Pollyanna Theatre is excited about its 2013-2014 season and invites you to join us. Please share the season information (below) with the teachers you work with.
THE BOY WHO LOVED MONSTERS AND THE GIRL WHO LOVED PEAS
by Jonathan Graham
October 11-18, 2013
Evan, like many 7 year olds, does not like to clean his plate, especially a plate filled with peas. And to make matters worse, baby sister Sue loves them. When forced to remain at the table until his plate is clean, Evan makes a wish for a monster to come eat his family. But watch out! Wishes can come true. Soon Evan and Sue find themselves trying to hide a six foot talk green monster named Pea from their parents. Among the laughs, Evan finds that although his parents discipline him, protecting those he loves is his goal. Pea teaches Evan and the whole family many things including the importance of playing together, keeping imaginations alive, and that it is important to make room for surprises in every home.
Perfect for audience members ages 5 and up.
by Holly Hepp-Galvan
A Co-Production with Ballet Austin
January 24-31, 2014
This new dance drama for young audiences introduces audiences to a young girl named Wren who is new to the neighborhood. Being new isn't always easy and Wren learns this the hard way when Marlie, the neighborhood bully, talks her into posting a very hateful and untrue email about another girl. While Wren senses that this isn't a good idea, her eagerness to fit in is strong. Pollyanna Audiences will see, right along with Wren, that words of hate are truly weapons whether spoken or launched into cyberspace.
This collaboration with Ballet Austin features choreography and dance which bring Wren's words to life. Ultimately, SPRITES is a story told through auction and movement in a powerful way, one that will no doubt leave a lasting impression on audiences of all ages, especially those ages 8 and older.
PLUS AND MINUS:
THE VACATION ADVENTURE
by Katherine Gee Perrone
May 12-16, 2013
In May of 2013 Pollyanna audiences fell in love with Addy Plus and Minus Takeaway, two very unlikely friends. Well, Addy still loves to put things together and Minus still loves to subtract. But this newest production finds the two friends appreciating their differences and going on their first vacation together. All seems to be going well until they met up with Slash McGillacutty, a guy who insists on cutting things in half. How will Addy and Minus react to Slash? And is there a way to salvage their vacation once Slash McGillacutty arrives on the scene? Come along and find out. This play, which brings pre-kindergarten basic math concepts to life, will be enjoyed by audiences ages 4 and up.
PETER AND THE PIPER
by Holly Hepp-Galvan
July 14-18, 2014
Peter is a boy who follows his own drummer and enjoys doing his own thing. Peter is definitely not one of those guys who follows the crowd. This is usually no big deal for him. But all of that changes when The Piper comes to town. All the kids are listening to The Piper's music and loving what they hear. But Peter is not a fan on what he considers the newcomers questionable musical skills. Suddenly Peter find his friends calling him "lame." How can Peter stand up to this new pressure to be just like everybody else? Hepp-Galvan's newest play is both touching and funny and will be enjoyed by audiences ages 8 and older.
by Dr. David Glen Robinson
Red is a tragedy, make no mistake, but it is one in love with life, and most especially with the color red. As with the very best plays, Red tells everything plainly to the audience. The promotional material for the play is full of piquant quotations from the script, by way of Mark Rothko, the central character. My favorite, not in any of the cut-lines is: “There is tragedy in every brushstroke.”
And so the tragedy played itself out, revolving around the modernist abstract expressionist painter Mark Rothko and set in his warehouse-y lower Manhattan studio. The time of the play was the peak of Rothko’s career, when he was painting his commission for murals for the Four Seasons restaurant in the Seagram building in Manhattan.
At the time, it was the most valuable art commission ever, paying $35,000. The commissioner was the architect Philip Johnson through his patron, international modernist architect Mies van der Rohe, perhaps the reigning art god of the twentieth century, who changed history more profoundly even than Picasso.
These were heady times, indeed, a few years past Jackson Pollock’s death (which Rothko insisted was suicide) at a point at which a few thinkers like Rothko saw Pop Art coming to replace all the abstract expressionists and knew it would be a painful death.
Penfold Theatre’s production of Red is a major score; they have captured the Austin premiere of this John Logan play, a Tony award winner, first staged in London in 2009. Penfold treats the play very well, staging it on the thrust stage of the Trinity Street Theatre, fourth floor of the First Baptist Church at 901 Trinity St., downtown. Steven Pounders plays Rothko, and Ryan Crowder, producing artistic director of Penfold, plays Ken, Rothko’s newly hired studio assistant. Rothko was known for his acerbic statements about the art world, and many of those comments have found their way into Logan’s script. Rothko was no Oscar Wilde for biting irony and sarcasm, but in his rage he came close.
by Jess Helmke
Much To Say About Nothing
The sun has set. The theatre is quiet. And a play begins. Just another normal Thursday night in the Austin Hyde Park neighborhood.
But maybe it’s more than that, suggests playwright Will Eno. His play Tragedy: a Tragedy is now running at Hyde Park Theatre, engaging audiences with ironic perceptions of mundane, everyday life. Eno’s repetitious cyclone of humor entertains the audience with threads of thematic action, roccoco rythmic storytelling, glimmers of conflict, lyric poetics, and the occasional element of surprise.
The mere fact that Will Eno uses television as his theatrical setting is unexpected. The play of gives us four main characters: Frank the anchor, John the weatherman, Constance the elated and naive reporter, and Michael the global reporter . Tragedy begins as a straightforward newscast, typical in speech pattern and line delivery, butr a little disappointing since there seems to be a lack of events to report. Characters speak directly to the audience as if we were sitting in the comfort of own homes, and their stage business is humorously appropriate with index fingers to the eapieces and sips of coffee by the anchor. I totally bought it.
The power and versatiity of the tool of theatre is exploited in most of Will Eno’s work, and the comedy Tragedy: a Tragedy is no different. Its discussions about darkness remind us of a bare stage. Its painful nostalgic childhood stories almost make us nervous all over again. And the play’s still, quiet moments lie glimmering like the stars. Begging observers to think. To try. To understand. To comment. To DO SOMETHING, ANYTHING in this existential awareness report from Action 7 News.
by Michael Meigs
The Wimberley Players give Sheila Cowley's Stay a quality production with a strong cast and superb production values. This piece by the Florida playwright had its premiere with the Players Theatre in Sarasota, and its transfer between local theatres ready to try out new work is an encouraging sign that not all such venues are in lockstep with the likes of Arsenic and Old Lace, Neil Simon and the Texas gothic comedies of Jones, Hope & Wooten.
Deanna Lalich is Leanne Abrams, a quietly moody physician separated from Mark, her journalist husband of twenty years, played by Aaron Johnson. He's one of those lost sheep that keeps returning; although he has a new girlfriend, he inevitably gravitates back to the apartment to pick up clothes, books and the mothering of his perhaps-soon-to-be-ex-wife. Early in the opening act Mark deposits a legal document requiring Leanne's signature, presumably necessary for some sort of no-fault divorce.
Flashbacks designated by special lighting effects take us back to the couple's earliest years, when Mark had just gotten his big job and Leanne was on her way to med school. Playwright Cowley explores repeatedly the dynamic between them, with Mark's excited, distracted talk about The Places He'll Go and Leanne's ever-patient tracking and correcting of his schedules. We hear this trope again and again, with Leanne always resorting to a wistful, unsubstantiated, "It'll be all right. . . ."
These two appealing actors work that territory as far as it can be worked, but their relationship never becomes more vivid or understandable. Cowley is asking us just to assume the best and believe that they're real people. Though Leanne turns out to be an opthalmologic surgeon, a wizard in transplanting corneas, we never hear her talk about medicine other than to lament that a girl patient of hers is still waiting for transplants. Cowley has Mark the journalist bubble about the exotic destinations that his media organization is sending him to, and evidently has been sending him to for the past twenty years, but other than that the character doesn't have a thought in his head. The two don't give us any real insight into their de facto decision not to have children, and we hear almost nothing about their history or relationship, other than his bouncing off the walls with enthusiasm like a five-year-old and her solid acceptance of him like an eternally indulgent mommy.
The title Stay voices Leanne's yearning for her husband, and the promotional photo of the blindfolded Mark and the contemplative Leanne suggests the central ploy of this plot. Applying her medicines, Leanne deceives Mark into thinking that he has been in a car accident and has only just roused from lengthy unconsciousness to find himself with eyes blindfolded, utterly dependent upon the wife he would sort of like to stay with if only he wasn't fascinated by his much younger female editor and feeling obliged to stay with that woman, who's pregnant by him.
What shows are getting ATAC Globes? Here’s the list
as posted by Deborah Martin, September 19, 2013
Eighteen San Antonio productions will be recognized at the Alamo Theatre Arts Council’s Globe Awards next month.
Awards will be given for acting, directing, design and other achievements.
Shows and theaters slated to receive awards are:
University of the Incarnate Word: “Italian American Reconciliation.”
Classic Theatre: “Scapin,” “The Importance of Being Earnest” and “Painting Churches.”
Sheldon Vexler Theatre: “The 39 Steps,” “Glengarry Glen Ross” and “August: Osage County.”
Woodlawn Black Box Theatre: “Chapter Two” and “When Pigs Fly.”
Woodlawn Theatre: “In the Heights” and “The Producers.”
Trinity University: “La Tempesta.”
Playhouse Cellar Theater: “Red.”
Playhouse: “Ragtime” and “Spring Awakening.”
Overtime Theatre: “The Cabinet of Dr. Caligari.”
San Antonio College: “A Funny Thing Happened on the Way to the Forum.”
Harlequin Dinner Theatre: “Let’s Go to the Movies.”
In addition, the Jasmina Wellinghoff Award, which recognizes contributions to the San Antonio theater community, will go to director William McCrary and director/choreographer Michelle Pietri, a husband-and-wife team who teach at UTSA and who have worked with theaters all over town.
Folks who show up for the awards ceremony will get to vote on a People’s Choice Award, which will be given that evening.
Molly Cox, who directed the soon-to-be-award-winning staging of “Ragtime,” will host.
Cocktails are at 6 p.m. and the curtain rises at 7 p.m. Oct. 13 at the Charline McCombs Empire Theatre. Tickets, which cost $35, go on sale soon at the Majestic Theatre box office and all Ticketmaster outlets.
Austin Playhouse is auditioning for select male roles in Agatha Christie's murder-mystery AND THEN THERE WERE NONE, directed by Lara Toner. The play runs November 22 - December 22 at our Highland Mall theatre. Performances are Thursday - Saturday at 8 pm, Sunday at 5 pm.
Please email headshots and resumes to
Auditions will consist of script readings and will be held on Saturday, September 28, by appointment only. Austin Playhouse hires Equity and non-Equity performers. All actors are compensated.
And Then There Were None by Agatha Christie: When ten house guests gather on a secluded island, the situation is ripe for misfortune. One by one, each guest meets their fate. Who's the murderous culprit? And who will be next? The play is set on a small island off the coast of England, 1939. British accents will be used.
ROLES CURRENTLY AVAILABLE:
Captain Philip Lombard: (30’s – 40’s) A former military man who has engaged in some quasi-legal activities and appears to be a type of mercenary.
Justice Lawrence Wargrave: (50’s – 60’s) a retired judge. He has the reputation of being a "hanging judge" and he admits to having a deep-seated fascination with both justice and death.
Dr. Edward George Armstrong: (40’s – 50’s) a successful London medical doctor and recovering alcoholic.
William Henry Blore: (40’s – 50’s) a private detective and ex-Scotland Yard Inspector.
Thomas Rogers: (40’s) the caretaker on the island, married to the cook.
[September 16, 2013] Texas Accountants and Lawyers for the Arts (TALA)—an organization that aims to help meet the legal and accounting needs of artists and arts-nonprofits—announces the transition of operations to a new headquarters in Austin and a new Austin-based board of directors.
Professional legal services to TALA members will continue uninterrupted, and TALA will continue to provide educational programs and legal clinics in Houston, Dallas, and other parts of the state, as well as a pool of volunteer lawyers and accountants to assist qualifying artists and arts organizations throughout Texas.
The former headquarters in Houston is expected to close in the next few months, though the move to Austin was effective as of August 8, 2013. TALA has had an Austin staff and office since April 2012 and will expand its staff and office space. No changes are anticipated to TALA’s email addresses or its toll-free number (800-526-8252).The former headquarters in Houston is expected to close in the next few months, though the move to Austin was effective as of August 8, 2013. TALA has had an Austin staff and office since April 2012 and will expand its staff and office space. No changes are anticipated to TALA’s email addresses or its toll-free number (800-526-8252).
The transition to Austin reflects the vision of former and current board members to ensure TALA keeps up with changes in the non-profit world, with an emphasis on technology, fundraising, volunteerism, and community outreach. “One immediate benefit of the move is the proximity to related statewide organizations also based in Austin,” says TALA Board President Blair Dancy. “They include the Texas Music Office, the Texas Film Commission, the Texas Commission on the Arts, and the State Bar of Texas, among others.”
The change in makeup of TALA’s new board also reflects this vision. The new board consists of only nine members, all energetic, arts loving, Austin-based lawyers, with a common focus on rethinking how TALA delivers services to Texas artists.
“One key aspect to this transition is tapping into additional resources,” says TALA Vice President Erik Metzger, in-house counsel for Intel Corporation, who splits time between California and Austin. “California Lawyers for the Arts has agreed to provide consulting services to TALA through this transition, using its own recently updated referral system as a model. That could make a huge difference in efficiencies.”
Board members include Geoffrey Brow (AT&T), Ashley Callahan (Norton Rose Fulbright & Jaworski), Rahul Engineer (Intel), Emilio Nicolas (Jackson Walker), Brooks Rice (Law Offices of Brooks Rice), Elizabeth Rogers (Texas Comptroller of Public Accounts), and Jamie Schue (ERCOT). Blair Dancy (Van Osselaer & Buchanan) and Erik Metzger (Intel) complete the current board.
TALA’s pro bono legal and accounting services are offered to artists and arts non-profits in all creative disciplines, including visual arts, music, theater, dance, film, gaming, and writing.
Over 600 attorneys and accountants throughout the state of Texas volunteer their time each year assisting in routine legal and accounting matters that might otherwise remain unresolved and unrepresented.
More About TALA: TALA was formed in 1979 to help meet the legal and accounting needs of artists and arts nonprofits across the State of Texas. TALA volunteers throughout the state handle more than 350 matters per year. This amounts to more than six hundred thousand dollars annually in donated services to the arts and cultural community. TALA’s services include legal and accounting assistance, nonprofit incorporation, dispute resolution services, and educational programs and publications for artists and arts-nonprofits to help apply legal and accounting concepts for their benefit. Membership and donor dollars provide for staff, office facilities, and insurance necessary to coordinate and support TALA volunteers.
A message from Yadira to her Austin audience through
for its presentation of her
One Journey - Stitching Stories Across the Mexican-'American' Border
Written and Performed by Yadira De La Riva
Multi-Media Design by Kenji Calderon-Miyamoto
Music Contributions by FUGA – www.myspace.com/fuguista
October 4-5, 2013, 8 p.m.
Emma S. Barrientos Mexican-American Cultural Center, 600 River Street - CLICK FOR MAP
One Journey is a woman’s coming of age story on the United States/Mexico border cities of El Paso, Texas and Ciudad Juarez, Chihuahua. This documentary one-woman theater play weaves personal border interviews and creative imagination to convey the generational and cultural differences between a mother and her daughter who are raised on opposite sides of the border.
This story takes place at the El Paso Country Sheriff’s Office where Luz visits her daughter Griselda who is arrested for a drug related crime. Luz, born and raised in extreme poverty conditions in Juarez, is forced to confront the challenges that her daughter’s generation is facing in the United States. Through Luz’s narration of her own struggles she must find a way reconcile her experiences of poverty with her daughter’s cultural and spiritual loss of self that is engendered by internalized anti-immigrant sentiment, border enforcement policies and a saturation of drugs on the border.
This play is a multi-character theater piece that incorporates comedy, poetry, movement, dance, music, and multimedia projections to convey El Paso/Juarez border life and culture. Using minimal props, and video background as part of the setting, Yadira creates the border on which characters negotiate their identities from one nation to another. The play is approximately one hour long and includes ten characters, all which serve to represent different perspectives regarding border dynamics.
Promo video posted by the
for its presentation of
by Marsha Norman
September 13th- October 6, Fridays and Saturdays at 8 PM Sundays at 2:30 PM
Child/Student: $15; Senior/Military/SATCO: $20; Adult: $23
Woodlawn's Black Box Theatre,
1920 Fredericksburg Road, San Antonio, Texas, 78201
'Night, Mother is a 1983 play by Marsha Norman about a daughter, Jessie, and her mother, Thelma (referred to as "Mama" in the play). The play opens with Jessie calmly telling Mama that by morning she will be dead, as she plans to commit suicide that very evening (she makes this revelation all while nonchalantly organizing household items and preparing to do her mother's nails). The subsequent dialogue between Jessie and Mama slowly reveals her reasons for her decision, her life with Mama, and how thoroughly she has planned her own death, culminating in a disturbing - yet unavoidable - climax.
Jesse Cates: Sara Larson
Thelma Cates: Sherrie Schirky
Purchase Tickets Online
Video: Toby Minor Speaks about Teaching Stage Combat at Texas State Universty
Video Preview: Dial M for Murder by Frederick Knott, Universty of Texas, October 4 - 12, 2013
Alpha Psi Omega at University of Texas, Austin, welcomes cast members for fall productions, 2013
Video: Tragedy: A Tragedy by Will Eno, Hyde Park Theatre, September 12 - October 12, 2013
Opening This Week in Central Texas, September 9 - 15, 2013
Arts and Culture on-line Gets A Glimpse of Central Texas Theatre, August 29, 2013
Profile by participating artist Dr. David Glen Robinson: Art Show/Model Show, Paper Chairs at the Off-Shoot, August 29 - September 14, 2013
Daily Texan Covers UT Prof's Detection of Shakespeare in Kyd's 'The Spanish Tragedy'
POWER-UP by Allison Orr, Forklift Danceworks and Austin Energy, September 21 - 22, 2013
(*) HARD TRAVELIN' WITH WOODY by Randy Noojin, Zion Theatre Group, San Antonio, October 11 - 13, 2013
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