songs... [T]hat was before it was re-envisioned in the 1999 Broadway revival...with a few new songs and a character swap (Sally for Patty) the show [certainly has a different quality to it]. [However, I] can’t say I ever really loved the show for more than its music. It’s quirky and silly and lacks a through story. Still, if you’re a fan of the Peanuts gang comic strip, you will probably like the show for its strip style vignettes."

It's been a long time since I saw the 1967 original and, honestly, I cannot now decide which version I like better. Last year I saw the the 1999 version directed by Tony Bump with an adult cast. I won't compare the two on those merits, however, I will say that it is nice to see the show performed by a youthful cast (though it was fun seeing adults play kids, too).

The Characters

A dress rehearsal with incomplete backdrop

This high school production was deftly directed by Philip Denton (who likened it to a parade). It featured a fine ensemble and the cast was a joy to watch. While the young cast didn't quite push it to where it needed to be--a little more kid-like energy on the part of the men, though they were good, would have gone a long way to improve the performance as a whole. The women, on the other hand, were very good.

That said, I truly enjoyed all the cast performances. The ensemble includes: Nathan Harris as Schroeder, Kennedy Marvin as Patty (not Peppermint Patty), Laura McDonnell as Lucy, Spencer Reid-Rice as Linus, Thomas Silk as Snoopy and Colin Smith in the lead role of Charlie Brown. Marvin and McDonnell--both with excellent singing voices, expressive faces and exceptional delivery--were standouts.

All cast members sang well, especially in the well-harmonized chorus numbers. Smith did slip from the melody from time to time during his solos, but it might have been nerves. With some training and confidence he will shine as a vocalist. He very much reminded me of my late high school friend (the exceptional actor, Steve Catt, in looks and mannerism). Silk made for a very smooth Snoop-dog; his rendition of Suppertime was certainly the showstopper.

The Setting

The cast of Skyview's "You're A Good Man, Charlie Brown"

The set consisted of primary-colored construction paper polygons, bound by wide black boarders, that wrapped from the back wall onto the stage floor suggesting cartoon panels. It was simple, cheap and effective. The lighting design consisted of amber down and side lights, daylight blue key and fill, and some white front lighting. It, too, was effective, though at times was not quite bright enough for a musical. Costumes were nice.

The setting was quite interesting as well. Rather than use the auditorium seating area (which is quite large) the seating was on the stage, with audience members on risers close to the action. Which meant only 80 seats, but created an intimate feel. Audience members in the front row, beware (it can get personal).

"Charlie Brown" is a happy, feel-good musical for the whole family and I do recommend that you see this production. Remaining shows are: 7 p.m., January 25 and; 2 and 7 p.m., January 26. General admission is $5. What a deal! Tickets are available at the door on a first come basis.

By Gregory E. Zschomler
Photographs provided.

ARTIST PROFILE: High School Teacher Inspires Students to Excellence, Professionalism

Claire Verity

She began her career as a dancer, touring while in high school, and is a graduate of Penn State, where her father was the play writing professor, with a BA in theater. She has performed in regional and New York theater, appeared in commercials, print and television.

She's a third generation theater professional, the daughter of famed playwright Roger Cornish (his plays are performed at every major repertory theater in the country); her mother is the writer Violet Ketels Cornish. Her grandfather was a very well-known English stage actor and her grandmother was one of the original Radio City Music Hall Rockettes and performed in the Corps de Ballet at the Met in New York City.

Today she brings her "strong gene pool for the arts" to both Battle Ground and Prairie High Schools where she inspires students to amazing theatrical heights.

She is Claire Cornish Verity. 

Verity began directing shows at Battle Ground High School six years ago and at Prairie four years ago. She currently teaches drama classes, technical theater and creative writing at Prairie High and directs the theater productions at both schools. She will also begin teaching dance this coming fall.

She began her educational career as "Drama Adviser" under a "conditional certificate" for her life experience, but was urged by her principal to obtain her Masters in Education so she could teach full-time. She received her Masters in Secondary Education, graduating Summa Cum Laude, from Jones
International University of Colorado in 2010.

Her life experience

Verity directs "White Christmas"

At first it was dancing; she did not pursue theater while in high school as her father did not encourage it. He believed "children should be at home playing outside." None-the-less she found herself touring as a dancer during those years. It wasn't until college that she got involved in the dramatic arts. She chose a school where she could remain close to her father and, for the most part, gave up dance for the time being. She began performing theatrically and, after a while, in her late twenties or early thirties, she became an interior designer in New York, married and began a family.

Eventually, with a third child and wishing to spend more time with her children, she spoke with her husband about being a "stay-at-home mom." He said, "Not in New York," (the expense of living in the city required two incomes) and they moved out west. As her children grew, a soccer mom friend told her about the Drama Adviser opening for the Battle Ground School District. She applied, on condition she could bring her children to work with her, and got the job. Consequently,  two of her three children are now working actors (one appeared in last fall's Grimm)--fourth generation theater family.

"At the time," she said, "it never occurred to me to work with children, [but] I knew after directing these kids for five minutes, I knew this was where I was supposed to be." And that's what she's been doing ever since.

Her teaching

"Directing high school students," she has said, "is the first thing I have done, other that being a mom, that I love as much as I loved performing." Verity finds satisfaction in teaching students to reach inside themselves and find their best.

Sure, there are naturally talented individuals within every school, but high school productions seldom are great. I've seen many that made me wish I hadn't gone. But Verity says, "you can teach anyone to act" [even dance] if you work with them and help them believe in and challenge themselves--inspiring them to "want to win." 

[Note: We have been amazed at every Prairie Ground Drama performance we have seen. Links to our reviews and slideshows: http://swwastar.blogspot.com/2012/04/review-battle-groundprairie-high.html and http://swwastar.blogspot.com/2012/11/review-gotta-dance-for-prairie-grounds.html]

Verity's students seem to excel at theater. Their performances are top notch--some of the best shows in Southwest Washington. So how does she do it? How is she able to inspire her students and pull from the the very best performance?

She's tough, but she also loves and believes in her students. You can see it in their interaction. How they speak to one another as equals. How they hug and feel comfortable around each other. She challenges and corrects, encourages and makes her students think, but also disciplines. During rehearsals, if you aren't projecting, you drop and do ten push-ups.

Not all of her students are up to the challenge and don't continue, but most see her as just wanting the best for them. She said, "It's not my job to be liked...I've made kids cry." She admits to being "incredibly controlling [and] competitive."

How she does it

"You have to want to win," she said. And that is how she inspires.

She doesn't believe in mediocrity and sees that mindset as one of the major problems in education and society. She admits to being hard on her students. "I know what you're capable of," she tells them, "better then what you know what you're capable of." With that she earns student respect and it seems they will go to the ends of the earth for her.

Students will give her ten to twenty hours of after school time a week to hone their craft and become excellent at being the best they can be. Non-dancers will master amazing routines. Actors will pull off stunning performances. Backstage personnel will spend hours toiling to put on a flawless show. Singers fine-tune their chops [under the direction of Darcy Schmidt]. And all do it with heart and soul. They work hard and play hard, but Verity stresses it's not all fun and games. She runs rehearsals like a professional theater, she said, taking into account that she is working with students just beginning to understand what professionalism really is. She strives to help students truly appreciate the craft. 

After every rehearsal and performance she gives notes (critiques and tips) to her students. "I think," she said with animation, "this is part of the key to our success."

The program is rigorous and disciplined. Upper classmen help set the standard of excellence for the newbies. During rehearsals Verity stops the performance giving direction and calling her students to go deeper--to search within themselves for some life experience that will bring motivation to the action or character. She runs from the back of the auditorium to the front, hurdles the stage, gestures wildly, bangs on the floor and compliments with enthusiasm.

Why she does it

Believing in her students, loving what she does, wanting to win, and the appreciation for the craft are what makes Verity invest all that she is into her job. And that's what makes her and the Prairie Ground productions the special things that they are.

Soren Gillaspy, a 2010 graduate now pursuing a theater degree at Seattle's Cornish College of the Arts, said that his former instructor "inspires respect [for her] knowledge and professional experience." He returns when he is able to assist students because of what the program, and Verity, did for him.

Verity loves her job. She said, "I think you're incredibly blessed if you love your work." Her mother always told her, "Do what you love and do it well." And she, and her students, do it well.

Prairie Ground's next show is "Wilder, Wilder, Wilder" three short plays (The Long Christmas Dinner, Pullman Car Hiawatha, and The Happy Journey to Trenton and Camden) by Thornton Wilder, 7 p.m., January 31, February 1, 2, 7, 8 and 9. Tickets are available at www.prairiehighschool.org. In the spring they will present "Once Upon a Mattress."

By Gregory E. Zschomler
Photos provided

"One Brief Shining Moment" Masquerade Ball Fundraising Fun for Shining Star Productions

Formal or period costume is required for this event.

Lords and Ladies prepare to make merry! 

Rising Star invites you to their first annual Masquerade Ball FUNdraiser. We will forgive the redundancy in the title (brief and moment) and give you the lowdown on this "Valentine's Day" event taking place Sat., February 16 at the Three Rivers Mall in Kelso, Wash.

The setting? Camelot. 

Attendees are required to come dressed formally or in medieval themed costume. Half masks only, please. The event is for ages 16 up. Royal tickets include dinner and live entertainment at 6:30 p.m., plus admission to the dance at 8 p.m. Town Square tickets are for those who only wish to attend the dance.

Royal Tickets: $50/person, includes a delicious meal, live entertainment, and admission to the dance. Dinner guests will be seated at 6 p.m. Dinner will be served at 6:30 p.m. in the RSP theater at the mall. Royal Tickets MUST be purchased at least 48 hours in advance.

Town Square Tickets: $12/person, if purchased in advance; $15/person at the door, are good for admission to the dance only at 8 p.m. Big band era music will play in the theater by Macy's and contemporary music will play in the commons by the food court. 

[Editorial comment: What?! No fife, lute and harp music?]

Enter through the food court doors at Three Rivers Mall. Refreshments will be available for purchase during the dance. A limited number of masks will be available for purchase that night.

For more information click here. To purchase tickets click here.

Merry Christmas! See You Next Year with More Reviews, Artist Profiles and Such

See Great SW Washington Theater This Weekend, Before It's Too Late

See one of these great shows this weekend before they are gone and a new batch opens in November. 

Look for our post about the four new shows we'll be reviewing next week.

WAIT UNTIL DARK at Love Street Playhouse

Review: http://swwastar.blogspot.com/2012/10/review-dont-wait-to-see-love-streets.html

SOMETHING TO HIDE at Magenta Theater

Review: http://swwastar.blogspot.com/2012/10/review-magenta-theaters-something-to.html

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

Coming Soon: Our First Review

 

Watch for our first review coming Saturday, March 10. 

We'll be seeing the Love Street Playhouse production of  "You're a Good Man, Charlie Brown" opening night (Fri., Mar. 9) and have our review posted by noon Saturday. This will be our normal pattern -- a review by noon following opening night. 

If you wish to have your show reviewed please contact us at: swwastar@aol.com to schedule.

Vancouver's oldest community theater offers free tickets

Photo by Ruth Zschomler

The  Slocum House Theatre has been operating in Vancouver in the same location since 1966, but will close on March 11.

The theater company is offering free tickets to every showing of its final production, Greater Tuna, which runs through March 11.

You can reserve tickets online.


Donations will be accepted on-site, to benefit SHARE.

Want to know why they are closing?  Read the press release from the Slocum House Theatre.