Ladies and Gentlemen,
I apologize for a recent dearth in coverage on the part of the Dramaturgy, as I have been quite busy with things recently. However, in order to try and continue serving the Savannah Theatrical community, we would like to post this audition notice and encourage interested parties to come on out.
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THE DIVA DAUGHTERS DUPREE AUDITIONS
By Kim Euell
Directed by John Houchin
WHEN: November 2, 2010,7-10pm
Where: City of Savannah Cultural Arts Theatre (9 W. Henry Street)
The Diva Daughters Dupree tells the story of three African American sisters who struggle with cultural assimilation, consumerism and race. The three sisters Billie (a successful financial adviser), Sarah (a college history professor) and Abbey (a college drop-out and free spirit) all aspire to the “American dream.” Playwright Kim Euell questions what they are willing to forfeit to have it all: Hairstyle? Dialect? Political views? Cultural identity?
Casting requirements:
Billie (40’s);
Sarah (30’s);
Abbey (20’s);
Zak, Billie’s white husband (40’s);
Uri, Bbbey’s Israeli husband (20’s);
Spencer, Sarah’s African American boyfriend (30’s).
The diva Daughters Dupree will be presented as a staged reading December 8 and 9, 2010.
Thursday, October 28, 2010
Tuesday, September 14, 2010
Tell Your Story
While idly watching Youtube videos, combing through the brain-rot and kitten videos, I came across this little gem from Harlan County Kentucky.
Once again, to refer back to another video on The Savannah Dramaturgy, never underestimate the power of schmucks (meaning dreamers, for those who did not catch the Clurman video).
These people, faced with potentially crippling social problems like drug addiction, didn't throw up their hands. They turned to a force as old as humanity itself, the arts.
For those who view the theatre, or other arts for that matter, as a "frill" or "unnecessary," this may seem an isolated incident. But the artistic impulse, to do something for aesthetic value, or simply to tell a story, is the first thing that began to draw humans together into communities, real communities, aside from the survival instinct.
Community, based in the idea to commune or share. What are you sharing?
Once again, to refer back to another video on The Savannah Dramaturgy, never underestimate the power of schmucks (meaning dreamers, for those who did not catch the Clurman video).
These people, faced with potentially crippling social problems like drug addiction, didn't throw up their hands. They turned to a force as old as humanity itself, the arts.
For those who view the theatre, or other arts for that matter, as a "frill" or "unnecessary," this may seem an isolated incident. But the artistic impulse, to do something for aesthetic value, or simply to tell a story, is the first thing that began to draw humans together into communities, real communities, aside from the survival instinct.
Community, based in the idea to commune or share. What are you sharing?
Friday, September 10, 2010
Open House: City Lights Theatre
Some things simply get better with age. Wine, houses, and, rarely but occasionally, plays.
This would appear to be the case with Open House, City Lights Theatre's reopening foray onto the boards. First staged some years ago at the Lucas, Savannah Morning News critic Will Dean noted the script to be masterfully constructed yet let down by shoddy acting. A bit of time and a bit of care has seen to that, at the very least.
The sprawling comedy, written by City Lights' Artistic Director Jim Holt, details the process of trying to sell the most ideal house ever imaginable. With a cast of 21, one can easily lose track of plotlines and stories. Also, with the wide array of concerns, pratfalls, schticks, and conflicts, none seems to come strongly enough to the for to vie for the title of theme. However, though it might creak in places, the script is a fundamentally sound comedy that manages to drag the community to the forefront. With thinly veiled references to Savannah neighborhoods, and completely unveil jabs at certain local figures, it has a style and feel that is uniquely "Savannah."
The characters are, by and large, broadly (and kindly) painted by Holt and generally well served by their actors. Grace Diaz Tootle, reprising her turn as Karen, a rocket-fueled steamroller of a real-estate agent, demonstrates once again her strength and vindicates her nod in the Connect: Savannah's "Best of" awards in acting. Bailey Davidson, as fornicating college professor turned junior realtor Mark, strikes a bewildered but capable everyman while Johnny Walgate takes the concept of camp to heights even Sir Elton John never considered possible as Robbie. Les Taylor (Bill), and Terri Palanca (Martha) are a joy to watch, with Ms. Palanca reminding one of a slightly less insane, though no less homicidal in the long run, Kathy Bates from Misery. The ensemble works well together, for the most part, at creating a unified illusion, which, considering the sheer number of people, is an accomplishment in and of itself. If Suzanne K. Milton is tuned to the key of F sharp as the depressed and suicidal Kelly while the rest are in G major, it is a relatively minor fault.
To echo Will Dean, the production is akin to touring a massive new home, but this is certainly a mixed bag. When finding a walk-in closet one forgot was in the Master Bedroom, one is pleasantly surprised. Forgetting that one of the toilets runs, as there are so many to keep track of, is far less pleasant when the water bill arrives. Though certain moments may seem incomprehensible, a Dancer (ably performed by Jody Chapin) only visible to certain people, and joggers (Renee DeRossett and Kim Trammell) prancing through with dog poop like something out of Desire Caught by the Tail, and certain characters get lost in the shuffle, forcing resolution to their storyline to feel somewhat capped on, there are far more closets than toilets on offer here.
Plus, one of Savannah's most celebrated companies has returned to the boards, and that's worth having to jiggle the handle on occasion.
By Jim Holt; directed by Jim Holt; A City Lights Theatre Production. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 507-4112. September 10,11,17,18.
WITH: Bailey Davidson (Mark), Renee DeRossett (Jogger #1), Kim Trammell (Jogger #2), Les Taylor (Bill), Terri Palanca (Martha), Bradley Mullins (Thug), Cassidy Jane Tootle (Thugette), Suzanne K. Milton (Kelly), Corbett Coleman (Tom), Bonnie Rae Terrell (Gwen), Donald Jarvis (Glen), Alison Greer-Chodkiewicz (Jean), Lavon Youins (Chrome), Kareem McMichael (Alexander), Grace Diaz Tootle (Karen), Dia Frazer (Alicia), John Meyer (Charles) Johnny Walgate (Robbie), Louis Clausi (Arnie), Jim Holt (Doug), Jody Chapin (Dancer).
This would appear to be the case with Open House, City Lights Theatre's reopening foray onto the boards. First staged some years ago at the Lucas, Savannah Morning News critic Will Dean noted the script to be masterfully constructed yet let down by shoddy acting. A bit of time and a bit of care has seen to that, at the very least.
The sprawling comedy, written by City Lights' Artistic Director Jim Holt, details the process of trying to sell the most ideal house ever imaginable. With a cast of 21, one can easily lose track of plotlines and stories. Also, with the wide array of concerns, pratfalls, schticks, and conflicts, none seems to come strongly enough to the for to vie for the title of theme. However, though it might creak in places, the script is a fundamentally sound comedy that manages to drag the community to the forefront. With thinly veiled references to Savannah neighborhoods, and completely unveil jabs at certain local figures, it has a style and feel that is uniquely "Savannah."
The characters are, by and large, broadly (and kindly) painted by Holt and generally well served by their actors. Grace Diaz Tootle, reprising her turn as Karen, a rocket-fueled steamroller of a real-estate agent, demonstrates once again her strength and vindicates her nod in the Connect: Savannah's "Best of" awards in acting. Bailey Davidson, as fornicating college professor turned junior realtor Mark, strikes a bewildered but capable everyman while Johnny Walgate takes the concept of camp to heights even Sir Elton John never considered possible as Robbie. Les Taylor (Bill), and Terri Palanca (Martha) are a joy to watch, with Ms. Palanca reminding one of a slightly less insane, though no less homicidal in the long run, Kathy Bates from Misery. The ensemble works well together, for the most part, at creating a unified illusion, which, considering the sheer number of people, is an accomplishment in and of itself. If Suzanne K. Milton is tuned to the key of F sharp as the depressed and suicidal Kelly while the rest are in G major, it is a relatively minor fault.
To echo Will Dean, the production is akin to touring a massive new home, but this is certainly a mixed bag. When finding a walk-in closet one forgot was in the Master Bedroom, one is pleasantly surprised. Forgetting that one of the toilets runs, as there are so many to keep track of, is far less pleasant when the water bill arrives. Though certain moments may seem incomprehensible, a Dancer (ably performed by Jody Chapin) only visible to certain people, and joggers (Renee DeRossett and Kim Trammell) prancing through with dog poop like something out of Desire Caught by the Tail, and certain characters get lost in the shuffle, forcing resolution to their storyline to feel somewhat capped on, there are far more closets than toilets on offer here.
Plus, one of Savannah's most celebrated companies has returned to the boards, and that's worth having to jiggle the handle on occasion.
By Jim Holt; directed by Jim Holt; A City Lights Theatre Production. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 507-4112. September 10,11,17,18.
WITH: Bailey Davidson (Mark), Renee DeRossett (Jogger #1), Kim Trammell (Jogger #2), Les Taylor (Bill), Terri Palanca (Martha), Bradley Mullins (Thug), Cassidy Jane Tootle (Thugette), Suzanne K. Milton (Kelly), Corbett Coleman (Tom), Bonnie Rae Terrell (Gwen), Donald Jarvis (Glen), Alison Greer-Chodkiewicz (Jean), Lavon Youins (Chrome), Kareem McMichael (Alexander), Grace Diaz Tootle (Karen), Dia Frazer (Alicia), John Meyer (Charles) Johnny Walgate (Robbie), Louis Clausi (Arnie), Jim Holt (Doug), Jody Chapin (Dancer).
Wednesday, September 8, 2010
Going Traditional
So, dear readers, your editor here at The Savannah Dramaturgy is going to take a moment to make a shameless plug.
I now have a book out, and many of the editorial thoughts and musings put out over time have been distilled in it.
I now have a book out, and many of the editorial thoughts and musings put out over time have been distilled in it.
Tuesday, August 31, 2010
Atlanta Dispatch
Recently, when taking my fiance to Atlanta to begin her stint with the Atlanta Shakespeare Company, I was afforded the opportunity and balmy weather to wander around downtown Atlanta for a few hours. Turning from Peachtree Street, onto Peachtree Lane, then strolling down Peachtree Court, and then up along Peachtree Road, I stopped by two of our young capitol's two theatrical landmarks. The first being the Woodruff Arts Center (Housing the Alliance Theatre), and the Historic Fox Theatre.
These two landmarks had one very remarkable thing in common on this pleasant August afternoon, they both boasted a small string of protesters outside their gates.
The Woodruff's protesters were not, more's the pity, particularly concerned with the Alliance Theatre's disconcerting habit of casting their shows out of New York nor with their NY-centric playwriting program. Instead, they appealed to issues of gender equality, claiming that the Woodruff refuses to hire female security guards. While I cannot speak for the existence (or lack thereof) of this practice, I can say that it seems mildly ridiculous if it actually does exist. Firstly, there is the fact that every female guard I have ever faced at passport control has been twice as frightening as the male guards I have faced. For the second, we must reach back to a spottier time in American history, to the West and its notorious brothels. The common practice, should a gunslinger get out of sorts with his lady, was to send the madam as opposed to a bouncer. Quite simply, it just worked better, according to sources.
However, and bearing more directly on issues dramatical, is the protest outside of the Fox theatre. According to protestors, the board of Atlanta Landmarks (which operates the Fox) is looking to evict Joe Patten, the 83 year old former Technical director of the Fox and founder of Atlanta Landmarks, from his Fox Theatre apartment. Upon a glance at the Atlanta Journal Constitution, the issue is slightly more complex. Articles outlining the full situation can be found here and here. An Associated Press article with a title stating that the "Phantom of the Fox" (which is a great nickname, and Savannah needs people living in its theatres) could remain in his apartment was published by the San Francisco Examiner this morning.
It is not our purpose here in The Savannah Dramaturgy to register much in the way of opinion on this subject. A flyer handed out by protesters claims that Mr. Patten is being evicted because the theatre board claims they need the space for "improvements." According to various sources, the board has not yet made this claim, but instead voiced concerns about the octogenarian's health. Instead, we would like to draw your attention to the outpouring of concern to be found.
On some level, this man (and the theatre he saved) has engaged with the community in a meaningful way to the point that they care (beyond his immediate family and close friends) precisely where he lives and what goes on in the theatre. Though it is little more than a touring house, it is somehow a part of the popular imagination. In all honesty, there are a number of theatres in Savannah (possibly a majority) that would simply not be missed should they shut their doors. So again the question comes about: How to engage?
These two landmarks had one very remarkable thing in common on this pleasant August afternoon, they both boasted a small string of protesters outside their gates.
The Woodruff's protesters were not, more's the pity, particularly concerned with the Alliance Theatre's disconcerting habit of casting their shows out of New York nor with their NY-centric playwriting program. Instead, they appealed to issues of gender equality, claiming that the Woodruff refuses to hire female security guards. While I cannot speak for the existence (or lack thereof) of this practice, I can say that it seems mildly ridiculous if it actually does exist. Firstly, there is the fact that every female guard I have ever faced at passport control has been twice as frightening as the male guards I have faced. For the second, we must reach back to a spottier time in American history, to the West and its notorious brothels. The common practice, should a gunslinger get out of sorts with his lady, was to send the madam as opposed to a bouncer. Quite simply, it just worked better, according to sources.
However, and bearing more directly on issues dramatical, is the protest outside of the Fox theatre. According to protestors, the board of Atlanta Landmarks (which operates the Fox) is looking to evict Joe Patten, the 83 year old former Technical director of the Fox and founder of Atlanta Landmarks, from his Fox Theatre apartment. Upon a glance at the Atlanta Journal Constitution, the issue is slightly more complex. Articles outlining the full situation can be found here and here. An Associated Press article with a title stating that the "Phantom of the Fox" (which is a great nickname, and Savannah needs people living in its theatres) could remain in his apartment was published by the San Francisco Examiner this morning.
It is not our purpose here in The Savannah Dramaturgy to register much in the way of opinion on this subject. A flyer handed out by protesters claims that Mr. Patten is being evicted because the theatre board claims they need the space for "improvements." According to various sources, the board has not yet made this claim, but instead voiced concerns about the octogenarian's health. Instead, we would like to draw your attention to the outpouring of concern to be found.
On some level, this man (and the theatre he saved) has engaged with the community in a meaningful way to the point that they care (beyond his immediate family and close friends) precisely where he lives and what goes on in the theatre. Though it is little more than a touring house, it is somehow a part of the popular imagination. In all honesty, there are a number of theatres in Savannah (possibly a majority) that would simply not be missed should they shut their doors. So again the question comes about: How to engage?
Sunday, August 29, 2010
Dr. Horrible's Sing-Along Blog Live!: Odd Lot Productions
When the media landscape changes, it only makes sense to look further afield for material when looking to expand the dramatic canon.
Though this might seem a touch grandiose when discussing Dr. Horrible's Sing-Along Blog, it is nonetheless fitting in describing precisely what occurred this past weekend at Muse Arts Warehouse when the Odd Lot (Savannah's resident improv troupe) presented a stage adaptation of the same.
Chronicling the story of a low-rent super-villain on his quest to join the "Evil League of Evil" and find the courage to profess his feelings to Penny (played by Lynita Spivey), an acquaintance made at the local laundromat, the script made its debut as an internet video starring Neil Patrick Harris. That the video achieved viral status is a testament to the music, writing, and general fun of the story.
And, in its Savannah stage premier, the cast of the Odd Lot has done it justice. With capable direction and cast, the live transition is made as smooth as possible for something written with sound-byte internet cinema in mind. Indeed, it renders the copious apologetics issued by the production staff prior to curtain unnecessary.
Though rocky at points, the Odd Lot finds its greatest success here when indulging in the invention and self-referential humour for which they are known. The continual return of a homeless man who "will accompany for food" (Played by Tim Reynolds) to provide underscoring is one simple example of this show at its best. Indeed, their greatest accomplishment in the cozy relationship with a Youtube meme is that they have managed the difficult feat of creating an "event."
Such "events" are rare, and have most recently been seen in Savannah's ubiquitous productions of The Rocky Horror Show. However, unlike Rocky Horror, this production has not yet had a chance to ossify into a creature capable of inducing shudders upon receiving the announcements of its revival. Congratulations to the Odd Lot on their first foray into production.
By Joss Whedon; directed by Chris Soucy; An Odd Lot Production. At the Muse Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. August 27-28.
WITH: Justin P. Kent (Dr. Horrible), Lynita Spivey (Penny), Ryan McConnell (Captain Hammer), Gabe Reynolds (Moist), Trish McKay (Bad Horse Chorus/ Crazy Fan), Tim Reynolds (Bad Horse Chorus/ Homeless Guy), Megan Jones (Bad Horse Chorus/ Crazy Fan), Timmy Vo (Bad Horse Chorus/ Crazy Fan), Hai Dang (Bad Horse Chorus/ Mayor).
Though this might seem a touch grandiose when discussing Dr. Horrible's Sing-Along Blog, it is nonetheless fitting in describing precisely what occurred this past weekend at Muse Arts Warehouse when the Odd Lot (Savannah's resident improv troupe) presented a stage adaptation of the same.
Chronicling the story of a low-rent super-villain on his quest to join the "Evil League of Evil" and find the courage to profess his feelings to Penny (played by Lynita Spivey), an acquaintance made at the local laundromat, the script made its debut as an internet video starring Neil Patrick Harris. That the video achieved viral status is a testament to the music, writing, and general fun of the story.
And, in its Savannah stage premier, the cast of the Odd Lot has done it justice. With capable direction and cast, the live transition is made as smooth as possible for something written with sound-byte internet cinema in mind. Indeed, it renders the copious apologetics issued by the production staff prior to curtain unnecessary.
Though rocky at points, the Odd Lot finds its greatest success here when indulging in the invention and self-referential humour for which they are known. The continual return of a homeless man who "will accompany for food" (Played by Tim Reynolds) to provide underscoring is one simple example of this show at its best. Indeed, their greatest accomplishment in the cozy relationship with a Youtube meme is that they have managed the difficult feat of creating an "event."
Such "events" are rare, and have most recently been seen in Savannah's ubiquitous productions of The Rocky Horror Show. However, unlike Rocky Horror, this production has not yet had a chance to ossify into a creature capable of inducing shudders upon receiving the announcements of its revival. Congratulations to the Odd Lot on their first foray into production.
By Joss Whedon; directed by Chris Soucy; An Odd Lot Production. At the Muse Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. August 27-28.
WITH: Justin P. Kent (Dr. Horrible), Lynita Spivey (Penny), Ryan McConnell (Captain Hammer), Gabe Reynolds (Moist), Trish McKay (Bad Horse Chorus/ Crazy Fan), Tim Reynolds (Bad Horse Chorus/ Homeless Guy), Megan Jones (Bad Horse Chorus/ Crazy Fan), Timmy Vo (Bad Horse Chorus/ Crazy Fan), Hai Dang (Bad Horse Chorus/ Mayor).
Wednesday, August 25, 2010
The Placide Book: A Savannah Dramatic Census
Recently, in musing over the state of the theatrical arts in Savannah (along with trying to put together an independent production), it dawned that though our community often bemoans our current condition (such as the recent discussion of the Savannah Morning News' interview with Caitlin Dutton), the exact status of the community is unclear.
As such, The Savannah Dramaturgy proposes to compile a "Placide book" of Savannah Theatres, or essentially conduct a census. The first step is to compile a list of institutions for the survey. Below is the beginnings of the list, with the hope that our readers will fill us in on things which we have missed.
+ All Walks of Life (AWOL)
+ Armstrong Atlantic State University Masquers
+ Bay Street Theatre
+ City Lights Theatre Company
+ City of Savannah Bureau of Cultural Arts
+ Collective Face, The
+ Fairweather Productions
+ Kimsam Productions
+ Muse Arts Warehouse
+ Odd Lot Productions
+ Performing Arts Collective of Savannah
+ Savannah Children's Theatre
+ Savannah College of Art and Design School of Performing Arts
+ Savannah State University Players By The Sea
+ Savannah Theatre, The
+ Three Muses Productions
If there are organizations on this list that I am missing, please let me know, by all means! We want this to be as complete as possible, after all.
As such, The Savannah Dramaturgy proposes to compile a "Placide book" of Savannah Theatres, or essentially conduct a census. The first step is to compile a list of institutions for the survey. Below is the beginnings of the list, with the hope that our readers will fill us in on things which we have missed.
+ All Walks of Life (AWOL)
+ Armstrong Atlantic State University Masquers
+ Bay Street Theatre
+ City Lights Theatre Company
+ City of Savannah Bureau of Cultural Arts
+ Collective Face, The
+ Fairweather Productions
+ Kimsam Productions
+ Muse Arts Warehouse
+ Odd Lot Productions
+ Performing Arts Collective of Savannah
+ Savannah Children's Theatre
+ Savannah College of Art and Design School of Performing Arts
+ Savannah State University Players By The Sea
+ Savannah Theatre, The
+ Three Muses Productions
If there are organizations on this list that I am missing, please let me know, by all means! We want this to be as complete as possible, after all.
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