Trinity Street Players audition notice: Marvin's Room by Scott McPherson, directed by Cathy Jones. Auditions and performances at First Baptist Church, 901 Trinity Street, Austin (click for map ). Auditions on Saturday, January 18th at 1 p.m. with callbacks on Monday if necessary.
Winner of the 1992 Outer Critics Circle and 1992 Drama Desk Award for Best Play, Scott McPherson's Marvin's Room is a dramatic comedy featuring two estranged sisters who reunite to take care of their invalid father while one faces her own imminent death.
Roles for 4 women, 3 men and 2 male teenagers:
BESSIE (40 years) – Bessie is a leukemia patient, caretaker of Marvin and Ruth; loving and devoted.
LEE (late 30s) - Bessie's sister; self-centered and high-strung.
HANK (17 years) - Lee's troubled son, committed to a mental institution; moody.
RUTH (70 years) - Bessie's aunt; slight hunchback from collapsed vertebrae; aging and forgetful.
DOCTOR WALLY - Bessie's befuddled doctor.
BOB - Dr. Wally's brother and inept receptionist.
DOCTOR CHARLOTTE - Hank's unruffled psychiatrist.
CHARLIE - Hank's younger brother; quiet.
RETIREMENT HOME DIRECTOR - frustrated director of assisted living facility.
for an audition time on January 18th. Please bring theatre resume and headshot to auditions. You may request sides in advance to prepare for the audition.
Performances will be on Friday & Saturday evenings and Sunday afternoons, March 28 – April 13, 20914.
For more information, please contact us by emailing
Austin Playhouse presents
Venus in Fur by David Ives, directed by Lara Toner
January 3rd – 25th, 2014
Thursdays–Saturdays at 8 p.m. and Sundays at 5 p.m.
Venus in Fur is rated R. Strictly adults only.
Austin Playhouse at Highland Mall, 6001 Airport Blvd., Austin, TX 78752 (click for map)
Tickets $24 Thursdays/Fridays, $26 Saturdays/Sundays
at 512.476.0084 or online at: www.austinplayhouse.com
All student tickets are half-price. $3 discount for Seniors 65 and up.
Limited Pick-Your-Price Rush tickets will be available at the box office one hour prior to showtime for each Thursday performance.
Dubbed “90 minutes of good, kinky fun” by The New York Times, the smash Broadway hit makes its Austin debut in a delicious new production.
All he needs is the perfect leading lady-a goddess of desire-to bring his vision to life. Thomas, a talented but demanding young writer, has meticulously adapted Leopold von Sacher-Masoch’s 19th century erotic novel, Venus in Fur, into a brilliant new play, but he can’t find the right woman for the role. When Vanda, a scattered young actress, arrives several hours late to her audition, Thomas is unimpressed. However, Vanda soon wins over the unwitting director with her strange mastery of the material and her alarming insights into his deepest desires. Suddenly the simple audition becomes a titillating game of cat and mouse. Who leads in the dance between fantasy and reality, love and lust, seduction and submission? Venus in Fur is a sharp, hysterical romp through the treacherous politics of sex and power.
Venus in Fur stars Austin Playhouse Acting Company members Molly Karrasch as Vanda and Gray G. Haddock as Thomas. The play is directed by Lara Toner, with set design by Patrick Crowley, lighting design by Don Day, and sound design by Joel Mercado-See.
Venus in Fur opened on Broadway at the Samuel J. Friedman Theatre on November 8, 2011 and received Tony Award nominations for Best Play and Best Actress in a Play. The play is the first of two David Ives plays being produced in Austin Playhouse’s 2013-2014 Season. The second is Ives’ adaptation of Pierre Corneille’s 17th century farce The Liar running February 7 – March 9, 2014.
Great news! Glass Half Full Theatre was just awarded a Project Grant from The Jim Henson Foundation for our final production of Once There Were Six Seasons, performing in May in Austin at Salvage Vanguard Theater. Featuring puppetry and design work from Caroline Reck, Rommel Sulit, Connor Hopkins, Gricelda Silva, Noel Gaulin, Parker Dority, Stephen Pruitt, Kingsley Eliot Haynes, Dannie Snyder, Dallas Tate, Kyle Zamcheck, Susan Peterson, Sophi Hopkins. Here's some clips from the workshop production.
Once There Were Six Seasons Preview from LIV creations on Vimeo.
As Presented by Glass Half Full Theatre
at Salvage Vanguard Theatre, Austin Texas
February 21 - March 3, 2013
Go to GlassHalfFullTheatre.com for more information!
Thoughts, numbers, analysis and a suggestion from the country's most peripatetic theatre critic:
How Theaters Can Combat the Stay-at-Home Mindset
by Terry Teachout, Wall Street Journal
Dec. 25, 2013 1:43 p.m. ET
The house lights fade to black. The room falls still as an actor steps from the wings and speaks the simple words that set a plot in motion: "O for a Muse of fire." "Yes, I have tricks in my pocket, I have things up my sleeve." "This play is called 'Our Town.'" Suddenly the outside world vanishes and you're swept into a parallel universe of excitement and adventure, poetry and magic, fear and hope.
That's what it feels like to go to the theater and see a great play. But when did you last do so? A week ago? A year? Or do you now prefer to stay home and watch cable television or use Netflix NFLX +0.57% to stream a movie?
If so, you're one of the reasons why live theater is in trouble.
Take a look at the National Endowment for the Arts' latest Survey of Public Participation in the Arts, the most statistically reliable study of its kind. Not only did "non-musical play attendance" drop to 8.3% from 12.3% of U.S. adults between 2002 and 2012, but attendance at musicals also fell, to 15.2% from 17.1%, the first time the latter figure has declined since 1985. That's really bad news. Musical comedy has always been live theater's bread and butter, the ever-popular fare that never fails to fill the seats. If fewer people want to see "Fiddler on the Roof" or "The Lion King," then the pillars that hold up American theater are crumbling.
A big part of the problem for New Yorkers is the horrifically high price of tickets to Broadway shows. But 63% of all Broadway tickets are bought by spendthrift tourists. Fortunately, off-Broadway and regional-theater seats don't cost nearly so much. I just saw a play in Boston, the Huntington Theatre Company's superb revival of A.R. Gurney's "The Cocktail Hour," for which tickets ranged from $25 to $95. (By contrast, the top ticket price for Broadway's "The Book of Mormon" is a whopping $299.) And the vast majority of professional stage productions, both in New York and in the rest of America, are presented by not-for-profit theaters like the Huntington. These companies, of which there are about 1,800, mounted 14,600 shows in the 2010-11 season, as opposed to 118 commercial productions on Broadway and elsewhere. Yet they, too, view the NEA's bad-news numbers with alarm, as they readily acknowledge. Even at the top-tier resident regional companies, subscription income, still considered the most reliable yardstick of a resident company's economic health, is much weaker: Adjusting for inflation, it's plummeted 13.7% since 2008.
What's gone wrong with theater? It isn't a matter of quality control. I've been reviewing performances from coast to coast since 2004, and I continue to be impressed by what I see. Instead, what I'm hearing from regional artistic directors is that they're being slammed by the on-demand mentality.
In 2004 the iPod was a novelty and tablet computers were a dream. Now we take for granted that we can see whatever we want whenever and wherever we want to see it, be it "Grand Illusion" or "Duck Dynasty." Is there a demonstrable link between our fast-growing taste for on-demand entertainment and the plight of live theater? As yet there's no definitive proof. But there's no question about the rise of the on-demand mentality, nor any doubt that theater's audience share is declining relative to that of other art forms that are accessible via the new media.
Let's look again at the NEA survey:
• A generational shift is occurring… Young people are more likely to use the new media to consume art of all kinds. The NEA reports, for instance, that 6.6% of Americans between the ages of 18 and 24 use handheld or mobile devices "to read, listen to, or download novels, short stories, or plays," versus 2.5% between the ages of 55 and 64.
• …and theater gets left in the lurch. At the same time, few Americans use the new media to watch plays. While 61% of all adults use "TV, radio or the internet to access art or arts programming," only 7% view stage plays or musicals on the electronic media. Disaggregate those numbers and the tendency is even clearer: 16% of all U.S. adults are using the new media to read fiction, as opposed to 3.4% who do so to view theater or dance performances.
Click to read more at the Wall Street Journal on-line
Following is the nineteenth chapter of Lars Gustafsson's novel The Dean, translated by Michael Meigs.
Lars Gustafsson (from blogspot.com)
Chapter 19: The Heat of High Summer
Only when the Dean decided once and for all to take on Academic Director Palmer did I first begin to understand the powers – well, let's be frank, the diabolical powers -- he could unleash. If he chose to do so, and whenever he wished. And, apparently, really without the least effort. This is how it went:
The Dean didn’t like high summer. It made him irritable.
Summer was upon us. The days shimmered in the white-hot heat. It was a time for heart attacks and migraine seizures, a season that only the very young really can endure. They can take ice-cold showers and lie with one another on cool sheets as the ceiling fan runs on its highest speed.
(via www.cassettegods.blogspot.com)The rest of us didn’t have it quite so easy. At night you twisted yourself up in sheets damp with sweat if you decided not to set the air conditioner so high that the bedroom became a refrigerator, blasted with an icy wind from one of the cold circles of hell. Anyway, in my apartment back then the ancient, cranky, noisy cooling device never really lowered the temperature much at all.
Street corners recently so colorful and friendly with all the April and May flowers were suddenly brown with dead vegetation. The young Adonis is dead, a connoisseur of ancient mythologies might proclaim. And he will not rise again for a long time. Hoods of parked cars were glowing hot, and anyone who really wanted to attempt the bizarre experiment would certainly be able to fry his breakfast eggs on them.
The Dean definitely did not like high summer, as I said; it put him in a foul mood. Some days he had a tendency to drive back and forth in his wheelchair, like an irritable polar bear pacing in the zoo. And with no greater consideration for the surroundings. He didn't even notice it when stacks of documents and small tables got in his way and tipped over, at least most of time.
It is – or was -- on one such day that the entire Vietnam war appeared to awaken in his body. His old wounds from Da Nang and Hue made themselves known with redoubled strength. Nerve pangs shot through him and turned almost instantly into nervous and often aggressive energy. He called for old files about projects that everyone else had already been completed, and he took up anew old enigmas and injustices. On such days his usually very conciliatory tone with the secretaries and administrative directors and others so unfortunate as to have to ask him for something became sharp and edgy.
“But you didn’t answer my question!”
“You are not in the least interested in this problem.”
Those are typical of his utterances on such days. He and the whole office with him, assistants and secretaries, were vibrating with a mute and fundamentally unhealthy energy.
And in the center of that rare magnetic storm sat the Dean himself in his wheelchair, impecably dressed as always, in a light gray summer suit, with those alert blue eyes, strangely chilly, seeming to be focused somewhere behind the person with whom he happened to be speaking.
I don’t know how to describe it, but the whole experience had a strange, perhaps almost not quite human quality to it.
# # #
The university had had the same academic director for many years, old Professor Sigbardt Posner, often called Sigge. Posner was a gentleman known for his comic anecdotes and his ability to speak reasonably and in friendly fashion with everyone he met. Though infallibly grumpy and difficult when it came to authorizing grants, he patiently heard out the justifications. Most important of all was the fact that he had been the Dean's friend since childhood. My Dean. In fact, they often spent half an hour or more chatting on the phone, and it usually seemed to me that they were dealing less with academic affairs than with very personal entertaining old memories.
Posner, descendant of the industrious and tough Germans who have been in Texas since 1848 and in some cases even longer than that, a man of the same stern stuff as Admiral Niemitz and his fellows from Fredericksburg, had been a professor of business economics. He showed himself to be a hellishly clever planner and budgeter, and he had become academic director, the university’s chief financial officer, largely because of his good contacts in industry and with the big donors, Democratic and Republican, on the board of directors. He studied in Cambridge at the same time as the Dean, and you could imagine there were many shared experiences back then that had cemented their friendship. Perhaps something else as well -- call it a firm belief that it's impossible to make the world a better place than it is, but maybe one can prevent the worst forms of decadence. Anyone would have certainly considered both gentlemen extremely conservative.
He didn’t get involved so much in the quarrels between the various departments. He preferred for them to thrash out their differences before they came to him. The Dean made sure of that before he sent Posner a budget.
Both of them had the experienced university man’s unfailing nose for phony projects, castles in the air, and attempts to use contacts within the administration to get unqualified individuals hired – and they could always recognize the real goods. Various boards came and went, for the most part staffed with businessmen who had given sufficiently large donations to various political parties. The same with their university presidents. But Sigge was immutable; he kept everything in order. Proposals dealing purely with maintaining the status quo rarely made it through the eye of his needle. The Dean and the Academic Director could be heard laughing scornfully together as they popped those bubbles. An Institute for Multicultural Research, or a Program for Improving Sensitivity, or whatever it might be never had a chance as long as Sigge was in place.
Everything was going very well.
Up until to the end of last year when that superb academic director suddenly realized that he was becoming senile.
And perhaps he was right. They say that during that by last term that he had completely lost the ability to track the numbers in his head.
# # #
And then along came, God knows from where (perhaps God is the only one does know), that fellow Richard Palmer. A blond or possibly bleached blond gentleman from Harvard Business School and therefore presumably capable. Who could not communicate. He was completely inept in drafting a normal letter. But sticking his nose into things was something he could do. Brazen, slicked back, he had an astonishing ability to interfere with everything. The Dean must have been as surprised as the rest of us when Palmer turned up, as if summoned from the void. I don’t really know where it started, but soon enough every one of us was calling him The Slicker. He got that nickname in part because it fit his appearance so well but also because of his Harvard Business School origins. And he clearly didn’t give a damn, since he obviously thought the University of Texas should be run like some random telephone company.
What did he do? He meddled. Normally, academic directors don’t get themselves involved in real academic issues. For example, where the institution should look for new professors and what places to avoid like the plague in recruiting academic staff. Or how the course catalog should look.
If only he had limited himself to snooping! But his meddling had consequences. It caused a number of problems: individuals who had received practically ironclad promises of employment weren't hired, for example, and courses already announced in the catalog had to be postponed.
The ancient tradition-bound wars between departments -- Economics against Sociology, English against Romance Languages, Philosophy against Psychology -- began to lose some of their fire after several months with The Slicker. Because they all began to view the new academic director as a common enemy.
The Dean, Professor Paul Chapman, had a pet project. He wanted the university to establish, first, a program and then eventually perhaps even an institute for the history of science. A series of leading universities up north had one – Harvard, of course, MIT, and Yale – so why shouldn’t we?
He had a whole list of arguments in favor, which perhaps I can discuss some other time. A number of them were eminently sound while others were fairly bizarre. Such as the assertion that the history of science could be a fine remedy for the unfortunate influence he was convinced those women’s studies programs and other egalitarian notions might exert on a leading university.
He'd already found a favorite professor for study of the history of ideas in the Department of Philosophy, a man he had already more or less blessed as the head of the new program, and he'd already done the work behind the scenes to nail it down with the all-powerful board of regents. It was always extraordinary to see the apparent ease with which he secured the support of the board for his various projects. It seemed effortless. As if he could pull some strings behind those Republican and Democratic politicians and their financial supporters to transform them suddenly into marionettes.
“The decisive man can do anything he wishes,” he used to say.
But suddenly things had become more difficult.
© Lars Gustafsson, 2003, translation by Michael Meigs (© 2010)
[Click to go to Chapter 1 - One World, Seen from Another]
Join us for the auditions for the Texas Premiere of SUDS: The Rocking 60’s Musical Soap Opera
Directed by Jovi Gonzales, Jonathan Pennington, Musical Direction by Tom Masinter
Only one role to be cast: Male Lead who has multiple roles
• Mr. Postman: A bouncy, energetic, slightly mysterious postman.
• Washer Repairman: A big lug. Probably wears work coverall & tool belt, carries toolbox etc.
• Mrs. Halo: A sweet middle-aged lady with a midwestern accent (she's from Minnesota). She can be dressed in bathrobe, slippers and curlers.
• Mr. Right: A dashing, debonair, good-natured man. A cross between Ward Cleaver and a matinee idol. Right out of a Sears Catalogue or an arrow ad come to life. Although very strong and confident, he should not be lecherous or leering; he's very polite to women and very charming.
• Milt Dudman: A nerd. Loud, obnoxious, inappropriate and unappealing.
• Johnny Angel: Earnest young man. Tries to be cool but is really just a regular guy.
Sings sweet solo up to G (can be falsetto). Must belt strong F. Falsetto backups to B flat. Bass to A below middle C. In "Mr. Postman" should be comfortable with a strong pop sound to G flat.
Auditions by appointment only call 210 212-5454 to schedule or email:
. Audition Location: 1123 E Commerce St, San Antonio, TX 78205. Please submit a headshot and resume. Please prepare a one-minute musical selection of your choice. Please choose something appropriate for the show.On the day of your audition please arrive at least 15 minutes prior to your scheduled audition appointment. Bring a resume, headshot, and either sheet music or a CD of your musical selection. No a cappella singing please.
Performance Dates: Rehearsals will be Jan 5-31; shows are Feb 1- Mar 2, Fridays and Saturdays at 8 pm and Sundays at 4pm. at the Cameo Theatre 1123 E Commerce St, San Antonio, TX 78205 (click for map)
SUDS (Book by Steve Gunderson, Melinda Gilb, and Bryan Scott; Musical Arrangement by Steve Gunderson) takes you back to the early 1960s to tell the story of Cindy, a lovelorn young woman who works in a laundromat, and the guardian angels that teach her how to find true love and survive in this wash, rinse, and spit-em-out world. SUDS is loaded with good clean fun, bubbling energy, and over 40 songs that topped the charts, including "Mr. Postman," “Where the Boys Are,” “These Boots Are Made for Walkin’,” “Respect,” and “Do You Want to Know a Secret.”
Received December 23, 2013:
My name is Evan Cox and I'm emailing Austin Live Theater because I wanted to know if ALT or CTX Live Theater need an audio person directing audio signals for any specific play. I have some musical theater experience in acting (The Fiddler on the Roof, Guys and Dolls) and with my recent education, I want to apply my knowledge to the technical side of theater. I have attached my resume that includes my Skills, Education, and Experience. Please contact me if you need someone who can be there by January to run sound for you all!
Thank you for your time and consideration!
(956) 326-8621 |
Click to view resume
On the theatre company's blog Kevin Gates discusses the upcoming second production of Austin's Poor Shadows of Elysium: Gallathea by John Lyly (ca. 1588), to be presented January 3 - 19 at the black box theatre of Trinity Street Players, 4th floor, First Baptist Church, 901 Trinity Street, Austin.
Tickets are $10, available in advance via
Director Kevin Gates talks about Gallathea
Torquato Tasso is best known for his poetry and his insanity. He died only a few days before he was to be crowned “king of the poets” by the Pope. His poetry is largely forgotten in the English-speaking world, but his legacy still lives in our collective consciousness. In 1573, Tasso’s play, Aminta, was performed before the Duke of Ferrara. This pastoral play is extremely difficult to stage effectively, because much of the dialogue describes action that occurred offstage. The play features nymphs and satyrs, Cupid and Venus. If I were to try to describe what the play is about in one sentence, it would be something along the lines of, “What is the true nature of love?”
In 1588, John Lyly’s play, Gallathea, was performed before Queen Elizabeth I by the Children of Paul’s. Gallathea features nymphs, Cupid, and Venus, and asks the same question. The action of the two plays are different, and Gallathea is much more English in its approach, since it features a comic subplot, but the theme, setting, and characters of the two plays are very similar.
I decided to direct Gallathea for Poor Shadows primarily because it was the opposite of our last production, Richard II, in many ways (it’s a comedy, in verse, with many substantial female roles). But possibly the most rewarding thing for me about digging into this text has been discovering the echoes of this play in later works by Shakespeare and his contemporaries. Scholars have compared parts of the play to The Tempest, A Midsummer Night’s Dream, and As You Like It. Parts of this play also call to my mind Romeo and Juliet (the fathers remind me of Capulet and Montague), Love’s Labour’s Lost (lovers hiding and listening to another confess their love in a soliloquy), and Twelfth Night (Toby and Andrew discussing which signs of the zodiac rule which parts of the body). And obviously, the Alchemist and his boy, and their lists of spirits and bodies, call to mind Jonson’s play on the subject.
At first blush, Gallathea is very light and not very deep, but there’s one aspect of the play that I think defies that impression. (SPOILER ALERT) To escape the curse of Neptune, two young virgins are disguised by their fathers as boys. The two girls meet in the woods and, each thinking the other to be a boy, fall in love. In the final scene, when they discover they’re both girls, the reaction of the bystanders is predictable. But the reactions of the two girls are surprising. Diana tells them they must “leave these fond affections,” and Gallathea replies, “I will never love any but Phillida.” Phillida agrees. “Nor I any but Gallathea.” Their love is based on something deeper than gender. Although the social order might not approve (Venus says she’ll change one of them into a boy), neither of the girls cares, as long as they can be together. It’s the viewpoint of the two girls that I find so interesting in this play, and I’ve tried to enhance the focus on that element in our show.
The Early Modern English drama is my area of interest, so, of course, I find this play really interesting for many reasons. But I think our show will still be very entertaining for regular, non-nerdy people, too.
Teatro Vivo is holding Actor Auditions on January 4, 2014, 3 - 7 p.m. for The Mexcentrics sketch comedy troupe at TKO - 700 N. Lamar #200B.
Parts are available for men and women ages 18-80+. Knowledge of Spanish for some roles is a plus but not required. Actors should prepare a comedic monologue. Each monologue should be no more than 1- 2 min. in length. Bring a headshot or photo. You may also bring a resume – optional.
Auditions are by appointment. For more info or to schedule an audition, email Deanna at
*Writer Workshop Jan 6 - 9th
*Rehearsals Jan 13 - Feb 6 (Mondays - Thursdays)
*Tech week Feb 10th - 12th
*Show Runs Feb 13 - March 1 (Thursday - Saturday)
NEW YEAR's EVE at 8 p.m.
Sam Bass Community Theatre,600 N. Lee St., Round Rock (in Memorial Park)
(click for map)
An evening of Live Old Time Radio
MAKE YOUR RESERVATION NOW FOR A SPECIAL EVENT
ONE NIGHT ONLY!
Directed by Frank Benge
Spend your New Year's Eve with us at Sam Bass Community Theatre and travel back in time to the Golden Age of Radio!
We've planned an evening of classic entertainment for you!!
"The Baby Snooks Show"
"The Thin Man"
... all performed live with live on-stage sound effects...
plus our Big Band Singer...
it's just like stepping back and being part of a live studio audience.
LYNN BEAVER, MARC BALESTAR, MARY SOUTHON, VERONICA PRIOR, FRANK BENGE,
MICHAEL VOHS, ROXY BECKER, IAN KING, ALEXANDRA RUSSO, RHONDA ROE,
DARREN SCHARF, CHRISTINA LITTLE-MANLEY and NATHAN URBAN
We will also have our usual silent auction, a special 40's gala buffet following the performance with a champagne toast at midnight... all included in your admission!!
We hope to see you and ring in 2014 with you!
Click to purchase tickets ($18 plus Vendini service fee)
(*) Playhouse's Tribe Brings Theatre to Teens, by Deborah Martin, San Antonio Express-News
Auditions in Bulverde for 'Irena's Vow,' January 5, 2014
More on City of Austin Intentions for $30k from National Endowment for the Arts
A Translator's Satisfaction: Ad for The Elixir of Immortality by Gabi Gleichmann, Other Press, 2013
(*) 'Two-fers' for Cameo Theatre's White Christmas, December 14, 2013 - January 1, 2014
(*) Upcoming: THE MOUNTAINTOP by Katori Hall, Renaissance Guild, San Antonio, January 17 - February 9, 2014
(*) Circle Arts Theatre 2014 Season, New Braunfels
(*) Playhouse San Antonio Invites Applications for Unpaid Internships
We Were Nothing by Will Arbery, Poison Apple Initiative, December 11 - 21, 2013
Auditions in San Antonio for Clybourne Park by Bruce Norris, January 12 and 13, 2014
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