Don't Miss the Gaelic Park Players Production of The Patrick Pearse Motel by Hugh Leonard: April 9 - 11, 16 - 18, 23 - 25, 2010

Don't Miss The Gaelic Park Players Production of The Patrick Pearse Motel by Irish playwright Hugh Leonard: April 9 - 11, 16 - 18, 23 - 25, 2010

There are few South Side actors whose work I recommend unreservedly, but this production includes one of them in the likes of Marty Donovan who I have had the pleasure of working with onstage myself and witnessing his raw talent, attention to his craft, his ready wit, his incredible imagination, humor and all around ability to move an audience to laugh, cry and cheer.

In the context of a Hugh Leonard play, his efforts are not to be missed. While you may be more familiar with Leonard's Da or A Life, I urge you to take a chance to see this production of The Patrick Pearse Motel while you can, and to get seats while you can. Opening night offers two for one tickets a rare theater buy.

Here's what the company says about the play and the production:

The Patrick Pearse Motel  by Hugh Leonard

An upwardly mobile couple living in an upscale Dublin suburb, and their business partners are showing what real patriotism is all about-selling it in the form of hotels. Each room in the Patrick Pearse Motel is decorated with a portrait of a national hero. Unbeknown to her doting husband, the lady of the house is plotting a tryst with an old flame, a television commentator famed for his rudeness. Soon the stage is filled with mistaken identities, dropped trousers, a flimsy negligee and false accusations. On a rainy night at The Patrick Pearse Motel, the characters crisscross paths, threaten one another with a shillelagh and hide in convenient closets. An hysterical bedroom farce that will have you wondering how will all of this turn out and who will get out alive?

The Patrick Pearse Motel
Director-Tom Kearney
Assistant Director-Georgina Chapman

Cast:
Dermod -Marty Donovan
Grainne-Kathy Holahan
Fintan-Stephen Heffernan
Niamh-Mary Kate Brophy
Miss Manning-Taryn Mckenna
James Usheen-Mick Kenna
Hoolihan-Barney Farrelly

Show Dates are:
Fridays April 9th, 16th and 23rd at 8:00pm
Saturdays April 10th, 17th and 24th at 8:00pm
Sundays April 11th, 18th and 25 at 3:00pm

Tickets:
PLEASE NOTE TICKETS ARE AVAILABLE AT THE GAELIC PARK OFFICE

$12.00 Theater Performance only
$25.00 Dinner & Theater (Sundays Only)
Opening Night - Buy 1 Get 1 Free!!
Reservations are a must for Dinner & Theater
Tickets are non-refundable

For tickets and dinner reservations please call:

The Gaelic Park Players
Chicago Gaelic Park
6119 W. 147th Street
Oak Forest, IL 60452

708-687-9323


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This is a Facebook Event. If you are a Facebook member you can go here for more information:

If you do see the show, be sure to tell them at the box office you heard about it here!

Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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Wheaton Drama Presents A Year With Frog and Toad on Weekends Nov 21 - December 14

A Year With Frog and Toad at Wheaton Drama

Wheaton Drama, Inc. (WDI), located at Playhouse 111, 111 N. Hale Street in downtown Wheaton, prepares to open its second show of the 2008-2009 season, with the Tony Award-nominated family musical, A Year With Frog and Toad.  (Map Link)

Steve Schroeder (left) as Frog and Chris Bruzzini as Toad in A Year With Frog and Toad. 

Photo courtesy of Jo-Ann Ledger

A Year With Frog and Toad will be performed from November 21 – December 14. Shows are Fridays at 8pm, Saturdays at 3pm and 7pm, and Sundays at 3pm. Tickets are $21 each, or a Family Four Pack is available for $76. Visit www.wheatondrama.org for more information.
The cast includes: Chris Bruzzini (Toad), Geri Larson (Bird, et al), Carrie Pyykkonen (Squirrel, et al), Margo Raube (Squirrel, et al), Amy Royle (Bird, et al), Steve Schroeder (Frog), Lori Skubich (Snail, et al), and Stuart Vance (Bird, et al).

The show is directed by Carla Mutone, assisted by Tony Farruggio. Production management is by Mary Beth deBolt and Dawn Herbst. Ginger Stephens Terlep is the music director. Choreography is by Carla Mutone and Tracy Adams, and Becky Poole will stage manage.

Director: Carla Mutone
Publicity: Polly Ludena at publicity@wheatondrama.org
Tickets: www.wheatondrama.org or call 630-260-1820

Other shows in WDI’s exciting 2008-2009 season include; Deathtrap by Ira Levin, A Streetcar Named Desire by Tennessee Williams, and the season finale, City of Angels*, with music by Cy Coleman, lyrics by David Zippel, and book by Larry Gelbart.

*Note: I've been in City of Angels and it is an amazing film noir musical and not to be missed when done well. Come to think of it, the only play in Wheaton Drama's season I've not been in is Frog and Toad and if it matches up to the likes of the others, it should be a no-miss for any potential theater goers. Deathtrap is a spine-tingling murder thriller that is the definitive word on the murder thriller, while  A Streetcar Named Desire remains Tennessee Williams greatest work on man's heated passions, anger, regret and madness all rolled up in the faded hopes and dreams of New Orleans misty past where it might only take a bit or red paper to create a bit of magic, and an old record to create the romance of the past.

So while I am not familiar with the group, per say, I think it's worth a look-see. Their play reading and selection committee has certainly done an admirable job in picking shows that are entertaining and worth the trek. That is usually the sign of a group worth patronizing. If you do go, let me know what you thought, in case I don't get to go and review it myself.


Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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See "Bah Humbug" an Original Musical Version of "A Christmas Carol" Nov 29th and 30th

Event Info

See "Bah Humbug" an Original Musical Version of "A Christmas Carol" Nov 29th and 30th
Only two performances!

Since I won't be able to see Bah Humbug, I got a chance to see one of its tech rehearsals this week instead. From what I saw, the show looks to be an exciting and fun musical rendition of Charles Dickens' A Christmas Carol that will be fun for adults and children alike.

Staying very close to the text of the original novel, Playwright Susan Pagel's script provides an entertaining holiday trip through the trials of Miser Ebenezer Scrooge as he is confronted with his dislike of Christmas by Ghosts and Spirits of the Past, Present and Future.

I have often avoided productions of this show because I have never seen one that was not to me a re-hash of the same old story. But this production is enhanced by singing, dancing, and on-stage fiddling that makes it what could be a family favorite if discovered by a larger producer.

This is a last minute post, but if you want a fun thing to do Thanksgiving weekend, this benefit for Theater on the Move, is just what Santa ordered.

I won't try to Boss you around by saying who, it's tacky to review a show that isn't up, but this Scrooge goes through a transcendent change you won't soon forget.

Sunday, November 29, 2008 at 8:00pm
Sunday, November 30, 2008 at 3:00pm

Location:
Morgan Park Academy Arts Center
Street:
2153 W 111th Street
Chicago, IL 60643

CTA Bus: CTA Route 112
CTA Rail: Red Line to Bus 112 or Orange line to 49, 49a, and 112 EB
Metra: A few blocks west of the Metra Rock Island Beverly Branch

Reservations for open seating: 773-239-2399


Here is some more information about the show and the history of the group producing it. Thanks to the Theater on the Move publicity people for providing it:

Theater On The Move, a subsidiary of Better Entertainment Enterprises, (BEE) will be celebrating it’s 25th anniversary providing entertainment in the Southwest area with it’s musical production of “Bah Humbug!, Dickens’ Christmas Carol with Song & Prose,” at the Morgan Park Academy on November 29th and 30th. The musical tells the story of Scrooge and the four spirits who visit him on Christmas Eve, forcing him to become a more kind and charitable person, keeping the spirit of Christmas in his heart throughout the calendar year. Cast members ranging in age from 2 to 97 will present this family entertainment which was written an adapted from Dickens story by Artistic Director, Susan Pagels ( West Beverly) with musical direction by Catherine Kogut-Simon (Matteson).

Better Entertainment Enterprises (BEE) was founded in 1977 and incorporated not-for-profit in 1978. BEE operated as a touring company until 1984 when a performance and training center (Bethel Performing Art Center) was established in Evergreen Park. The space was a derelict four room parochial school building, about to be demolished, when BEE took it over. Untold hours of volunteer labor and contributions brought it up to fire code and made it a cozy black box theater. After 10 years of continuous productions, BEE found it was bursting at the seams and with the kind support from its members and numerous area businesses moved to a much larger space in Merrionette Park.

The ink was not dry on the lease when pipes bursts in the building, flooding the basement and causing several weeks delay in construction. Despite this obstacle, volunteers worked day and night to create a 300 seat dinner-theater with food services provided by their top supporter, Papa Joe’s restaurant in Oak Lawn. BEE, operated successfully for several years as Struggles Dinner Playhouse until once again, BEE incurred a name change, and became, “Theater On The Move”, traveling to spaces in Crestwood, Alsip, Blue Island and for the past few years Morgan Park Academy’s stage. Since its inception, BEE has provided an opportunity for people in the Chicago metropolitan area to partake in live theater programs.

The Company has produced over two hundred full-scale comedies, dramas and musicals. Two original education children’s productions were performed for over six hundred Chicago and suburban public schools and the theater also sponsored two citywide talent competitions and workshops in the theater arts to local Girl Scout Troops. During it’s twenty-five years of operation, it has trained over 1000 area children with varying abilities and diverse backgrounds, many of whom have gone on to perform professionally and even on Broadway stages.

In addition to seeking the truly talented artist, youths that are emotionally, physically and socially disadvantaged have been given the opportunity to work in a theater environment by BEE. Students from the Pride Alternative School in Oak Lawn and Aunt Martha’s in Chicago are among the groups that have been targeted in the past. Senior citizens have also been welcomed members of many casts and stage crews. Through their training with BEE, these members gained a sense of fulfillment and the confidence to perform in other theaters in the Chicago area.

BEE’s current production “Bah Humbug” has been performed for more than 15 of its 25 years and features veteran performer John B. Boss (Oak Lawn) as the miserly old Scrooge. Playing the spirits are Jack Simon (Matteson) as Marley, Becca Thoss (Orland Pk) and Kaitlyn Frieling (Palos Heights) as Christmas Past, Peter James Foote (Beverly) as Christmas Present and Simon doubling as the Ghost of Christmas Future. Scrooge’s clerk Bob Cratchit is played by Ron Buscemi (Evergreen Park) with Kathy Murzyn (Marquette Manor ) as Mrs. Cratchit and Olivia Aleman (Oak Lawn) and Adrian Arriaga (Chicago) sharing the role of Tiny Tim. Also featured in the cast are Leo Fagan (Chicago Lawn) and Patricia Henaghan (Olympia Fields) as Mr. & Mrs. Fezziwig. The story line is narrated by Susan Pagels (West Beverly ).

Other members of the 57 person cast include: Ashley Mannion, Rachel Olson, Meghan Cronin, Meghan Hurkes, Jenna Hurkes,Callie Pieczara, Emily Killeen, Jackie Haas, (Oak Lawn): Danielle Hamzik (Bridgeview),Alice & Randy Trull (Hickory Hills), Abbey Norton ( Tinley Park), Sarah Conway, Peter Donald Foote (Scrooge as a boy) (Beverly), Nancy Balouris, Ray & Mary Anne Zygmuntovic, John Marozas, Mary Kenealy, Cathy Earle, (Chicago Ridge), Destiny Frejek, Charles Jackson, Gabrielle Berrien, Yvonne & Shesheta McNutt, Brett Arceneaux, Alexander Arnold, Daphne Ziqui, Vanessa Brown, (Chicago) : Christina Jesik, Erin Kelly, Lauren Luchsinger, Scott Sowinski (Mount Greenwood) and Mary , Lauren & Jimmy O’Neal, Jennifer, Jessica, & Michelle Spreadbury, Lauren Merriweather, Katie Scheidt (Oak Forest).

Show times are 8:00PM on Saturday , November 29th and 3:00PM on Sunday November 30th at the Morgan Park Academy, 2153 W 111th Street.

Ticket prices are $15 for adults and $13 for Senior and children 12 and under. Tickets can be reserved by calling 773-239-2399. Kick off your Holiday Season with this much loved classic and help BEE celebrate their 25th Anniversary.

Hope you can make it! Happy Thanksgiving!

Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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Up & Coming Theatre's "The Producers" is A Triumph

As my regular readers know, in order to support the art, every so often I will promote the arts by running ads for Chicago Area Productions, and when I can, and a show runs long enough to merit it, or I can see it before it opens in a short run, I write a review. I attended the performance of Up and Coming Theater's The Producers on Saturday, October 11. 2008. 

The Producers
Up and Coming Theatre and
District 214 Community Education
http://www.uactheatre.com/

Short Review: This production of The Producers is a triumph of comedy, satire, song and dance that will leave you longing for more as you laugh and sing your way home.

Change your plans for this weekend and see Up & Coming Theatre’s The Producers on October 16, 17, 18 and 19th or you’ll regret it and your smarter friends will make fun of you. I am tempted to come a second and or third time, myself.

Forest View Theater
2121 S. Goebbert Rd
Arlington Heights, IL 60005

Remaining Performances:
• Thursday, October 16 - 7:30 pm
• Friday, October 17 - 7:30 pm
• Saturday, October 18 - 7:30 pm
• Sunday, October 19 - 2:30 pm

Tickets:
• Call 847-718-7702 Mon - Fri 9 am to 4 pm
• Advance - $15 ($12 with Gold Card)
• Door - $18

Up & Coming Theatre’s current production of The Producers is nothing less than a triumph and I don’t use that term lightly. This production is a hysterical romp, a madcap express train riot and one of the most fun and exciting shows I’ve seen in a long, long time. The cast, full orchestra and crew provided a synthesis of acting, singing, dancing, directing, choreography, orchestra, crew, sets, lighting, and fantastic costuming that left me longing for more.

Director Susan Hamel kept this rollicking farce moving at lightning speed and seemed to never leave an opportunity for an actor or dancer to let a laugh pass by while somehow increasing the pace as the number onstage grew. Choreographer Jennifer Cupani’s marvelous work was not only breathlessly pleasing, but breathtakingly funny as well, and provided everyone in the show, from walker tapping grannies, to Max. Leo, Ulla and the “Springtime” water ballet dancers, a chance to shine as they danced, rolled, shaked, shimmied, Ullalated, Scotterized, or DeBris’d the audience into ecstascy, laughter, or hysteria, whatever the case may have been.

The Music Direction by Thomas Stirling was masterful. The Producers, Jorge Bermudez, Rich McMillan and Mario Manno are to be praised for allowing Stirling the resources to put together a 16-piece orchestra, and what an orchestra, not overpowering, note perfect, and perfectly nuanced, the orchestra provided the track on which this express hurtled so directly towards our hearts. His work with the singers and dancers was superb. While you can never tell what part of a performance’s success is due to the Director and Musical Director, when this many people get so much so perfectly right, you know that their hands must have been strong at the helm of this titan of a musical. I’d call it a Titanic success but this ship did not flounder!

The lighting and scenery by Chelsea Lynn and Robert Hamel respectively added to the fun. While Max’s office seems unremarkable, it is in other areas that the true creativity comes out, and boy does it come out! That’s all I can really say, some things have to be seen in person to be appreciated.

Getting back to Director Susan Hamel, her major triumph was in creating a cohesive whole out of what could have been an unconnected morass of individual bits and “here I am” performances, focusing them, drawing the best out of each performer, until the show had assumed a life of its own, a synergistic cohesion of magic, where a miracle has occurred beyond your wildest expectations. That’s The Producers I saw this weekend. More than worth the 35-mile round-trip I took (twice, I got lost the first time) to get there. It was worth the trip, and more.

This seemingly effortless cohesion of talent ran through the whole show, this cast knew what they could do, and they did it. They knocked the audiences socks off one toe at a time, and then slipped the socks back on so they could do it again.

Now I have to try to write about nearly 30 performers, each of whom in other shows I would probably single out. Oh the tragedy of it, oh the horror! I’m going to leave someone out! And that will be a tragedy, for The Producers, like many shows of its kind, depends upon the company as a whole to keep the show going in so many places, and in this production in particular, it is the company that is the star, from It’s Opening Night, through Along Came Bially, the mammoth, eye-bending, Springtime for Hitler, Prisoners of Love, and Goodbye, the company showcases the stars, but is itself the star, as each member is given their own moments to shine, time after time, after time, after time.

Certainly it helps that the singers can dance and the dancers can sing, the tappers can count, and sing, and dance all at the same time, and all can be funny when they are supposed to be too.

There is a lot of physical comedy in this show and something you just can’t get from a concert, though the music was certainly top quality. From Spidale’s death grip on his blankey, Hamel’s entreaty’s to God, Ulla’s well, Ullaating, Anthony Berg’s incredible antics as the crazed Franz Liebkind, John Boss’s continual antics from the first seconds of his entrance as DeBris to his last moments on stage, and most especially, Dan Naylor’s counter to type dramatic, flouncing, prancing, saucy, bouncy, leaping entrance as DeBris’ Choreographer Scott, complete with saucy belly moves that had young girls there to see him swooning (I saw them Dan, don’t let them deny it, there was swooning); the show’s physical comedy was brilliantly done and helped make the show such a smash hit.

I guess the lead actors helped too. What? Them too?

When meek and mild Leo Bloom (Bob Spidale) mentions off-handedly that a crooked Broadway producer could make more money from a flop than a hit; cynical has-been Max Bialystock (Nicholas Hamel) jumps on the idea – and Bloom – like a crazed mountain lion, starting the two on an misbegotten search for a play “so bad it has to fail”, that has a brilliance, talent and fervor that is a delight for the heart and ears.

Essential to the success of the show is that Hamel and Spidale gel nearly perfectly as comic foils and masters of physical comedy with their own unique talents having many surprises to give. Though both bear some resemblance to the originals, especially Spidale, you soon forget that and get lost in this company’s magical trek towards disaster.

Hamel is nothing less than fantastic as Bialystock, less knowing and cynical than Nathan Lane’s version of the role, his Max sings richer, dances with more grace and with moves that Mr. Lane could only fondly remember. Hamel’s Betrayed, the test of tests for any to attempt this role, is superbly and artfully performed with a deftness and mimicry of the others in the cast that brought roars from the audience. His comic timing and sense of the absurd delight the audience as he pushes Bloom along in Der Gutan Tag Hop-Clop and Keep it Gay. It seems clear that one day, you will remember that you saw Nicholas Hamel in person in a break-through performance for only $18, fondly, if you are clever enough to come.

Bob Spidale is also someone you may well remember seeing first here. His Max Bloom has a golden voice that makes all his songs a delight, but his emotive skills shine though especially in That Face, I Wanna Be A Producer, and that homage to friendship, ‘Til Him. I’d compare him too, but who care about "that guy" when you can see Spidale this weekend?

Like Hamel, Spidale is a great physical comic. Spidale’s sense of the vaudevillian hilarity is never so spot on as when he dives for his “blanky” or fights with Bialystock after the first night of their show. Spidale makes the audience laugh, roar and sigh, as he, Hamel and Malloy triangulate the movements of the audience’s funny bones all night long.

Sarah Malloy’s Ulla literally leaves male audience member’s jaws dropping* when “Ulla dance” and “Ulla dance again”. I turned around to look when I finally was able to wrench my eyes away; the things a critic must do for the art. My eyes are still annoyed at me for taking them off Ms. Malloy. Her husband is not.

Yet, Malloy’s acting and singing chops go far beyond Ulla’s bewitching belly blenderizing as she brings a joyous esprit to Ulla that makes her a joy to watch throughout the show.

Sarah Malloy’s voice as “Ulla Sings” is also quite splendiciously fine, and if her belting is not as loud as Ethel Merman’s, quite frankly, nobody minded, the sound was beautiful and so was she. Malloy’s singing in That Face is particularly beautiful and her performance in the last quarter of the show, as “Ulla acts” brings an almost insane excitement to the part.  More importantly, Malloy played a funny, determined, intelligent Ulla, and I continually wondered who was pulling the strings as soon as she entered the story. This was a plot element missing from the modern version, and I liked it.

Well, you’ll have to see the show to see what else she delivered. It was a joy to watch her magnificent performance as Ulla the dancer. Here Malloy, surrounded by all the other dancers in the company not only held her own, but shone showing just how talented Malloy is, and how much more of her than “Ulla” we may see of her some day. *(I am told that the murmurs during intermission that photos N____e and S______a took of husbands with their jaws gaping open were available for sale at a small fee, is just a rumor. Surely participation in theatre could not lead our young youths astray?)

I am afraid it will be difficult to talk about John B. Boss’ performance as the untalented director DeBris with a straight face, he was so outrageously funny, it was only the cast’s rehearsal schedule that saved them from Tim Conway-it is, if you get it? Got it? Good.

John Boss’ DeBris goes beyond staggering in this unforgettably flamboyant performance that had the audience rolling each and every time he made his unique way onto the stage.

Boss’ acting, singing and dancing would have completely stolen any other show had not this cast; from curly tops and producer hats to baby blue tap dancing bottoms and storm trooper boots, not been so finely polished. Boss is a consummate actor, and in what could have been a two-note character part, he produces a symphony, with all the trills and flourishes that his comic imagination could provide, each moment building on the one before it, until that glorious moment when all is revealed and he tops himself once again. And amazingly, the company marches right along with him to glory.

I’ve seen Boss in any number of productions over the years; he’s entertained audiences in all kinds of roles from romantic but unmarried Bobby in Company to geriatric curmudgeon Scrooge in The Christmas Carol, but in this performance, he has outdone himself, going beyond all expectations, superceding all imagination and anything the movie has to offer. If for no other reason, you should see this production just to see John Boss’ DeBris. You will never, ever see anything like it again.

DeBris is the perfect vehicle for Boss who is a magnificent performer in his own right. Tall and bald, his DeBris is a queenly force to be reckoned with, yet played with all the fawning insecurity the part requires. His, um, how should I put it in a family blog, posse, I’ll use that spelling, Will Loftus as Carmen Ghia, Barry Blodgett as Brian, Michael DeFrang as Kevin (and the Soloist Storm Trooper in Springtime for Hitler), Dan Naylor as Scott, and Katy Smith as Shirley, were perfectly cast and perfectly funny. Frankly, I enjoyed this scene far more than I enjoyed it in the movie due to the combined efforts of the cast. Granted, the tension brought to the scene by Spidale and Hamel pushed the laugh index through the roof and Boss’s take no prisoners physical comedy approach made the audience scream. That was before Gary Peterson’s memorable entrance.

Later in the show, DeFrang’s solo in Springtime for Hitler was a showstopper. Superb. No other word for it. Then of course, John Boss entered as “you know who”. From that point on the laughter never seemed to end.

The most difficult part of this review is that there is so much to praise in this production and so little to criticize. I found nothing of note to criticize, and worse, there was something wonderful to point out about every actor on stage. In a cast this large, this makes the review start to take on the length of War and Peace, yet in this case, it might be worth it.

For example, while Will Loftus was amazingly funny and sincerely pathetic as Carmen Ghia, providing Boss a perfect counter-point all the way through the show, yet his deep bass solo near the top of the show in I Wanna Be A Producer is so rich and beautiful that it, in and of itself is worthy of a mention.

Anthony Berg’s startlingly amazing performance and dancing as Fritz Liebkind (and his birds) caught me completely by surprise. Berg brought just the right amount of madness and camp to his portrayal, yet when the time called for tension and drama, he was able to bring it within the lines of the character he had drawn. I doubt anyone who saw his hilarious singing and dancing performance as Fritz, will ever be able to forget it. He should go far.

So who do I leave out?

How about the beautiful and beautifully choreographed tap girls who steal the audiences hearts in I Wanna Be A Producer: it’s easy to single out the tall and beautiful Laura Berger and not-as-tall but beautiful Samantha Giovannetti, since they double as usherettes. At the same time, the gorgeous Nicole Giannelli, Erika Bradbury, Jodi Buczek and Katy Smith, blended perfectly with the others, making the tap girls a unified, funny and sexy unit throughout the show. 

Or should I forget to mention the comic genius of “Not her!” Elaine Castor whose frenetic and persistent antics reminded me of the Ingénue in the Royal Shakespeare Company’s “The Critic” from the Chicago International Theatre Festival of the 1980’s? Both women decades apart gave me belly laughs and a near coronary. This company can’t be faulted for not swinging Castro in on a wire, it’s not in the script, but she tries to get back in the chorus line nearly every other way with fierce aplomb, yet in her other dancing characters, could not be a more graceful beauty or refined, if called for.

Speaking of costumes, follies girls Shannon Langland, Erika Bradbury, Mia Hirschel, and Toni Higgins-Thrash deserve special marks for bravery for wearing their staggeringly skimpy and ludicrously perfect costumes during Springtime for Hitler. Come to think of it, I really should have worked tech on this show. It’s only 70 miles round trip, quite reasonable really…

Don’t let me let this tiny bit of wit give the chorus girls short shrift. Their voices were heavenly and did much to make the Busby Berkeley meets Esther Williams choreography near the end of the show work its magic and their voices were as gracefully heavenly as they were. Yep, I really blew it on this one. I bet I could have been the pigeon wrangler…

Double casting was well hidden. There sure were a lot of Bialy girls. Who would suspect that Mr. Marks, The Indian, Donald Dinsmore, and a variety of walk-on storm troopers, theatergoers and prisoners were all played by the excellent, quick changing character actor Gary Peterson? Or that Barry Blodgett covered Bryan, Jason and Cop O’Brien? So, I’m not even going to go there.

Which brings us to the music overall. Stunning, enchanting, surprising, thrilling, powerful, balanced, audible, even, all parts heard, in short everything you want and expect from a show of this caliber. I heard every note and every note seemed to be wonderfully sung from virtually every cast member with a surprising virtuosity of singing from the dancers and dancing from the singers.

The full orchestra was a wonderful surprise, they were an asset to the show, never overpowering, and the actors never struggled to be heard over them, their voices floating easily above them. Tempo was never an issue as the show sailed along in perfect time.

Had this been merely a concert of the show, I doubt that the music could have been better, but it was so much more than that, with a richness of humor and surprises at every turn that made this Mel Brooks comedy, written in the old style of theatrical comedy fly by.

This is perhaps an excellent moment to talk about the virtually perfect tech and the amusing and clever scene changes all guided under the magnificent prowess of Stage Manager Dani Klosowski who kept the show running like a fine tuned Swiss watch. Since the back stage area of the show was undoubtedly busier than O'Hare at Thanksgiving, Klosowski and her crew deserve immense credit for brining off the amazing number of cast movements, sound and lighting cues, scene changes, prop and actor maneuverings and the thousands of little backstage details and riots that happen backstage, that must happen every night, so that what we saw on stage happens without a flaw.

The dance sequence after DeBris is signed up may be in the script, or it may have been improvised as a nod to the Mambo scene in Guys and Dolls, in any case it was a howl and covered effortlessly a scene change between DeBris' house and Bialystocks’ office with fun and esprit. Moments like this made the show fly by with fun and imagination. Keep your eye on who pulls those curtains though, I promise, it will be worth it. The sets and lighting were magnificent with too many touches to go on without spoiling the effect. But the big numbers were big and beautiful because of them. Robert Hamel’s sets deserve all the kudos they got after the show.

Other unsung Tech and Production Staff Heroes?

• Technical Director - Vlad Novikov
• Master Carpenter - Grant Wenger
• Scenic Designer - Bob Hamel
• Lighting Designer - Chelsea Lynn
• Sound Designer - Tom Scanlon
• Accompanist - Kelli Shibuya
• Props Coordinator - Michelle McDonagh
• Publicity - Phaedra Wells
• Production Assistant - Lindsey Weiss

(Anyone willing to type in the orchestra into a comment, please let me know!)

So, now you have a decision to make. Do you say to yourself, wow, what a review! Too bad I can’t go? Or do you pick up the phone and make a reservation? I can only urge you to go. It’s on your conscious now, but I’ll leave you with this thought.

I've been less consistent about writing this blog lately because of a massive back injury that has me in constant pain. I don’t usually mention it because while in comedy pain is funny, listening to whining about it is pathetic and boring. But I’ll tell you this, after 4 years of constant merciless pain ranging from 3-9 on a 10 point scale, I’m always in some level of discomfort. Always. So I was expecting to see this show after such a long ride through a wall full of misery and have to upgrade my opinion to compensate for the agony.

I'm not sure when the laughter became so overwhelming that I forgot my misery and just enjoyed the show, then became overwhelmed with laughter and was anesthetized by it completely, but the effects of the joy and laughter lasted through two acts, some talking with the cast, crew and audience after, the whole 35 mile trip home, and for several hours later, a painless interlude for which the cast and crew have now earned my undying friendship. It's literally been years since I've felt this good. Thank you for that. It might not be a miracle, but the laughs you gave me were the best over the stage medicine I’ve had in a long time.

Thank you to all concerned. If I left you out of this review, my profound apologies, just leave me a note and I will correct it. I hope to add the names of the musicians at a later date for the record.

Correction 10/15/08 Jodi Buczek tells me that I accidentally omitted  the awesome Samantha Giovannetti. Probably not the first time someone has made the Giannelli/Giovannetti mistake during this production. I have still to clear up whether "Sam" was also one of the Usherettes. Nicole who I first gave that credit to is a brunette where as Sam is a blonde. I distinctly remember a blonde Usherette. But, was that a wig? So many mysteries. Guess I will just have to go back and see the show again. Corrections like this are most gratefully received.

Correction 10/16/08 Stage Manager and Technical Staff accidentally omitted were re-added to the review. Also on the cutting room floor. My sister had a baby this week, what can I say?

Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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The Producers by Up & Coming Theater October 10 - 19, 2008

In keeping with the Peter Files Comedy Blog's effort's to support area theatre, here is some information on a great production. Based on the cased and crew in this production it should be a laugh riot. Don't miss one of the funniest plays now off-Broadway.

Up & Coming Theatre

in Partnership with

Community Education District 214

Proudly Presents our Fall 2008 Show

Showtimes:

• Friday, October 10 - 7:30 pm • Saturday, October 11 - 7:30 pm • Sunday, October 12 - 2:30 pm

• Thursday, October 16 - 7:30 pm • Friday, October 17 - 7:30 pm

• Saturday, October 18 - 7:30 pm • Sunday, October 19 - 2:30 pm

Theater:

Forest View Theater (Map)
2121 S. Goebbert Rd
Arlington Heights, IL 60005

Tickets:

• Call 847-718-7702 Monday - Friday 9:00 am to 4:00 pm.
• Advance - $15 ($12 with Gold Card)
• Door - $18

Cast:

• Anthony Berg - Franz Liebkind

• Laura Berger - Usherette

• Barry Blodgett - Various

• John B. Boss - Roger De Bris

• Erika Bradbury - Tap Dancer

• Jodi Buczek - Tap Dancer

• Elaine Castro - Ensemble Dancer

• Michael DeFrang - Stormtrooper/Set Designer

• Nicole Giannelli - Tap Dancer

• Samantha Giovannetti - Tap Dancer

• Nicholas Hamel - Max Bialystock

• Toni Higgins - Hold Me Touch Me

• Mia Hirschel - Lick Me Bite Me

• Shannon Langland - Follies Girl

• Will Loftus - Carmen Ghia

• Sara Malloy - Ulla

• Peter Masterton - Jack/Accountant

• Dan Naylor - Choreographer

• Gary Peterson - Mr. Marx/Indian

• Katy Smith - Shirley Markowitz

• Bob Spidale - Leo Bloom

Staff (Not on Poster):

• Technical Director - Vlad Novikov

• Stage Manager - Dani Klosowski

• Scenic Designer - Bob Hamel

• Lighting Designer - Chelsea Lynn

• Sound Designer - Tom Scanlon

• Accompanist - Kelli Shibuya

• Production Assistant - Lindsey Weiss

Up & Coming Theater has available staff positions some which have pay and all of which gives practical and educational experience:

Available Staff Positions:

• Master Builder/Set Carpenter
• Lighting Board Operator & Spot Operators
• Properties Coordinator
• Hair/Wigs & Makeup

Please send resume or letter of interest indicating position desired to UACTheatre@aol.com or to P.O. Box 473, Arlington Heights, IL 60006.


And for those of you who know John Boss, who plays Roger De Bries, one of the more flamboyant characters in the show, he has supplied this photo!

You can tell from this costume of Roger De Bris, that this will be a lavish production!

Looks like I am finally back to regular posting. Sorry for the delay, my health has been off. Hope you have been using the time to explore the archives.



Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

P.S. The Producers of the Producers should contact me with errors or omissions, requests for a review of the show or offers of comps at thepeterfilesblog at gmail dot com Thanks!

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Chicago, The Musical, at Holiday Star Theater, July 19, 20, 25, 26, 2008

When I first came back to Chicago's South Side Community Theater scene after a long gap from doing shows in Chicago, my first part was Pablo in the Beverly Theater Guild's 1984 production of A Streetcar Named Desire directed by Brian Leo, who took a chance on me, being an unknown talent to those casting out there at the time, and to a degree, to myself.

The show went very well, and to my surprise, I got lots of laughs in places where I realized that I should have known that there could be, and only one that there shouldn't have been (Stanley and I managed to break the bed during the fight scene in one performance when we tripped going through the unsupported door frame between the kitchen and the bedroom).

Afterwards a tall, thin person came up to me and asked me if I would like to be in a show that was going up in only three weeks at a nearby theater. His name was John Boss, and that show introduced me to many people who helped me meet people who led me to be in a series of 40 some shows that spanned 1984 - 2004.

I saw John last weekend during the intermission of "Moon over Buffalo" (that I reviewed last week) and reminded him that I am happy to promote productions when I am able - he assured me that he had remembered, and sure enough, in this morning's email was a notice that he was appearing as Mary Sunshine in the Holiday Star Theater's production of "Chicago" starting July 19th.

John is a very talented actor and Holiday Star Theater books really fine acts, so I am sure that you will find the show worthwhile, If you go, you may even pass me in the lobby. The details from the theater follow:

Star Productions is pleased to announce this year’s full scale regional presentation of the smash hit musical “CHICAGO,” scheduled for July 19, 20, 25 and 26 at Merrillville’s Star Plaza Theatre. (Directions)

The 20's are roaring with hot jazz and cold-blooded killers. Filled with passion, greed, corruption, murder and non-stop dance, Bob Fosse's “CHICAGO” is one of the sexiest musicals to ever hit Broadway.

Honored with six Tony Awards and one Grammy, this drop dead musical features classic show tunes "All That Jazz," "Razzle Dazzle," and "Roxie.” Star Productions secured the rights to this exclusive area engagement after the successful national tour of “CHICAGO” made a stop at Star Plaza Theatre this past March.

The regional cast stars Tina Dohl-Menconi, re-creating her NIETF award-winning role as villainess Velma Kelly; Charlie Blum also re-creates his role as the fast-talking attorney, Billy Flynn. Jenna Rose Underwood plays Roxie Hart, Mary Jo Williamson returns to the Star Plaza stage in the role of Matron Mama Morton, with J.J. Boylan as Amos Hart with John Boss rounding out the lead cast as Mary Sunshine. Add the accomplished ensemble cast of 17 singers and dancers, and this sexy musical comes to life for four performances.

This regional theater production of “CHICAGO” is being produced by Star Productions, directed by Kurt Gillins, choreographed by Lyn Knight, with musical direction by Bill Woods. For tickets, call the Star Plaza box office at 219.791.1234 or Ticketmaster 312.559.1212. Star Plaza is located at: 8001 Delaware Place, Merrillville, IN. Ticket prices are $25 – Main Floor; $20 – Mezzanine.

This is a Peter Files Blog Recommended Show. No money or consideration was received in advance for this promotion.

Are you a theater person with a show to promote? Perhaps a friend of mine who would like to see their show promoted in this way? Be like John, send me the information needed to put a post like this together and time and health allowing I'll be happy to do it.  Send me whatever you can: show information, production dates, cast lists, links to pictures, bios, directions and even your ticket office. THE EARLIER TO BETTER. While theater posts do get many dozens of hits, its always a shame when people visit only AFTER your production is OVER.

The more you information you give me, the more I can put up. But, you don't have to know me to send me a listing. Community theater productions are especially well treated. I am also happy to update posts as you get new information like cast information and photos. You can leave me information in a comment, leave your email address in a comment which I screen, so I will copy the address, delete it and email you for more information, or email me at: {thepeterfilesblog AT gmail DOT com}


Peter, Chief Editor and Avant Garden Theater Promoter
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

Note: The Graphics on this page belong to the original copyright owners and may not be used for commercial purposes without permission. If the use of any graphic on this page is not allowable. It will be removed at the request of the copyright owner or its legal representative at once. All use is intended to promote the best interests of copyright owners.

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Beverly Theatre Guild's Moon Over Buffalo, Collins, Massaro, Nearly Kill Audience with Laughter

I don't often engage in post production reviews, but in the case of the Beverly Theatre Guild's one weekend production of Ken Ludwig's Moon Over Buffalo, the production was so fine, the acting so outrageous and sublime, that for the benefit of future audiences in the area who often have only a one or two weekend run to see a BTG show, I felt that it was worth the effort to tell you what a marvelous gut-wrenching laugh riot you probably missed this weekend at Chicago's Beverly Art Center at 111th and South Western Avenue.

I've taken the liberty of reproducing parts of the program so that if you recognize the names of these actors in listings of productions in local papers in the future you know that you should make the effort to toddle on down to the theater to see them in action.

There wasn't a single performance that wasn't worth seeing in this extremely well directed production by director Tobi Lowrance with assistance from Assistant Director Francesca Scalzi who took a great script updated it with a combination of new and veteran actors and crafted a fast-moving and emotionally moving comedy and farce of high order.

Moon Over Buffalo, the story of 1950's couple George and Chalotte Hay, the touring repertory family company stars of the style of the Lunts, the Barrymores, or the Zimablists, who displaced by film and television, find the profitablility of the road touring companies drying up and their way of life dissapearing. They are facing the possibility of fiancial and relationship ruin when they get a phone call suggesting that film director Frank Capra will be in the Matinee audience of the day's show to see if George is fit to take over the lead of his new film, just as he has lost two of his own essential players.

The BTG's production was a door-slaming, sword-fighting, knee-to-groin below the belt guffaw generator of the highest or lowest order, depending on how you look at it. Joe Collins as George and Meg Massaro as Charlotte under the direction of Lowrance and Scalzi make us wonder sometimes if the War of the Roses was kid stuff as Michael Douglas and Kathleen Turner did not play people who had the whole repetoire of classic theatre to fight, kick, scratch, curse and make asses of themselves with.

Both actors tender the performances of their lives with split-second timing, perfect delivery, no fear of looking foolish in either of them, both hungerly seeking the comic truth in each and every moment of the show, yet at the same time, they show that the other side of hate is deep and abiding love, not indifference, and the changes both George and Charlotte go through during the course of the show, as they beat by beat avoid the easy way out of each line or moment in the show, and provide the audience with richness and emotional truth instead in a way that is stunningly honest and laughingly true.

Massaro and Collins are perfectly matched. Massaro's antics reminded me of Carol Burnett with a kind of subtle restraint while prancing across the stage in antics of anger, hostility and rapturous joy, that make her highs more realistic and just as funny as Burnett.

Collins, known widely as the voice of WBBM's traffic reports, and a community theatre veteran, gives what is perhaps the best and most challenging performance of his life. An expert in physical and character comedy, Collins is forced to add the romance of Romeo, the pathos of lear, the errors of Falstaff, and the drunken blindness of Stanley and Merrythought.

As George plunges though the stormy seas of this farce, swooping up and down, driven by the winds of fate, opportunity, his own stupidity, and the heights of fortune and misfortune, instead of a farcicle charade of a man, Collins gives us a man complete, torn by the pain he has brought to those he loves, wracked and ruined by remorse, blindly attempting to get on with it anyway, until at last our everyman falls, the great fall and lands as low as any man can, worse yet, in front of an icon of his dreams, the key to his future. Neitzsche or Kafka could not have planned it so well.

At this point in the show, many actors, would allow the script in hand to carry him on, riding on it to safely breezing through to the end; but Collins takes emotional risks in keeping with his growing maturity as an actor, baring his emotions in a way that gives Massaro room to do the same. So at the end of the farce, instead of a lighthearted wrapping up of ends a la Charley's Aunt, we have the two confronting the pain and trauma they have endured in their lives together and grow, together, changed by the ordeal they have suffered, to become someone new while remaining to themselves true.

Breathtaking and moving. I wish you could have been there. Watch for the cast in other productions.



Their daughter Roz, played by Lisa Marie Marciano and her estranged ex-boxfriend Paul played by Lorenzo Blackett are forcefully thrust together by the circumstances of the day in which Roz had only intended to introduce her new fiance Howard, played by David Korzatkowski to her parents, but is sucked back in to the chaos of the day by the disappearance of the production's Ingenue Eileen, played by Tiffani M. Moore. Marciano and Blackett are wonderfully cast and provide both a dramatic and, it must be said, very steamy, dramatic tension, that adds to the sweetness of the farce. Korzatkowski and Moore both bring and empty headed playfulness to their roles that crank up the tension, humor, and guffaws at just the right time. Like Collins,Massaro, Marciano and Blackett, Korzatkowski has an incredible sense of physical comedy, perhaps equal to that of Joe Collins who's own mastery of the physical comedic art form stops the show at three or four points, minimum.

In fact, it should be noted, that in the performance that I saw, Collins was so funny, that his last antic at the end of a scene in Act II, caused a second wave of laughter to start well after the blackout, as the audience re-visualized what they had seen him do just before the lights went out. Something I have never seen in 45 years of theater. A new spontaneous wave of laughter spreading through the audience while sitting in the darkness, starting a good 15 seconds after the lights went out, without a smart alec comment to trigger it. Unbelievable. Joe was just THAT funny.

Rick Baker was also excellent and very believable as Richard, the love-struck friend who wishes to steal Charlotte away from George and their near poverty and terrible traveling conditions. Presaging the aging baby-boom romanic love interest, Baker is suave, debonair, and quite convincing a someone who George could perceive as a threat to take away the woman he truly loves, Charlotte because of a moments weakness.

In every farce of this caliber there has to be a foil that comes in and out delivering sharp lines to skewer the leads. In this show it is Ethel, Charlotte's mother and the bane of George's existence played by South Side theater veteran Jan Dignan. Saying just how long Dignan has been treading he boards out here with her sister Choch would be telling. But this is truly one of her best performances and she plays the part of the wiley, cantankerous mother and seamstress with joy, verve and cunning nastiness and with a great deal of depth. One of her best performances as well and I have seen many of them.

So why did I love this show so much. I've given you a good deal of plot, but nothing that would make you laugh I think. That's because a great deal of the humor comes directly from the acting and directing in the show. It has to stand as one of the funniest shows I have ever seen (that of course I have not been in myself...).

I laughed hard and long and so did the rest of the audience. There were constant surprises. Hardly a line went wrong. The timing and tension required to keep the show moving was constantly upheld. Nary a line was swallowed. The pacing was fabulous and the cast seemed to know JUST How long to hold for a laugh to allow the audience to laugh.

And the show moved fast. A credit to the actors and directors. With intermissions the show ran well under two hours. It easily could have run 20 minutes longer with a less experienced cast. Lowrance and Scalzi seemed to have an instinct for getting the best out of their cast, using their strenghts to their best advantage.



Moore for example, the ingenue with something extra, who causes a huge fuss between George and jealous Charlotte, plays the wide-eyed innocent with aplomb until the time comes to reveal that she has more underneath than some had suspected and she gets exactly what she wants. Played to a t.

Blackett's performance as the frenetic manager and lover, and a much more determined lover than able manager, is a perfect foil to George as George freaks out, (Woody Allen on steroids without the accent), In his unique non-George way Blackett panics about whole groups of issues, but not when it comes to Roz. His changes when it comes to Roz are as surprising and funny, as they are tempting and disturbing to Roz's confidence in her engagement. Paul is after all, looking for an engagement of another kindl For a moment we think we are about to see another show altoghether when a plot element breaks the two apart before anything really good happens. Whew! It had been getting hot in there.

Marciano's conflicts as the daughter in search of normality, trying to break away from the perpetual craziness of her parent's life is also compelling, except, when disaster strikes, she is sucked back into it all to easily.

Credit must go of course to the writer of this gem, Ken Ludwig, who captured so well the essence of the times and the desires of those who wished to grasp fame and maintain their life on stage before it melted away.

So, were this show to go another weekend, which it cannot, sadly, I would have soundly recommended it. Instead, the best I can do is say, remember the actors, and the directors, and the group, the Beverly Theatre Guild, one of Chicago's oldest community theater groups.

Next Season BTG Plans to produce:
The Irish drama Dancing at Lughnasa by Brian Friel, October 24-26, 2008
The Musical The Full Monty by Terrance McNally and David Yazbek, February 6-9,2009
The Comedy Twentieth Century by Ken Ludwig, May 8-10th, 2009

You can print the form on this page to order season tickets and save $12 or more on ticket prices.




Hot Trash From the Audience: There was speculation about how full the monty would be for the full monty, and a few jokes in the audience about whether we would want to see some of our friend's montied at all. I assured those I sat with that I was not intending to audition as I wanted to help BTG build an audience rather than send them running to the exits, possibly scarred for life. More on that when they get closer to the production next year.


I am tired after being wired from the excitement of a great production so I hope the cast and you will forgive any typos herein. As always if you have a theatre production in the Chicago/NW Indiana Region to Promote send me the information well in advance to "Thepeteterfilesblog" At "Gmail" Dot "Com" and I will be happy to post what I can.

It helps a lot if you give me something in ready to post format. If you have pictures, especially at a website that I can link to, give me the links, or send me the photos as attachments and I will be glad to post what I can. As time has passed I do get quite a bit of response from actors knowing quite a few of them myself.

Finally, congratulations to the whole cast and crew of Moon over Buffalo. While I spent more time on Collins and Massaro, a production this complex does not succeed without incredible coordination and effort both onstage and backstage, a true ensemble effort. A.D. Scalzi was also the Stage Manager for the show, something she has a gift for. The show has a nightmarish number of entrances and exits, yet she looked calm and collected before the performance. The tech for the show was also perfect and the sets by Emil Zbella were also superb (as always Emil).

Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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Moon Your Mom For Mother's Day: Brunch & Moon Over Buffalo Comedy Treat!

Moon Your Mom for Mother's Day? 

Of course its a joke! A Whole Laugh riot! 

With a yummy brunch included. The Spectacular Beverly Theatre Guild, Beverly Hills Oldest Performing Arts Group invites you and your Mom and Grandmother to their Brunch and Show Treat on Mother's Day at 11:00 am at the Garden Chalet 11100 South Ridgeland followed by a 2pm performance of the Hilarious Hilarious Comedy Moon Over Buffalo at the Brand new Beverly Arts Center 111th and Western Avenue.

Brunch Space is limited so call 708-361-0400 today!

Click image for larger view.

Peter, Chief Editor and Spelling Wrecker

The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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Audition Notice: Oak Lawn Park District Theatre: Seussical The Musical: May 4th - 8th, 2008

Audition Notice: Seussical The Musical 

The Oak Lawn Park District Theatre

Auditions: May 4th - May 8th, 2008

(Peter's note: Oak Lawn Park District shows are both fun to watch and be in. If you've ever wanted to be in a musical theater production, having singing and/or dancing talent, or want to work backstage, this may be the chance you've been looking for with very nice people and high quality productions. But expect to work HARD. Great shows don't get that way by accident, everyone here pulls their weight!)

The Oak Lawn Park District Theatre group has announced a casting call for its upcoming production of Seussical The Musical.

Auditions:

Sunday, May 4 from 1 - 5 pm, for children ages 8-12 and out of town college students.
Monday, May 5 and Tuesday, May 6 from 7:30 – 10:30 pm for adults.

Come in proper attire and be prepared to sing and dance.

Auditions will be held at the Oak View Center, 4625 W. 110th Street.

Seussical will run for two consecutive weekends, August 1-3 and August 8-10.

First rehearsal will be on June 8th.

For more information on auditions or the production, call the Oak Lawn Park District at (708) 857-2200.



Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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Upcoming South Side Chicago Plays

Plays coming up in South Side Chicago Theater starting this weekend. Please verify time and ticket prices with the box offices!

OAK LAWN COMMUNITY THEATER
THOROUGHLY MODERN MILLIE
SHOW DATES: March 14th, 15th & 16th
SHOW LOCATION: Oakview Recreation Center @ 4625 W. 110th Street , Oak Lawn
TICKETS: $19.00 Adults / $18.00 Students & Seniors
BOX OFFICE: 708-857-2200

NEW WORLD REPERTORY THEATER
THE EMPEROR’S NEW CLOTHES
WHEN: March 15th
WHERE: New World Repertory Theater @ 923 Curtis Street , Downers Grove
TIMES: 1:00pm & 4:00pm
TICKETS: $10.00 Ages 12 & up / $7.00 Children under 12
BOX OFFICE: 630-633-1489 www.newworldrep.org

ELIZABETH SETON CHURCH
THE VIGIL – AN EASTER PASSION PLAY
WHEN: March 13th & 14th
WHERE: 16100 Seton Road , South Holland , IL
TIMES: 7:30pm
TICKETS: $5.00 Per Person
BOX OFFICE: 708-333-6300

BEVERLY THEATRE GUILD
JESUS CHRIST SUPERSTAR
WHEN: March 14th, 15th & 16th
WHERE: Beverly Arts Center @ 2407 W. 111th Street , Chicago
TIMES: TBA
TICKETS: $20.00 Adults / $19.00 Senior (62+) & Students (with current ID) / $18 Military ~ Retired or Active / $18 Group Sales ~20 or more
BOX OFFICE: 773-445-3838 or www.beverlyartcenter.org

THEATRE-ON-THE-HILL
ESCANABA IN LOVE
WHEN: March 21st through April 13th
WHERE: Bollingbrook’s Performing Arts Stage @ 375 W. Briarcliff, Bolingbrook
TIMES: Friday & Saturday @ 8:00pm / Sunday @ 3:00pm
TICKETS: $11.00 Students & Seniors / $14.00 Adults
BOX OFFICE: 630-759-2970

ORLAND PARK COMEDY IMPROV
COMEDY IMPROV
WHEN: March 28th
WHERE: Old Village Hall @ 14413 Beacon, Orland Park , IL
TIMES: 8:00pm – 10:00pm
TICKETS: $5.00 at the door
BOX OFFICE: 708-403-7275

ORLAND PARK THEATRE TROUPE
GREASE!
WHEN: April 25th, 26th & 27th
WHERE: Carl Sandburg Performing Arts Center @ 13100 LaGrange Rd , Orland Park
TIMES: Friday & Saturday @ 7:00pm / Sunday @ 2:00pm
TICKETS: $17.00 Adults / $15.00 Seniors & Students / $13.00 Children to age 12
BOX OFFICE: 708-403-7275

STRAY DOG
BORN YESTERDAY
WHEN: April 25th, 26th, 27th, May 2nd, 34d & 4th
WHERE: Veteran’s Memorial Middle School Theatre @ 12320 S. Greenwood Ave , Blue Island
TIMES: Doors open @ 6:45 ~ Please do not arrive earlier than 6:30 or later than 8:30pm
TICKETS: TBA
BOX OFFICE: TBA

S.T.A.R.
ANYBODY OUT THERE?
WHEN: April 26 & 27, May 2 & 3
WHERE: Home Auditorium, 4400 S Home Ave , Stickney , IL
TIME: : Sat @ 8pm / Sun @ 2pm / Fri & Sat @ 8pm
TICKETS: $10 Adults / $9 Seniors, Students & Military / $5 Children 12 & under
BOX OFFICE: 773-585-5852 or www.chicagostar.org

BEVERLY THEATRE GUILD
MOON OVER BUFFALO
WHEN: : May 9th, 10th & 11th
WHERE: Beverly Arts Center @ 2407 W. 111th Street , Chicago
TIMES: TBA
TICKETS: $20.00 Adults / $19.00 Senior (62+) & Students (with current ID) / $18 Military ~ Retired or Active / $18 Group Sales ~20 or more
BOX OFFICE: 773-445-3838 or www.beverlyartcenter.org

PALOS VILLAGE PLAYERS
I HATE HAMLET
WHEN: May 9th, 10th, 16th & 17th
WHERE: Palos Village Hall @ 8901 W. 123rd Street , Palos Park
TIMES: Fridays & Saturdays @ 7:30pm, Sunday matinee (10th) @ 2pm
TICKETS: From $12 to $15
BOX OFFICE: 708- 479-3262 or 708-671-1091


Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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NightBlue Performing Arts Paid High School Internship Opportunity

Unlike many similar posts this one is legit. If you are a high school student looking for a paid theater internship, check this out!

NightBlue Performing Arts Internship Opportunity
This program is partially supported by a grant from the Illinois Arts Council, a state agency.

NightBlue Performing Arts Company is a professional 501(c)(3) not-for-profit performing arts company. As an inclusive program providing performance opportunities to people of all backgrounds including regular training for young adults, NightBlue has a vibrant history of involving community youth in its productions both on and off the stage. NightBlue continues to provide cutting-edge, award-winning theater in Chicago and on its Southside, featuring professional actors of all ages.

In keeping with NightBlue’s initiative to expose community youth to the arts, NightBlue has developed an off-stage teen internship program in the administrative and technical stage areas. In January, NightBlue received a grant from the Illinois Arts Foundation to assist in aggressively pursuing a total of 4 high school aged students, 2 for each session of the program. There will be a spring and a summer session, and each session provides the opportunity for one teen to act as an intern in both the administrative and technical areas. Each teen will benefit from this experience both creatively and educationally, and will receive weekly guidance from the NightBlue staff. Below you will find more specific details regarding each paid internship opportunity. NightBlue can also extend the hours of the internship and provide certification for service hours as a charitable organization. Please contact Tina Smith, Program Administrator, at tina@nightbluetheater.com for more information or to obtain an application.

Tech Intern: SALARY: $7.50 per hour
DUTIES include, but are not limited to:
Participating in set, lighting and sound design, construction, and set-up.
Assisting with technical show development.
Running crew and stage management at performances.

Arts Administrator Intern: SALARY: $7.50 per hour
DUTIES to be completed at the Lemont office include, but are not limited to:

Managing ticket sales and ticket plans for events
Developing and implementing publicity and advertising, including e-mail marketing strategies and press releases for local newspapers.
Planning strategy for large black-tie downtown Chicago benefit.
Planning for and meeting with staff and the board of directors.
Updating and independent design for blog and web pages.

FIRST SESSION (12 weeks): March 17, 200 - June 7, 2008
Weekly Hours: Approx. 11.5 hrs/wk scheduled to be planned with intern and will include a weekly meeting with the supervisor

SECOND SESSION (12 weeks): June 1, 2008 - August 23, 2008
Weekly Hours: Approx. 11.5 hrs/wk scheduled to be planned with intern and will include a weekly meeting with the supervisor


Please visit www.nightbluetheater.com to learn more about our organization




Peter, Chief Editor and Spelling Wrecker
The Peter Files Blog of Comedy, Jokes, Satire, Commentary and Videos
Http://ThePeterFiles.blogspot.com

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