Four fast and funny plays make up Firestone Theatre’s One-Act Play Festival.
This annual event is to be held in the Linda B. Kersker Auditorium at 7:30 p.m. on Thursday, January 7, 2010. All tickets cost $5.00 and will be available only at the door on the night of the show.
The festival is comprised of four comedies including "13 Ways to Screw Up Your College Audition" by Ian McWethy, "Check Please: Take 3" by Jonathon Rand, "Dinner with the MacGuffins" by Chris Sheppard and Jeff Grove, and "How to Succeed in High School Without Really Trying" by Jonathan Rand.
"13 Ways to Screw Up Your College Audition" is directed by FHS alumnus Brian Jackson and features a cast comprised of juniors Ally Freel, Haley Hineline, Christopher Sharkey, and Andrew Mills; sophomore Jacquie Hailstock; and freshman Sierrah Jesiolowski. 13 Ways to Screw Up Your College Audition tells the story of two college recruiters at a prestigious university who need to fill one last spot to keep their jobs, thirteen eccentric, dimwitted and slightly-insane high school seniors are eager to come in for an interview. What seems like a simple task turns into a nightmare when the applicants turn out to be a reality TV star, a practicing vampire, an amateur magician, and others that are much, much worse. Each applicant's interview hilariously illustrates what NOT to do at a college interview.
"Check Please: Take 3" is directed by FHS senior Benjamin Isaiah Black and features a cast comprised of senior Curtis J. Walton; juniors Jeremy Clarke, Bria Cooke, LaSosha Edwards, Lauren Johanni, sophomore Rachel Black; and freshman Demaris Evans.
In "Check Please: Take 3," best friends Guy and Girl used to be a couple. Desperate to buck singlehood, they decide that even considering their atrocious blind dating track record, it's worth another shot. But after struggling through dates with a wannabe rock star, a vote-starved politician, and the guy who does those intense movie trailer voice-overs, there's the inevitable question: Which is better -- staying single the rest of your life, or suffering through a series of the worst dates in history?
"Dinner with the MacGuffins" is directed by FHS alumnae Sam Ost and features a cast comprised of senior Stephen Carder; juniors Becca Aronholt, Caeli Droge, and Denzel Washington; sophomore Jon Bozeka; and freshman Katie Johanni. "Dinner with the MacGuffins" is a typical family comedy: teenage James and girlfriend Karen try to make out one afternoon, only to face repeated interruptions by other members of James' family. But the ultimate interruption comes when a cell phone goes off in the audience, breaking the "fourth wall" so that James can see the spectators. As James tries to convince his increasingly worried family that a wall is missing from their house, and that people are watching them, the play takes more left turns than Bugs Bunny should have taken at Albuquerque -- until it reaches a happy (if twisted) ending.
"How to Succeed in High School Without Really Trying" is directed by FHS theatre director Mark A. Zimmerman and features a cast comprised of senior Jamila Okantah; juniors Jasmine Benson-Williams, Jillian Bryson, Josh Palan, and Christina Smith; sophomores Shayla Averiette and Geonah Miller; freshman Nick DeShane and Zoe Sapienza. "How to Succeed in High School Without Really Trying" asks the important question, want to know the easiest way to make it through the grueling abyss known as high school? A group of student agents infiltrate an assembly to demonstrate their secret tips and tricks, ranging from legally changing your name to get around roll call, to using Tom Cruise to help memorize science terms. High school will never be the same.
Thursday, December 17, 2009
Monday, November 16, 2009
Rachel York in 101 DALMATIONS
I wish I had seen this story before meeting Rachel York earlier today. I had forgotten that the show was using real, live dalmations and that animal advocacy is a big part of her life. She is featured briefly on this online story.
More thoughts on Ms. York's visit to Firestone High School soon.
It's Time to Think Like a Star!
The NE Ohio Area Rep, Russ Kwitkowski, recently posted information regarding upcoming meetings for STARs -- STUDENT AREA REPRESENTATIVES. These are students that meet and plan major portions of the Area Thespian Conference which is to be help here at FHS on January 9, 2009.
Any Thespian from a participating school can become a STAR and I hope that many of our students get involved as we are hositng the event this year. Past STARs have reported great satisfaction with the experience and have encouraged other students to get involved.
I like to see lots of students involved in Thespian activities. I think this involvement has led only to good things and has helped my students to become better artists, leadeers, and members of their community.
Below is the post from Mr. Kwitkoski:
"Attention NE AREA Thespians....
Are you a STAR? That is a "student area representative"? If so, it's time to start work on the Area Conference! STARs is open to all creative students who are interested in furthering their participation in NE Area Conference. It is also from these students that next year's SSO will be chosen. Please look at the below dates and locations for the upcoming STARs meetings and then confirm with me at rkwitkowski@ohedta.org if you are interested in participating.
STARS meeting Saturday, Nov 21st 1-4pm at Riverside High School
STARS meeting Saturday, Dec 5th 1-4pm at Archbishop Hoban High School
STARS meeting Friday, Jan 8th, 5-9pm at Firestone High School
NE AREA Conference, Saturday, Jan 9th at Firestone High School
Thanks.
Russ Kwitkowski
NE AREA Representative"
Any Thespian from a participating school can become a STAR and I hope that many of our students get involved as we are hositng the event this year. Past STARs have reported great satisfaction with the experience and have encouraged other students to get involved.
I like to see lots of students involved in Thespian activities. I think this involvement has led only to good things and has helped my students to become better artists, leadeers, and members of their community.
Below is the post from Mr. Kwitkoski:
"Attention NE AREA Thespians....
Are you a STAR? That is a "student area representative"? If so, it's time to start work on the Area Conference! STARs is open to all creative students who are interested in furthering their participation in NE Area Conference. It is also from these students that next year's SSO will be chosen. Please look at the below dates and locations for the upcoming STARs meetings and then confirm with me at rkwitkowski@ohedta.org if you are interested in participating.
STARS meeting Saturday, Nov 21st 1-4pm at Riverside High School
STARS meeting Saturday, Dec 5th 1-4pm at Archbishop Hoban High School
STARS meeting Friday, Jan 8th, 5-9pm at Firestone High School
NE AREA Conference, Saturday, Jan 9th at Firestone High School
Thanks.
Russ Kwitkowski
NE AREA Representative"
Thursday, November 12, 2009
Thoughts on DEAR GABBY's Run
As I write this, DEAR GABBY: THE CONFESSIONS OF AN OVER-ACHIEVER has already presented two of its four performances to very responsive crowds. Even the 4:00 p.m. show show had about 50 people in attendance . . . which I think is awesome. We set extra chairs for the 7:00 p.m. show so we had about 80 patrons.
I know that this response would not be possible without the support of my colleagues in the Language Arts department. They have distributed flyers for the show and encouraged their students to attend the show. Some have even offered extra credit to students who have attended the show.
DEAR GABBY is a delightful production under the careful direction of Elynmarie Kazle. Elynmarie has ties to the show that go all the way back to the beginning at the Santa Monica Playhouse so I know she considers herself an ambassador for the play and the Playhouse.
We originally presented DEAR GABBY on the main stage back in 1999. It was under the directionthen of Melanie Pepe who is now the Education Director at Weathervane Playhouse. Most of the kids who appeared in that first production are now living and working in NYC, LA, and Chicago. Some of them are still pursuing a career in theatre and others have moved on to other exciting career opportunities.
We have presented the show several times over the years. I think this year's production repesents the 7th FHS production. Melanie directed the first two; I directed the second two; and Elynmarie has directed the rest. Additionally, I once directed a production of DEAR GABBY for Weatehrvane's Summer Stock class which was presented at the Coach House Theatre due to the ongoing renovations at Weathervane. One year we even took our production back to Santa Monica to present it in its home theatre in front of its playwrights, Chris DeCarlo and Evelyn Rudie.
Elynmarie swears she knows the play by heart. I know large sections of it. We only argue a little bit about how to stage the play. She usually finishes the argument with a sentence that starts with "Evelyn always said . . . "
Four alumni cast members were in the audience for last night's 7:00 p.m. show. It was an especially emotion moment for me to see those four join the current cast on stage. We like to think of DEAR GABBY as an extended family that just grows and grows. I hope more alumni come to the shows later today.
I know that this response would not be possible without the support of my colleagues in the Language Arts department. They have distributed flyers for the show and encouraged their students to attend the show. Some have even offered extra credit to students who have attended the show.
DEAR GABBY is a delightful production under the careful direction of Elynmarie Kazle. Elynmarie has ties to the show that go all the way back to the beginning at the Santa Monica Playhouse so I know she considers herself an ambassador for the play and the Playhouse.
We originally presented DEAR GABBY on the main stage back in 1999. It was under the directionthen of Melanie Pepe who is now the Education Director at Weathervane Playhouse. Most of the kids who appeared in that first production are now living and working in NYC, LA, and Chicago. Some of them are still pursuing a career in theatre and others have moved on to other exciting career opportunities.
We have presented the show several times over the years. I think this year's production repesents the 7th FHS production. Melanie directed the first two; I directed the second two; and Elynmarie has directed the rest. Additionally, I once directed a production of DEAR GABBY for Weatehrvane's Summer Stock class which was presented at the Coach House Theatre due to the ongoing renovations at Weathervane. One year we even took our production back to Santa Monica to present it in its home theatre in front of its playwrights, Chris DeCarlo and Evelyn Rudie.
Elynmarie swears she knows the play by heart. I know large sections of it. We only argue a little bit about how to stage the play. She usually finishes the argument with a sentence that starts with "Evelyn always said . . . "
Four alumni cast members were in the audience for last night's 7:00 p.m. show. It was an especially emotion moment for me to see those four join the current cast on stage. We like to think of DEAR GABBY as an extended family that just grows and grows. I hope more alumni come to the shows later today.
Wednesday, November 11, 2009
DEAR GABBY director's notes by Elynmarie Kazle
Courtesy of Elynmarie Kazle, our guest director.
Why didn’t anyone tell us? Did they think in hindsight it was not important? Of course we need a hand up so all of those detours and wrong turns don’t frighten or confuse us…
The message of this play, still powerful after all these years (having seen the original production in 1988) is that growing up is not easy, that we all need a hand up; that we all need to learn and grow with each other.
Often as adults it is easy in our over-scheduled, work filled, frazzled, day to forget that our teens are taking some very big steps into the world. Every day they face challenges and decisions for the very first time - and something that would seem to be an insignificant incident in our life takes on so much more importance when your time on this planet has been much shorter.
We have gone through a lot in this rehearsal process. In and out of rehearsal we have experienced some of those BIG but not so big moments. We have had cast changes, waylaying experiences such as H1N1, family trips and school obligations; but through it all we have bonded as a company and made some very important discoveries along the way. And we are pleased to share these with you, today.
I would like to thank the Firestone Staff for their support of our production; especially Mr. Zimmerman, Mrs. Schneider, the Firestone Custodial staff, Mr. Petry and Tom Weaver. Thank you for coming today and please take away the reminder that from time to time, we all need a helping hand.
Why didn’t anyone tell us? Did they think in hindsight it was not important? Of course we need a hand up so all of those detours and wrong turns don’t frighten or confuse us…
The message of this play, still powerful after all these years (having seen the original production in 1988) is that growing up is not easy, that we all need a hand up; that we all need to learn and grow with each other.
Often as adults it is easy in our over-scheduled, work filled, frazzled, day to forget that our teens are taking some very big steps into the world. Every day they face challenges and decisions for the very first time - and something that would seem to be an insignificant incident in our life takes on so much more importance when your time on this planet has been much shorter.
We have gone through a lot in this rehearsal process. In and out of rehearsal we have experienced some of those BIG but not so big moments. We have had cast changes, waylaying experiences such as H1N1, family trips and school obligations; but through it all we have bonded as a company and made some very important discoveries along the way. And we are pleased to share these with you, today.
I would like to thank the Firestone Staff for their support of our production; especially Mr. Zimmerman, Mrs. Schneider, the Firestone Custodial staff, Mr. Petry and Tom Weaver. Thank you for coming today and please take away the reminder that from time to time, we all need a helping hand.
We need a 'helping hand.' See DEAR GABY Wednesday or Thursday
She may not know all the right answers but she does ask all the right questions. Dear Gabby: The Confessions of an Over-Achiever tells the story of a teenaged girl who confronts a series of life-lessons as she writes the advice column for her school’s paper.
The funny and poignant play will be performed in the Linda B. Kersker Auditorium at 4:00 and 7:00 p.m. on Wednesday, November 11 and Thursday, November 12, 2009. All tickets cost $7.00 and are available by mail order and in the school commons from 11:00 a.m. to 1:00 p.m. starting Monday, November 9. 2009. Seating is limited so patrons are encouraged to buy their tickets in advance.
Dear Gabby: The Confessions of an Over-Achiever is by Chris DeCarlo and Evelyn Rudie, who serve as co-Artistic Directors of the Santa Monica Playhouse in California. They describe their play as an interactive theatre experience, which explores such teen concerns as first love, peer pressure, rejection, relationships, drugs, cheating, self-esteem, and the passion and pain of piano lessons.
Dear Gabby is under the direction of guest artist Elynmarie Kazle who has already twice directed the play at Firestone High School. She worked at the Santa Monica Playhouse at the time of Dear Gabby’s original performances and tours. Firestone Theatre has presented the play six times over ten years to a wide variety of audiences. One production toured to the Dayton, Ohio, area as well as returned home to the Santa Monica Playhouse for two fund-raising performances. Kazle has served as the school’s Stage Management Trainer and Mentor for 10 years and recently worked at the Cleveland Playhouse.
The cast of Dear Gabby: The Confessions of an Over-Achiever is lead by senior Jesse Askew who takes on the lead role. She is supported by seniors Stephen Carder and Paige Hewett; juniors Emma Durante and Lauren Johanni; sophomores Jaqcuie Hailstock and Marissa Wilson, and freshmen Gregory Hill and Zoe Sapienza. Freshmen Imohkai Okolo and Wil Banno Rothman serve as co-stage managers.
Call the theatre office at Firestone High School at 330-873-3408 for additional information.
The funny and poignant play will be performed in the Linda B. Kersker Auditorium at 4:00 and 7:00 p.m. on Wednesday, November 11 and Thursday, November 12, 2009. All tickets cost $7.00 and are available by mail order and in the school commons from 11:00 a.m. to 1:00 p.m. starting Monday, November 9. 2009. Seating is limited so patrons are encouraged to buy their tickets in advance.
Dear Gabby: The Confessions of an Over-Achiever is by Chris DeCarlo and Evelyn Rudie, who serve as co-Artistic Directors of the Santa Monica Playhouse in California. They describe their play as an interactive theatre experience, which explores such teen concerns as first love, peer pressure, rejection, relationships, drugs, cheating, self-esteem, and the passion and pain of piano lessons.
Dear Gabby is under the direction of guest artist Elynmarie Kazle who has already twice directed the play at Firestone High School. She worked at the Santa Monica Playhouse at the time of Dear Gabby’s original performances and tours. Firestone Theatre has presented the play six times over ten years to a wide variety of audiences. One production toured to the Dayton, Ohio, area as well as returned home to the Santa Monica Playhouse for two fund-raising performances. Kazle has served as the school’s Stage Management Trainer and Mentor for 10 years and recently worked at the Cleveland Playhouse.
The cast of Dear Gabby: The Confessions of an Over-Achiever is lead by senior Jesse Askew who takes on the lead role. She is supported by seniors Stephen Carder and Paige Hewett; juniors Emma Durante and Lauren Johanni; sophomores Jaqcuie Hailstock and Marissa Wilson, and freshmen Gregory Hill and Zoe Sapienza. Freshmen Imohkai Okolo and Wil Banno Rothman serve as co-stage managers.
Call the theatre office at Firestone High School at 330-873-3408 for additional information.
Tuesday, November 10, 2009
Fly Like a Falcon
Get ready to fly with the falcons at Firestone High School’s official open house!
The staff and students of Firestone High School will hold an open house for prospective students and their families from 12:00 p.m. to 2:00 p.m. on Sunday, December 6, 2009. Students in grades six through eight and their families are welcome to visit the school during this open house. Faculty and staff will be present to answer questions about the school and its many programs. This event had previously been scheduled for an earlier date.
Firestone High School’s open house will include tours of the building and specific information regarding the many special programs and activities such as 13 Advanced Placement courses and an outstanding International Baccalaureate program, as well as Information Technology and Project Lead the Way (engineering). The open house will also include informal performances by the various performing arts programs available on this campus for the Visual and Performing Arts. The programs include Choral Music, Dance, Instrumental Music, Theatre, and Visual Art. Firestone High School also offers a wide variety of academic clubs and 20 varsity sports.
Prospective students and their families will be given insight to a school that provides an excellent public education at no cost or tuition free. The school has been rated “excellent” by the State of Ohio for five consecutive years. Firestone High School has been named by Newsweek Magazine as one of America’s Best High Schools” every year over the past five years. Last year’s graduates received in excess of $4-million in college scholarships.
Firestone High School is located at 333 Rampart Avenue, Akron, 44313. Call 330-873-3315 for additional information.
The staff and students of Firestone High School will hold an open house for prospective students and their families from 12:00 p.m. to 2:00 p.m. on Sunday, December 6, 2009. Students in grades six through eight and their families are welcome to visit the school during this open house. Faculty and staff will be present to answer questions about the school and its many programs. This event had previously been scheduled for an earlier date.
Firestone High School’s open house will include tours of the building and specific information regarding the many special programs and activities such as 13 Advanced Placement courses and an outstanding International Baccalaureate program, as well as Information Technology and Project Lead the Way (engineering). The open house will also include informal performances by the various performing arts programs available on this campus for the Visual and Performing Arts. The programs include Choral Music, Dance, Instrumental Music, Theatre, and Visual Art. Firestone High School also offers a wide variety of academic clubs and 20 varsity sports.
Prospective students and their families will be given insight to a school that provides an excellent public education at no cost or tuition free. The school has been rated “excellent” by the State of Ohio for five consecutive years. Firestone High School has been named by Newsweek Magazine as one of America’s Best High Schools” every year over the past five years. Last year’s graduates received in excess of $4-million in college scholarships.
Firestone High School is located at 333 Rampart Avenue, Akron, 44313. Call 330-873-3315 for additional information.
Thursday, November 5, 2009
Sunday, November 1, 2009
How do you learn all those lines?
If you have ever been to a theatre talk-back, you have heard this question before. Apparently, the answer is sometimes you don't. The NY Times ran an article in today's edition on that very subject. Read it here:
http://www.nytimes.com/2009/10/29/theater/29actors.html
Line memorization is a real problem for me as a director. We call it mule work because it is something that just has to be done. I remind student actors over and over again that memorization has to happen before the real work of a rehearsal process can get started. Some students learn their lines right away and others wait and wait. It's really not fair to the show or to the other actors to struggle with lines until the final moments of dress rehearsals. I know that there have been several shows under my direction that have suffered a great deal because of poor line memorization.
I myself am not immune to this criticism. I must admist that as an occassional actor I have had my share of problems with line memorization. It is one of the reasons I act so infrequently . . . and also why I usually am mostly interested in smaller onstage roles.
I certainly understand Angela Landsbury using an earpiece to get a few line prompts at her age. I saw her recent Broadway production of BLITHE SPIRIT from the front row and did not notice an ear piece on her. However, I did notice a place where I thought she might have gone up on her lines but my perception was that her fellow actors picked them up for her. It did not alter my enjoyment of the show or of her outstanding performance.
I would have been greatly disappointed to see one of the other, much younger, performers wearing an earpiece or receiving prompts from the front row (as is discussed in the NY Times article).
I have never dismissed an actor for not learning their lines but I have considered it. I can't imagine offering a student actor an earpiece or an offstage prompter but I guess all things are possible. If Broadway actors such as Matthew Broderick require a prompter, it might not be long before we all ask for one.
http://www.nytimes.com/2009/10/29/theater/29actors.html
Line memorization is a real problem for me as a director. We call it mule work because it is something that just has to be done. I remind student actors over and over again that memorization has to happen before the real work of a rehearsal process can get started. Some students learn their lines right away and others wait and wait. It's really not fair to the show or to the other actors to struggle with lines until the final moments of dress rehearsals. I know that there have been several shows under my direction that have suffered a great deal because of poor line memorization.
I myself am not immune to this criticism. I must admist that as an occassional actor I have had my share of problems with line memorization. It is one of the reasons I act so infrequently . . . and also why I usually am mostly interested in smaller onstage roles.
I certainly understand Angela Landsbury using an earpiece to get a few line prompts at her age. I saw her recent Broadway production of BLITHE SPIRIT from the front row and did not notice an ear piece on her. However, I did notice a place where I thought she might have gone up on her lines but my perception was that her fellow actors picked them up for her. It did not alter my enjoyment of the show or of her outstanding performance.
I would have been greatly disappointed to see one of the other, much younger, performers wearing an earpiece or receiving prompts from the front row (as is discussed in the NY Times article).
I have never dismissed an actor for not learning their lines but I have considered it. I can't imagine offering a student actor an earpiece or an offstage prompter but I guess all things are possible. If Broadway actors such as Matthew Broderick require a prompter, it might not be long before we all ask for one.
Saturday, October 31, 2009
Thursday, October 29, 2009
John Kenley Dead at 103
I never worked with Mr. Kenley but I know plenty of people who did. I saw several of his shows when he was still making theatre in Akron and elsewhere. As I understand it, he was definitely a one-of-kind theatre professional.
Read more about John Kenly and his career here:
http://www.playbill.com/news/article/134206-John_Kenley_Regional_Theatre_Legend_Dies_at_103
Read more about John Kenly and his career here:
http://www.playbill.com/news/article/134206-John_Kenley_Regional_Theatre_Legend_Dies_at_103
Tuesday, October 27, 2009
FHS Alumni Eric Magnus Opens Play in NYC Today
I love it when former students are doing fun and exciting things.
Click the link below to read a story about an outrageous play that opens today in NY featuring 2002 Firestone Theatre alumni Eric Magnus. He appeared in many of our shows here and was always hysterically funny. His most memorable roels for us might be as Selsdon in NOISES OFF and as Sheriden Whiteside in THE MAN WHO CAME TO DINNER.
Eric is also a graduate of Ohio Wesleyen University, a former Miller South student and an Eagle Scout.
Playbill News: Dafoe Headlines Foreman's Idiot Savant at the Public, Beginning Oct. 27
Click the link below to read a story about an outrageous play that opens today in NY featuring 2002 Firestone Theatre alumni Eric Magnus. He appeared in many of our shows here and was always hysterically funny. His most memorable roels for us might be as Selsdon in NOISES OFF and as Sheriden Whiteside in THE MAN WHO CAME TO DINNER.
Eric is also a graduate of Ohio Wesleyen University, a former Miller South student and an Eagle Scout.
Playbill News: Dafoe Headlines Foreman's Idiot Savant at the Public, Beginning Oct. 27
Sunday, September 13, 2009
Buy the Subscription: Save the Money
One low price opens the door to the most exciting educational theatre around. Firestone Theatre is currently offering a subscription to its outstanding 2009 – 2010 theatre season.
For as little as $20.00 for students and $25.00 for adults, a Firestone Theatre subscription in the entertainment bargain of the year! A subscription gains you entry to one performance of each Main Stage production in addition to the annual One-Act Play Festival, the inaugural Akron High School Film Festival, and the annual Spring Dance Concert. A limited number of premium, reserved subscriptions are available for $32.00.
The 2009 – 2010 Firestone Theatre Season opens with the hysterical comedy NOISES OFF by Michael Frayn. It is under the direction of Mark A. Zimmerman and runs at 7:30 p.m. on October 3, 4, and 5, 2009. NOISES OFF is a well-known backstage farce that features hilarious high-jinx, slamming doors, and many plates of sardines.
Additional productions include 1001 AFTERNOONS IN CHICAGO by Paul Peditto. This exciting play is based on the writings of Ben Hecht and is uner the direction of Myron J. Lewis. It is set to run at 7:30 p.m. on December 3, 4, and 5, 2009. 1001 AFTERNOONS IN CHICAGO is a bustling pageant of Chicago street life in 1927.
The theatre season concludes with the annual musical which this year is SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. This thriller musical features words and music by Stephen Sondheim and a book by Hugh Wheeler. It is under the direction of Mark A. Zimmerman and is set to run at 7:00 p.m. on Wednesday, March 24, as well as at 7:30 p.m. on March 25, 26, and 27, 2010. A special matinee is scheduled for 2:30 p.m. on Saturday, March 24, 2010. SWEENEY TODD is the rare instance of a musical thriller. It is a chilling, suspenseful, heart-pounding masterpiece of murderous barber-ism.
A season subscription also includes admission to the annual One-Act Play Festival to be held Thursday, January 7, 2010, and the first annual Akron High School Film Festival on Friday, February 26, 2009, as well as the annual Spring Dance Concert on April 30 and May 1, 2010.
A subscription order form can be downloaded at www.FirestoneTheatre.com. Call the Firestone Theatre office at 330-873-3408 for additional information.
For as little as $20.00 for students and $25.00 for adults, a Firestone Theatre subscription in the entertainment bargain of the year! A subscription gains you entry to one performance of each Main Stage production in addition to the annual One-Act Play Festival, the inaugural Akron High School Film Festival, and the annual Spring Dance Concert. A limited number of premium, reserved subscriptions are available for $32.00.
The 2009 – 2010 Firestone Theatre Season opens with the hysterical comedy NOISES OFF by Michael Frayn. It is under the direction of Mark A. Zimmerman and runs at 7:30 p.m. on October 3, 4, and 5, 2009. NOISES OFF is a well-known backstage farce that features hilarious high-jinx, slamming doors, and many plates of sardines.
Additional productions include 1001 AFTERNOONS IN CHICAGO by Paul Peditto. This exciting play is based on the writings of Ben Hecht and is uner the direction of Myron J. Lewis. It is set to run at 7:30 p.m. on December 3, 4, and 5, 2009. 1001 AFTERNOONS IN CHICAGO is a bustling pageant of Chicago street life in 1927.
The theatre season concludes with the annual musical which this year is SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. This thriller musical features words and music by Stephen Sondheim and a book by Hugh Wheeler. It is under the direction of Mark A. Zimmerman and is set to run at 7:00 p.m. on Wednesday, March 24, as well as at 7:30 p.m. on March 25, 26, and 27, 2010. A special matinee is scheduled for 2:30 p.m. on Saturday, March 24, 2010. SWEENEY TODD is the rare instance of a musical thriller. It is a chilling, suspenseful, heart-pounding masterpiece of murderous barber-ism.
A season subscription also includes admission to the annual One-Act Play Festival to be held Thursday, January 7, 2010, and the first annual Akron High School Film Festival on Friday, February 26, 2009, as well as the annual Spring Dance Concert on April 30 and May 1, 2010.
A subscription order form can be downloaded at www.FirestoneTheatre.com. Call the Firestone Theatre office at 330-873-3408 for additional information.
Friday, September 11, 2009
The New Season is About to Debut
You will laugh out loud at our production of Michael Frayn’s outstanding play NOISES OFF.
This well-known British farce has long been credited as the funniest play ever written and has been produced on Broadway and on London’s West End twice with smashing success each time. The Firestone Theatre production of NOISES OFF will be presented in the Linda B. Kersker Auditorium at 7:30 p.m. on Thursday, October 1; Friday, October 2; and Saturday, October 3, 2009. General admission tickets are $5.00 in advance and $8.00 at the door. A limited number of premium, reserved tickets are available for each performance of NOISES OFF for $10.00. Advanced tickets will be made available from 11:00 a.m. to 1:00 p.m. in the school’s commons starting Monday, October 28, 2009. Premium tickets can be purchased in advance or at the door on the night of performance.
A season subscription is available at the low cost of $25.00 for an adult and $20.00 for a student. A limited number of premium season subscriptions are available at the low cast of $32.00.
NOISES OFF presents the story of a hapless English acting troupe who are touring a production of a farce called Nothing On. Expect lots of doors slamming, romantic dalliances, confusions, and, of course, plates of sardines. NOISES OFFwas first presented in 1982 at the Lyric Theatre in London. The American premier took place in 1983 at the Brooks Atkinson Theatre where it earned Tony Awards for Best New Play as well as for its direction and for two of its actors. NOISES OFF was revived in both London and New York in 2001 and made into a poorly received major motion picture in 1992. The play has become a staple for university and community theatres across the country. Firestone Theatre first presented the play in 2000 and therefore represents the first revival of a production since the institution of the school’s nationally recognized visual performing arts program.
The cast of Firestone Theatre’s production of NOISES OFF is led by seniors Ben Black, (Frederick Fellowes), Ian Bolden (Lloyd Dallas), Jenni DeLuca (Belinda Blair), Naajia Douglass (Dotty Otley), Kevin Glass (Selsdon Mowbray), and Shannon Thanasiu (Brook Ashton). The cast of Noises Off is completed by juniors Shamara Costa and Tessa DiTirro who are sharing a role (Poppy-Norton-Taylor) and Denzel Washington (Garry Lejeune); and sophomore Jon Bozeka (Tim Allgood).
NOISES OFF is under the direction of theatre director Mark A. Zimmerman. Senior Anika Gupta serves as the production’s stage manager. She is assisted by freshman Banno Rothman. Other student designers include junior Randall Hall (lights), senior Jamila Okantah (sound), sophomore Dred Geib (props). Guest artist Daniel Taylor serves as the production’s hop foreman and master carpenter. Donna Curfman is the resident costume designer. Erin Bennett serves as the resident hair and make-up designer.
The 2009 – 2010 Firestone Theatre Season includes NOISES OFF by Michael Frayn on October 3, 4, and 5, 2009. Additional productions include 1001 AFTERNOONS IN CHICAGO by Paul Peditto on December 3, 4, and 5, 2009, and SWEENEY TODD: THE DEMON BARBER OF FLEET STREET with words and music by Stephen Sondheim and a book by Hugh Wheeler on March 24, 25, 26, and 27, 2010. A season subscription also includes admission to the annual One-Act Play Festival to be held Thursday, January 7, 2010, and the first annual Akron High School Film Festival on Friday, February 26, 2009, as well as the annual Spring Dance Concert on April 30 and May 1, 2010.
This well-known British farce has long been credited as the funniest play ever written and has been produced on Broadway and on London’s West End twice with smashing success each time. The Firestone Theatre production of NOISES OFF will be presented in the Linda B. Kersker Auditorium at 7:30 p.m. on Thursday, October 1; Friday, October 2; and Saturday, October 3, 2009. General admission tickets are $5.00 in advance and $8.00 at the door. A limited number of premium, reserved tickets are available for each performance of NOISES OFF for $10.00. Advanced tickets will be made available from 11:00 a.m. to 1:00 p.m. in the school’s commons starting Monday, October 28, 2009. Premium tickets can be purchased in advance or at the door on the night of performance.
A season subscription is available at the low cost of $25.00 for an adult and $20.00 for a student. A limited number of premium season subscriptions are available at the low cast of $32.00.
NOISES OFF presents the story of a hapless English acting troupe who are touring a production of a farce called Nothing On. Expect lots of doors slamming, romantic dalliances, confusions, and, of course, plates of sardines. NOISES OFFwas first presented in 1982 at the Lyric Theatre in London. The American premier took place in 1983 at the Brooks Atkinson Theatre where it earned Tony Awards for Best New Play as well as for its direction and for two of its actors. NOISES OFF was revived in both London and New York in 2001 and made into a poorly received major motion picture in 1992. The play has become a staple for university and community theatres across the country. Firestone Theatre first presented the play in 2000 and therefore represents the first revival of a production since the institution of the school’s nationally recognized visual performing arts program.
The cast of Firestone Theatre’s production of NOISES OFF is led by seniors Ben Black, (Frederick Fellowes), Ian Bolden (Lloyd Dallas), Jenni DeLuca (Belinda Blair), Naajia Douglass (Dotty Otley), Kevin Glass (Selsdon Mowbray), and Shannon Thanasiu (Brook Ashton). The cast of Noises Off is completed by juniors Shamara Costa and Tessa DiTirro who are sharing a role (Poppy-Norton-Taylor) and Denzel Washington (Garry Lejeune); and sophomore Jon Bozeka (Tim Allgood).
NOISES OFF is under the direction of theatre director Mark A. Zimmerman. Senior Anika Gupta serves as the production’s stage manager. She is assisted by freshman Banno Rothman. Other student designers include junior Randall Hall (lights), senior Jamila Okantah (sound), sophomore Dred Geib (props). Guest artist Daniel Taylor serves as the production’s hop foreman and master carpenter. Donna Curfman is the resident costume designer. Erin Bennett serves as the resident hair and make-up designer.
The 2009 – 2010 Firestone Theatre Season includes NOISES OFF by Michael Frayn on October 3, 4, and 5, 2009. Additional productions include 1001 AFTERNOONS IN CHICAGO by Paul Peditto on December 3, 4, and 5, 2009, and SWEENEY TODD: THE DEMON BARBER OF FLEET STREET with words and music by Stephen Sondheim and a book by Hugh Wheeler on March 24, 25, 26, and 27, 2010. A season subscription also includes admission to the annual One-Act Play Festival to be held Thursday, January 7, 2010, and the first annual Akron High School Film Festival on Friday, February 26, 2009, as well as the annual Spring Dance Concert on April 30 and May 1, 2010.
Wednesday, March 4, 2009
Why I Love THE PRODUCERS and why you should, too
I have come to understand that Mel Brooks wrote THE PRODUCERS because, as a Jew and a World War II veteran, he hated the Nazis. Brooks figures the best way to beat the Nazis now, decades after the collapse of the Third Reich, is to make fun of them. He intends in The Producers to make Nazis appear ridiculous as that is how he sees them.
Brooks’ 1968 movie was a moderate success in its time but has come to be known as a comedy classic thanks to Brooks’ heavy satire and the seminel performances of Zero Mostel and Gene Wilder. There is no question the The Producers in 1968 was the darkest of dark comedies . . . what with the Holocaust in the living memory of just about anyone who might have seen the film in its original release. Even now the film seems a little on the edgy side.
Thirty years later the 2001 Broadway musical was transformed into farce. It is excellent fodder for a fantastically funny musical comedy even with its jarring images of dancing storm troopers as well as a very fey Adolph Hitler. In some ways, THE PRODUCERS you might see in our theatre is Mel Brooks’ greatest hits. He borrows heavily from his movies and is humor and world view well represented throughout the play. It could be a fun game to play: keeping score of the the lines and jokes from other Mel Brooks' movies.
Ultimately, the Producers is not about the Nazis who are so present in the story-telling. Instead, THE PRODUCERS is about the redemptive quality of true friendship. When the play is over, both Max and Leo are better people for having become friends. That’s a lesson we can all learn.
Brooks’ 1968 movie was a moderate success in its time but has come to be known as a comedy classic thanks to Brooks’ heavy satire and the seminel performances of Zero Mostel and Gene Wilder. There is no question the The Producers in 1968 was the darkest of dark comedies . . . what with the Holocaust in the living memory of just about anyone who might have seen the film in its original release. Even now the film seems a little on the edgy side.
Thirty years later the 2001 Broadway musical was transformed into farce. It is excellent fodder for a fantastically funny musical comedy even with its jarring images of dancing storm troopers as well as a very fey Adolph Hitler. In some ways, THE PRODUCERS you might see in our theatre is Mel Brooks’ greatest hits. He borrows heavily from his movies and is humor and world view well represented throughout the play. It could be a fun game to play: keeping score of the the lines and jokes from other Mel Brooks' movies.
Ultimately, the Producers is not about the Nazis who are so present in the story-telling. Instead, THE PRODUCERS is about the redemptive quality of true friendship. When the play is over, both Max and Leo are better people for having become friends. That’s a lesson we can all learn.
It's a Monster of a Show!
THE PRODUCERS is really kicking our butt.
I don't remember the specifics but what I do remember is not pretty. As I recall, when THE PRODUCERS was in its first previews in New York, some scence chages were taking up to 25 minutes. We have been told tht the running time was somewhere north of 5 hours. That's how hard this show can be on a stage crew.
We are no where near the 5 hour mark on our show -- it should be around 2 and half hours instead. We have also cut design elements that obviously appeared on Broadway. We have cut other elements we planned to include but ran out of time to create for our show. We are working very hard to get things finished in time for the first performacne on thursday, but, as they say, the paint might still be wet.
I don't remember the specifics but what I do remember is not pretty. As I recall, when THE PRODUCERS was in its first previews in New York, some scence chages were taking up to 25 minutes. We have been told tht the running time was somewhere north of 5 hours. That's how hard this show can be on a stage crew.
We are no where near the 5 hour mark on our show -- it should be around 2 and half hours instead. We have also cut design elements that obviously appeared on Broadway. We have cut other elements we planned to include but ran out of time to create for our show. We are working very hard to get things finished in time for the first performacne on thursday, but, as they say, the paint might still be wet.
Friday, February 27, 2009
Who Doesn't Like Spaghetti?
No one, I hope.
Because the Firestone High School Stage Parents Association will hold a Special Spaghetti Dinner from 5:00 p.m. to 7:00 p.m. on Saturday, March 7, 2009. The dinner is open to all and is priced so that everyone can afford it.
This affordable and tasty spaghetti dinner will be held in the school's cafeteria between the matinee and evening performances of school's annual musical, THE PRODUCERS. A delicious dinner featuring a home-made red sauce complete with salad and bread is available along with dessert. will be served at a reasonable price from 5:00 p.m. to 7:30 p.m. A single dinner is only $6.00. A couple eats for just $10.00. A family of four can have dinner for as little as $20.00.
Tickets to the Spaghetti Dinner can be purchased in the school's commons from 11:00 a.m. to 1:00 p.m. on all school days. Pre-sale tickets to THE PRODUCERS can also be purchased during that time. Tickets for both the dinner and the performances will be available at the door on the evening of the event.
Patrons from both the 2:30 p.m. and the 7:30 p.m. performances of THE PRODUCERS are invited to eat a delicious dinner with us either before or after their show.
Dinner-only patrons are welcome to attend.
Because the Firestone High School Stage Parents Association will hold a Special Spaghetti Dinner from 5:00 p.m. to 7:00 p.m. on Saturday, March 7, 2009. The dinner is open to all and is priced so that everyone can afford it.
This affordable and tasty spaghetti dinner will be held in the school's cafeteria between the matinee and evening performances of school's annual musical, THE PRODUCERS. A delicious dinner featuring a home-made red sauce complete with salad and bread is available along with dessert. will be served at a reasonable price from 5:00 p.m. to 7:30 p.m. A single dinner is only $6.00. A couple eats for just $10.00. A family of four can have dinner for as little as $20.00.
Tickets to the Spaghetti Dinner can be purchased in the school's commons from 11:00 a.m. to 1:00 p.m. on all school days. Pre-sale tickets to THE PRODUCERS can also be purchased during that time. Tickets for both the dinner and the performances will be available at the door on the evening of the event.
Patrons from both the 2:30 p.m. and the 7:30 p.m. performances of THE PRODUCERS are invited to eat a delicious dinner with us either before or after their show.
Dinner-only patrons are welcome to attend.
Thursday, February 26, 2009
Meet the Press
There is a nice feature on THE PRODUCERS in today's issue of the West Side Leader. It is the kindof attentionthat definitely helps to sell tickets and I am glad that the Leader is still willing to help out the poor HS shows when they need it the most.
Kathleen Folkerth came by last week and spent a few minutes with me and some of my students. Brian Jackson (Max), Andrew White (Leo) and Rosilyn Jentner were quoted andthere is a funny picture of Brian and Andrew that I took on our stage.
You can read the article here.
Kathleen Folkerth came by last week and spent a few minutes with me and some of my students. Brian Jackson (Max), Andrew White (Leo) and Rosilyn Jentner were quoted andthere is a funny picture of Brian and Andrew that I took on our stage.
You can read the article here.
Wednesday, February 25, 2009
Who Gave You the Right?!?
In our case it was Musical Theatre International -- or M-T-I as it is called "in the biz."
MTI administers the performance rights for THE PRODUCERS so if you want to present the show at your theatre you need to call them . . . and you better have your checkbook ready because it is not cheap. I don't want to get into the nitty gritty of the expense because it is different for everybody based on how big your house is and how expensive your tickets are. It also matters if you are a professional theatre, an amatuer theatre, or an educational theatre. Our 780 seats add up fast so our bill gets to be pretty huge even though we are a little educational theatre program that honestly does not attract a very big audience. -- at least not more than 700 per night!
Our bill for performance rights to THE PRODUCERS is kind of complicated. You have to pay royalties per performance and this money that goes to the authors -- in our case mostly to Mel Brooks and a little, I assume, to the estate of Thomas Meehan. We also pay rental because all the material has to be returned to the company. A two-month rental is standard and we need three so that's extra. We also require three conductor's scores (when two is standard) so that even more. We also pay a security deposit that may or may not be returned to us depending on whether or not we return the books in a timely fashion and in good condition.
We pay some incidental rights expenses, too, for THE PRODUCERS. We paid extra for a stage maangers script so that there wre no illegal photocopies. We also paid for a director's script and a choreographers guide that includes all of Susan Stroman's dance notations and blocking for the actors. This is the first time I have seen any of these three items available from the publishers and they have definitely come in handy.
If you are going to do the THE PRODUCERS you must pay for it . . . just like almost every other show. If you don't , you are stealing money from the authors and I have a problem with that. I talk often to my students about the concept of "intellectual property" becasue one day they will write a play and they deserve to be paid when some produces it on their stage. So we happily pay MTI for the performance rights and put on our show.
Sometimes people put on shows without the performance rights and I find this practice very troubling. Some people figure "What's the harm?" or "Who's to know?" However, someone is trying to make money off of this product and the whole point is for you to lease the rights to put on your show so that they can make a little money on it.
You might think that a show like PETER PAN, for instance, is so old that it has fallen into the public domain already and that you don't have to ask for permisison to put it on. In this case, you would be very wrong. The rights to PETER PAN in England have expired and therefore are in the public domain but here in the States the copyright is not set to expire until 2024 or something like that. The peformance rights to the musical version of PETER PAN --probably the most famous verion-- are held by Samuel French, Inc, and you should definitely contact them if you intend to put on the show that features the famous songs by Carolyn Leigh Betty Comden, and Adolph Green. If not, you are in violation of copyright law and may very well be thrown into a copyright infringment lawsuit and that might cost you a lot of money.
Besides, I understand that JM Barrie bequeethed the rights to PETER PAN to a children's hospital in England. So when you don't pay your royalties for PETER PAN, some little kid might not get his medicine that day -- or worse. Let that sit in your conscience for a while.
When it comes to PETER PAN you might also step on some Walt Disney toes. Their very popular film version is subject to its own copywright and if your show too closely resembles theirs in costumes, for instance, the long arm of Disney might be reaching out to you. Be careful about that big red costume you wrap Captain Hook into, you never know who is interested. Disney is very serious about protecting their intellectual property and certainly do not want you infringing on their own ability to make money off of it.
When it comes to performance rights I always figure it is better to be safe than sorry. Paying for royalties is part of the cost of doing business. If you can't afford to pay royalties you probably can't afford to do the show.
MTI administers the performance rights for THE PRODUCERS so if you want to present the show at your theatre you need to call them . . . and you better have your checkbook ready because it is not cheap. I don't want to get into the nitty gritty of the expense because it is different for everybody based on how big your house is and how expensive your tickets are. It also matters if you are a professional theatre, an amatuer theatre, or an educational theatre. Our 780 seats add up fast so our bill gets to be pretty huge even though we are a little educational theatre program that honestly does not attract a very big audience. -- at least not more than 700 per night!
Our bill for performance rights to THE PRODUCERS is kind of complicated. You have to pay royalties per performance and this money that goes to the authors -- in our case mostly to Mel Brooks and a little, I assume, to the estate of Thomas Meehan. We also pay rental because all the material has to be returned to the company. A two-month rental is standard and we need three so that's extra. We also require three conductor's scores (when two is standard) so that even more. We also pay a security deposit that may or may not be returned to us depending on whether or not we return the books in a timely fashion and in good condition.
We pay some incidental rights expenses, too, for THE PRODUCERS. We paid extra for a stage maangers script so that there wre no illegal photocopies. We also paid for a director's script and a choreographers guide that includes all of Susan Stroman's dance notations and blocking for the actors. This is the first time I have seen any of these three items available from the publishers and they have definitely come in handy.
If you are going to do the THE PRODUCERS you must pay for it . . . just like almost every other show. If you don't , you are stealing money from the authors and I have a problem with that. I talk often to my students about the concept of "intellectual property" becasue one day they will write a play and they deserve to be paid when some produces it on their stage. So we happily pay MTI for the performance rights and put on our show.
Sometimes people put on shows without the performance rights and I find this practice very troubling. Some people figure "What's the harm?" or "Who's to know?" However, someone is trying to make money off of this product and the whole point is for you to lease the rights to put on your show so that they can make a little money on it.
You might think that a show like PETER PAN, for instance, is so old that it has fallen into the public domain already and that you don't have to ask for permisison to put it on. In this case, you would be very wrong. The rights to PETER PAN in England have expired and therefore are in the public domain but here in the States the copyright is not set to expire until 2024 or something like that. The peformance rights to the musical version of PETER PAN --probably the most famous verion-- are held by Samuel French, Inc, and you should definitely contact them if you intend to put on the show that features the famous songs by Carolyn Leigh Betty Comden, and Adolph Green. If not, you are in violation of copyright law and may very well be thrown into a copyright infringment lawsuit and that might cost you a lot of money.
Besides, I understand that JM Barrie bequeethed the rights to PETER PAN to a children's hospital in England. So when you don't pay your royalties for PETER PAN, some little kid might not get his medicine that day -- or worse. Let that sit in your conscience for a while.
When it comes to PETER PAN you might also step on some Walt Disney toes. Their very popular film version is subject to its own copywright and if your show too closely resembles theirs in costumes, for instance, the long arm of Disney might be reaching out to you. Be careful about that big red costume you wrap Captain Hook into, you never know who is interested. Disney is very serious about protecting their intellectual property and certainly do not want you infringing on their own ability to make money off of it.
When it comes to performance rights I always figure it is better to be safe than sorry. Paying for royalties is part of the cost of doing business. If you can't afford to pay royalties you probably can't afford to do the show.
Sunday, February 22, 2009
Playing at Making Movies
TCM was showing the 1968 version of the THE PRODUCERS this morning. I caught the last 30 minutes as I was making my lunch. I had not seen it for a couple of decades so it was good to remind myself.
I tell students all the time not to spend too much time looking at the movie version of whatever play we are doing. With THE PRODUCERS, of course, there are two to choose from. The first was basically a non-musical with a few motivated songs like "Springtime for Hitler." The second was full-on musical -- a very nearly step-by-step filming of the Broadway play directed by Susan Stroman who directed and choreographed the stage version, too.
There is a danger in becoming to familiar with a movie version of any play. We might in this case spend too much time making things look like and sound like the movie. Not only is this not especially creative for actor or director, it ignores the fact that theatre and film are two very different media with significant differences in approach and presentation.
When we first announced THE PRODUCERS as our 2009 musical, I was surprised and confused by the question: "Which one are we doing?" At first I did not understand why the question was even asked; there is only one musical version of THE PRODUCERS. I eventually figured out that these students had gone to the library or the video store and asked for a copy of THE PRODUCERS and were asked the same question: which one?
The 1968 film version is the source material for the 2001 Broadway musical. Much of this film, which features Zero Mostel and Gene Wilder, appears very nearly in whole cloth in the stage play. If you are only familiar with the classic version THE PRODUCERS, you will quickly recognize the characters and the story when watching our play. It is easy to tell that the film has been adapted for the stage. Some characters, like Ulla, have had their parts expanded and other elements, like blowing up the theatre, have been excised for obvious reasons.
If you are familiar with the 2005 film version, though, you might have few questions. While the story stays the virtually same and all the characters are clearly represented in tne movie, some of the funnier punchlines are replaced with less funny ones I assume were improvised on the set. I mostly am disappointed by these alterations but my greatest disappointment with the modern movie is that they did not seem to make an effort to turn it into a movie musical the way they did with CHICAGO or DREAMGIRLS, for instance. There appears to be no effort made to rethink the play for the screen. It is not an adaptation as much as a re-creation.
Many scenes appear to have a static camera set up at the edge of thestage and had the actors replicate their stage peroformances. Maybe this is why we find the performances of Will Ferrell and Uma Thurman somewhat more interesting than those of even Nathan Lane and Mathew Broderick. Neither Ferrell nor Thurman appeared on stage and therefore must have approached their roles as something new. I find both Lane and Broderick to be gifted comedians and respect their ability to easily move from stage to screen and back again, but their performances in THE PRODUCERS movie leave me wanting. I can only assume that this is due to the directing. Susan Stroman had never directed a movie before . . . and maybe she won't again if this is to be the result. Her film is too much like a play and not enough like a movie.
I can't help but wonder how THE PRODUCERS movie might have been different if Mel Brooks had directed it himself.
I tell students all the time not to spend too much time looking at the movie version of whatever play we are doing. With THE PRODUCERS, of course, there are two to choose from. The first was basically a non-musical with a few motivated songs like "Springtime for Hitler." The second was full-on musical -- a very nearly step-by-step filming of the Broadway play directed by Susan Stroman who directed and choreographed the stage version, too.
There is a danger in becoming to familiar with a movie version of any play. We might in this case spend too much time making things look like and sound like the movie. Not only is this not especially creative for actor or director, it ignores the fact that theatre and film are two very different media with significant differences in approach and presentation.
When we first announced THE PRODUCERS as our 2009 musical, I was surprised and confused by the question: "Which one are we doing?" At first I did not understand why the question was even asked; there is only one musical version of THE PRODUCERS. I eventually figured out that these students had gone to the library or the video store and asked for a copy of THE PRODUCERS and were asked the same question: which one?
The 1968 film version is the source material for the 2001 Broadway musical. Much of this film, which features Zero Mostel and Gene Wilder, appears very nearly in whole cloth in the stage play. If you are only familiar with the classic version THE PRODUCERS, you will quickly recognize the characters and the story when watching our play. It is easy to tell that the film has been adapted for the stage. Some characters, like Ulla, have had their parts expanded and other elements, like blowing up the theatre, have been excised for obvious reasons.
If you are familiar with the 2005 film version, though, you might have few questions. While the story stays the virtually same and all the characters are clearly represented in tne movie, some of the funnier punchlines are replaced with less funny ones I assume were improvised on the set. I mostly am disappointed by these alterations but my greatest disappointment with the modern movie is that they did not seem to make an effort to turn it into a movie musical the way they did with CHICAGO or DREAMGIRLS, for instance. There appears to be no effort made to rethink the play for the screen. It is not an adaptation as much as a re-creation.
Many scenes appear to have a static camera set up at the edge of thestage and had the actors replicate their stage peroformances. Maybe this is why we find the performances of Will Ferrell and Uma Thurman somewhat more interesting than those of even Nathan Lane and Mathew Broderick. Neither Ferrell nor Thurman appeared on stage and therefore must have approached their roles as something new. I find both Lane and Broderick to be gifted comedians and respect their ability to easily move from stage to screen and back again, but their performances in THE PRODUCERS movie leave me wanting. I can only assume that this is due to the directing. Susan Stroman had never directed a movie before . . . and maybe she won't again if this is to be the result. Her film is too much like a play and not enough like a movie.
I can't help but wonder how THE PRODUCERS movie might have been different if Mel Brooks had directed it himself.
Monday, February 16, 2009
Right on the Button
Selling a high school musical gets harder and harder. Even inside the school.
For us, the days that everyone --staff and students-- comes to see the annual school musical are long gone. A large part of our student population has no theatre tradition so not only are they not coming to see our productions, they don't even know anything about it.
I am not sure what to say about the staff. Some are very loyal and gracious attending each production with diligence . . . and sometimes with their family. We love them. Others we never see. Probably never see them at any school activities. They teach, cash the check, and go home. I find them bewildering. I wish they would come back once in a while to see our little plays.
I firmly believe that theatre-lovers will come to see our production of THE PRODUCERS if we can just find a way to let them know we are doing it. It is a very popular show with high name recognition. Even if you don't know the musical, you might be familiar with the 1968 movie that featured Zero Mostel. We just have got to tell people --all people-- that we are presenting THE PRODUCERS and hope that for seven bucks most people will recognize it as the entertainment bargain it really is.
We are the first theatre of any kind in this area to present our own production of THE PRODUCERS and we have taken that responsibility very seriously. We are trying very hard to do the material justice and to support he play with the appropriate technical elements. I really do think the show is going to be simply fantastic. It sounds as good as any show we have done in recent years -- maybe better. And Lord knows we have built enough scenery to clog most stages including ours.
We are being a little more aggressive with our marketing/promotion. We embellished our press list to include more members of the media (now up to 70 or so), we got our newlsetter out early to nearly 1200 addresses, have posted the dates on every online calendar we can think of, and I have made personal appeals to the local print media --what little is left-- to bless us with a feature article. I think one might.
More to the point, I have printed our yard signs again. This time they are two-sided and a lovely red color to stand out agasint the dreary late winter weather. More than eighty signs are out there dotting the neighborhoods in west Akron. I saw a few of them myself earlier today. I still need to put them around the school and hope to do so tomorrow. I will still have a few left if anyone needs one for their yard.
I spent the better part of three hours tonight making buttons with our fabulous new button maker. I made around 100 of the little diamonds that I hope to start SELLING to the cast and crew and orchestra tomorrow. There are six different button designs that feature lines from the play as well as the date and place info. Some kids said they wanted one of each. I am happy to oblige. I can make more. The package comes with materials to make 250. If I have to make them all, my hands will be sore but my heart will be late.
Maybe my hands will be sore again later when I have to count the box office receipts. I hope so because someone has to pay for this lumber and all these costumes.
And who could forget the pigeon puppets? Not me. I'll never forget the pigeons. You won't, either, if you come see THE PRODUCERS at Firestone High School.
For us, the days that everyone --staff and students-- comes to see the annual school musical are long gone. A large part of our student population has no theatre tradition so not only are they not coming to see our productions, they don't even know anything about it.
I am not sure what to say about the staff. Some are very loyal and gracious attending each production with diligence . . . and sometimes with their family. We love them. Others we never see. Probably never see them at any school activities. They teach, cash the check, and go home. I find them bewildering. I wish they would come back once in a while to see our little plays.
I firmly believe that theatre-lovers will come to see our production of THE PRODUCERS if we can just find a way to let them know we are doing it. It is a very popular show with high name recognition. Even if you don't know the musical, you might be familiar with the 1968 movie that featured Zero Mostel. We just have got to tell people --all people-- that we are presenting THE PRODUCERS and hope that for seven bucks most people will recognize it as the entertainment bargain it really is.
We are the first theatre of any kind in this area to present our own production of THE PRODUCERS and we have taken that responsibility very seriously. We are trying very hard to do the material justice and to support he play with the appropriate technical elements. I really do think the show is going to be simply fantastic. It sounds as good as any show we have done in recent years -- maybe better. And Lord knows we have built enough scenery to clog most stages including ours.
We are being a little more aggressive with our marketing/promotion. We embellished our press list to include more members of the media (now up to 70 or so), we got our newlsetter out early to nearly 1200 addresses, have posted the dates on every online calendar we can think of, and I have made personal appeals to the local print media --what little is left-- to bless us with a feature article. I think one might.
More to the point, I have printed our yard signs again. This time they are two-sided and a lovely red color to stand out agasint the dreary late winter weather. More than eighty signs are out there dotting the neighborhoods in west Akron. I saw a few of them myself earlier today. I still need to put them around the school and hope to do so tomorrow. I will still have a few left if anyone needs one for their yard.
I spent the better part of three hours tonight making buttons with our fabulous new button maker. I made around 100 of the little diamonds that I hope to start SELLING to the cast and crew and orchestra tomorrow. There are six different button designs that feature lines from the play as well as the date and place info. Some kids said they wanted one of each. I am happy to oblige. I can make more. The package comes with materials to make 250. If I have to make them all, my hands will be sore but my heart will be late.
Maybe my hands will be sore again later when I have to count the box office receipts. I hope so because someone has to pay for this lumber and all these costumes.
And who could forget the pigeon puppets? Not me. I'll never forget the pigeons. You won't, either, if you come see THE PRODUCERS at Firestone High School.
Firestone is the Cool School
Click here to see the video from last week's story on Fox 8 in the Morning. I think it was a nice story that featurd the arts prominently including a quick mention of THE PRODUCERS.
I suggested to my family that the mention could have been a little more substantial and my wife disagreed. "What did you expect?" she asked. "The dates and a phone number on the screen?"
Why not? I countered.
We are working on a litle more press coverage for our show. That will surely help sell some tickets. Advanced ticekts are available for as little as $7.00. Download the mail-in form at www.FirestoneTheatre.com.
I suggested to my family that the mention could have been a little more substantial and my wife disagreed. "What did you expect?" she asked. "The dates and a phone number on the screen?"
Why not? I countered.
We are working on a litle more press coverage for our show. That will surely help sell some tickets. Advanced ticekts are available for as little as $7.00. Download the mail-in form at www.FirestoneTheatre.com.
Sunday, February 15, 2009
Until the New York Times Says So . . .
I have sometimes heard that "you are no one until your name appears in the New York Times." My name has yet to appear although I personally know several people whose names have appeared in print there. I guess we can add another name to that list.
Firestone Theatre alum Eric Magnus recently appeared in the play Astronome: A Night at the Opera under the direction of Richard Foreman. The theatre company is the Ontological-Hysterical theatre and the avant-garde play was reviewed in Saturday's New York Times. Eric is not mentioned by name in the body of the review but he is noted as a member of the company in the details at the end of the article. It is not an especially positive review but it seems like an interesting piece of theatre if you happen to be in the city. Check out the review here.
Eric is one of the people in this picture that also appeared in the Times. I can't tell which for sure.
Firestone Theatre alum Eric Magnus recently appeared in the play Astronome: A Night at the Opera under the direction of Richard Foreman. The theatre company is the Ontological-Hysterical theatre and the avant-garde play was reviewed in Saturday's New York Times. Eric is not mentioned by name in the body of the review but he is noted as a member of the company in the details at the end of the article. It is not an especially positive review but it seems like an interesting piece of theatre if you happen to be in the city. Check out the review here.
Eric is one of the people in this picture that also appeared in the Times. I can't tell which for sure.
Friday, February 13, 2009
Good News from Americans for the Arts
I received this moments ago.
"Just moments ago, the U.S. House of Representatives approved their final version of the Economic Recovery bill by a vote of 246-183. We can now confirm that the package DOES include $50 million in direct support for arts jobs through National Endowment for the Arts grants. We are also happy to report that the exclusionary Coburn Amendment language banning certain arts groups from receiving any other economic recovery funds has also been successfully removed. Tonight the Senate is scheduled to have their final vote, and President Obama plans to sign the bill on Monday - President's Day. "
Congratulations for making your voice heard. Read more here.
"Just moments ago, the U.S. House of Representatives approved their final version of the Economic Recovery bill by a vote of 246-183. We can now confirm that the package DOES include $50 million in direct support for arts jobs through National Endowment for the Arts grants. We are also happy to report that the exclusionary Coburn Amendment language banning certain arts groups from receiving any other economic recovery funds has also been successfully removed. Tonight the Senate is scheduled to have their final vote, and President Obama plans to sign the bill on Monday - President's Day. "
Congratulations for making your voice heard. Read more here.
More on the Federal Stimulus Package
This from the Obama Campaign -- from whom I receive regular e-mails -- regarding the stimulus package set for a vote in Congress:
Friend --
Congress is preparing to vote on a final Economic Recovery bill.President Obama is urging action in Washington because families across the country need help right now.
In the past week, thousands of you came together at house meetings to talk about how the economic crisis is affecting your communities. And thousands more shared your personal stories on our website. Your voices were heard. Help is on the way.
Take a few minutes and read some of the stories your fellow Americans shared.These stories are the face of the economic crisis, and they will be the focus of our recovery. Here are a few excerpts from the tens of thousands of stories people like you shared:
"As of a week ago, our family has joined the ranks of the unemployed and thus uninsured. We have two children, a 6 year old and a 10 month old. With my part time jobs and unemployment, we should be able to keep the roof over our heads, at least one car in the driveway and food in our stomachs for a few months. The state of our health insurance is what truly scares us." Nichole H., Columbus, OH
"I live in a small rural community in central Minnesota and have run my own small business for 32 years here. These last 8 years have been a slow steady decline economically. This has caused me to continually find ways to tighten my budget. Our small towns are really struggling with infrastructure and loss of businesses to attract and hold workers in their communities."
Judy T., Motley, MN
"I am a teacher in Florida where we are 50th in the country in spending per student. I feel this generation of students is being cheated out of a quality education. I'm fortunate that I have a job. But our education system is failing our children. There are so many areas of education that are suffering because of massive budget cuts. The bottom line is: as the United States of America we can do better for our children." Betty Jo A., Deltona, FL
Read more from Nichole, Judy, Betty Jo, and others who shared their economic crisis stories:http://my.barackobama.com/yourstories
Ordinary people are telling the real story of the struggles and pressures families are facing right now. They drive home the importance of this recovery plan and the need to put it into action immediately.
The President's economic recovery plan is an important first step in getting our country back on track. But recovering from this downturn will require the faith, confidence, and hard work of all Americans.
Thank you for staying involved during this critical time for our country,
David
David Plouffe
Campaign Manager
Obama for America
Friend --
Congress is preparing to vote on a final Economic Recovery bill.President Obama is urging action in Washington because families across the country need help right now.
In the past week, thousands of you came together at house meetings to talk about how the economic crisis is affecting your communities. And thousands more shared your personal stories on our website. Your voices were heard. Help is on the way.
Take a few minutes and read some of the stories your fellow Americans shared.These stories are the face of the economic crisis, and they will be the focus of our recovery. Here are a few excerpts from the tens of thousands of stories people like you shared:
"As of a week ago, our family has joined the ranks of the unemployed and thus uninsured. We have two children, a 6 year old and a 10 month old. With my part time jobs and unemployment, we should be able to keep the roof over our heads, at least one car in the driveway and food in our stomachs for a few months. The state of our health insurance is what truly scares us." Nichole H., Columbus, OH
"I live in a small rural community in central Minnesota and have run my own small business for 32 years here. These last 8 years have been a slow steady decline economically. This has caused me to continually find ways to tighten my budget. Our small towns are really struggling with infrastructure and loss of businesses to attract and hold workers in their communities."
Judy T., Motley, MN
"I am a teacher in Florida where we are 50th in the country in spending per student. I feel this generation of students is being cheated out of a quality education. I'm fortunate that I have a job. But our education system is failing our children. There are so many areas of education that are suffering because of massive budget cuts. The bottom line is: as the United States of America we can do better for our children." Betty Jo A., Deltona, FL
Read more from Nichole, Judy, Betty Jo, and others who shared their economic crisis stories:http://my.barackobama.com/yourstories
Ordinary people are telling the real story of the struggles and pressures families are facing right now. They drive home the importance of this recovery plan and the need to put it into action immediately.
The President's economic recovery plan is an important first step in getting our country back on track. But recovering from this downturn will require the faith, confidence, and hard work of all Americans.
Thank you for staying involved during this critical time for our country,
David
David Plouffe
Campaign Manager
Obama for America
Wednesday, February 11, 2009
Lights, Camera . . . THE PRODUCERS
A few days ago, Firestone High School was named as Fox 8 Morning Show's "Cool School" of the week. that means we get to take our 15 minutes in the Northeast Ohio spotlight. A camera crew and morning show regular Kenny Krumpton were here yesterday to shoot some video that will air tomorrow (Thursday, February 12, 2009) between 7:00 and 8:00 a.m.
I have never watched this program segment before so I do not know quite what to expect. I do know that they shot video in one of the art rooms as well as during a mens chorus rehearsal in the choir room so the arts should be well-represented in the segment. We all piled into the gym for a brief assembly that featured a performance by the step team and a lot of yelling and screaming on the part of our student body.
Thanks mostly to our principal they also shot the orchestra rehearsal a number from THE PRODUCERS as well as our Max and Leo in costume singing part of a song from the show. This was shot in the chior room so taht it would sound better and because the stage is too full of half-built scenery to much good to anyone.
I am glad that we were able to provide some material from THE PRODUCERS because maybe it will sell a few tickets. I know that one of the things we need to do is make people aware that we are doing this show -- it might be popular enough that theatre lovers outside the school community will come to see THE PRODUCERS if they just know about it. I think people watching Fox 8 tomorrow will know a little bit about it and hopefully some of them will come to see the show.
I have never watched this program segment before so I do not know quite what to expect. I do know that they shot video in one of the art rooms as well as during a mens chorus rehearsal in the choir room so the arts should be well-represented in the segment. We all piled into the gym for a brief assembly that featured a performance by the step team and a lot of yelling and screaming on the part of our student body.
Thanks mostly to our principal they also shot the orchestra rehearsal a number from THE PRODUCERS as well as our Max and Leo in costume singing part of a song from the show. This was shot in the chior room so taht it would sound better and because the stage is too full of half-built scenery to much good to anyone.
I am glad that we were able to provide some material from THE PRODUCERS because maybe it will sell a few tickets. I know that one of the things we need to do is make people aware that we are doing this show -- it might be popular enough that theatre lovers outside the school community will come to see THE PRODUCERS if they just know about it. I think people watching Fox 8 tomorrow will know a little bit about it and hopefully some of them will come to see the show.
Tuesday, February 10, 2009
Sherrod Brown's Response
I received this today from Senator Brown's office.
"Thank you for sharing your opposition to Senate Amendment 309 of the American Recovery and Reinvestment Act (ARRA).I can understand your frustration with my vote on this particular aspect of the economic recovery bill.
Throughout my Congressional career, I have been a strong and committed supporter of the arts and humanities. However, for this vote, I had to make a very difficult decision.I believe that we must pass the recovery bill as soon as possible so that we can create jobs and rehabilitate our faltering economy.
The unemployment rate is at dangerous levels, and we cannot afford to go back and forth endlessly on the language of this bill. The current economic recovery legislation provides a temporary increase to the Federal Medical Assistance Percentages (FMAP), which will give more money to states for Medicaid services. This increase, as well as several other provisions delivering crucial social services to our state, were agreed to after lengthy bipartisan discussions. I fear that further partisan disagreements on spending priorities -- including funding for arts and cultural institutions -- could delay or completely derail passage of this legislation. This, in turn, would jeopardize life-saving health and social services for Ohio.
I agree with you that museums, theaters, and other cultural institutions create jobs and stimulate local economies. As the Senate continues working on ARRA, I will work to see that the prohibition on arts and cultural institutions can be removed. Please also be assured that as Congress considers further appropriations and budget legislation, I will continue my support for strong arts funding.Thank you again for sharing your thoughts with me.
Sincerely,
Sherrod Brown"
"Thank you for sharing your opposition to Senate Amendment 309 of the American Recovery and Reinvestment Act (ARRA).I can understand your frustration with my vote on this particular aspect of the economic recovery bill.
Throughout my Congressional career, I have been a strong and committed supporter of the arts and humanities. However, for this vote, I had to make a very difficult decision.I believe that we must pass the recovery bill as soon as possible so that we can create jobs and rehabilitate our faltering economy.
The unemployment rate is at dangerous levels, and we cannot afford to go back and forth endlessly on the language of this bill. The current economic recovery legislation provides a temporary increase to the Federal Medical Assistance Percentages (FMAP), which will give more money to states for Medicaid services. This increase, as well as several other provisions delivering crucial social services to our state, were agreed to after lengthy bipartisan discussions. I fear that further partisan disagreements on spending priorities -- including funding for arts and cultural institutions -- could delay or completely derail passage of this legislation. This, in turn, would jeopardize life-saving health and social services for Ohio.
I agree with you that museums, theaters, and other cultural institutions create jobs and stimulate local economies. As the Senate continues working on ARRA, I will work to see that the prohibition on arts and cultural institutions can be removed. Please also be assured that as Congress considers further appropriations and budget legislation, I will continue my support for strong arts funding.Thank you again for sharing your thoughts with me.
Sincerely,
Sherrod Brown"
Stimulate This
This from the American Arts Alliance in yesterday's e-mail box:
Urge Support for the Arts in the Economic Stimulus Bill!
We are writing today to urge you to contact your Senators and Members of Congress to ask them to support the arts in the Economic Stimulus Bill by including $50 million in the final legislation to be distributed by the National Endowment for the Arts (NEA) and removing Senator Tom Coburn's (R-OK) amendment prohibiting any funds in the Bill from going to arts and cultural institutions.
The House version of the Bill includes $50 million to be distributed by the NEA. The Senate version does not include the $50 million and includes an amendment (S.Amdt. 309, Section 1609 of the Collins-Nelson bill) offered by Senator Coburn, prohibiting funds in the Economic Stimulus Bill from being "used for any casino or other gambling establishment, aquarium, zoo, golf course, swimming pool, stadium, community park, museum, theater, arts center, or highway beautification project, including renovation, remodeling, construction, salaries, furniture zero-gravity chairs, big screen televisions, beautification, rotating pastel lights, and dry heat saunas." The Senate approved the amendment by a vote of 73-24, and, if included in the final legislation, would prevent economic recovery funds from reaching many performing arts organizations.
Immediate action is needed as the Bill goes to Conference Committee this week. We still have an opportunity to advocate for the $50 million and for performing arts organizations to be eligible for other programs within the Economic Stimulus.
Following the Senate vote tomorrow on the Economic Stimulus Bill, key members will be selected from the Senate and the House to form the Conference Committee, including senior members of the Senate Finance Committee, the Senate Appropriations Committee, the House Appropriations Committee, and the House Ways and Means Committee. Committee members will debate the differences in the Bill sending a final version to President Obama for signature. According to Majority Leader Steny Hoyer's (D-MD) office, likely House Democratic conferees will include Appropriations Chairman David Obey, Ways and Means Chairman Charles Rangel, Education and Labor Chairman George Miller, Transportation and Infrastructure Chairman James Oberstar, and House Budget Chairman John Spratt.
Please link below to full committee lists:
Senate Finance Committee
Senate Appropriations Committee
House Appropriations Committee
House Ways and Means Committee
Please contact your Senators and Members of Congress, and urge them to protect economic recovery funds for the arts, which will ensure the protection of jobs for our field, providing the capacity to serve our communities.
By clicking "Take Action," a pre-addressed email to your Senator or Member of Congress will be ready for you to customize and send urging support for the arts in the Economic Stimulus Bill.
Send a letter to the following decision maker(s): Your Congressperson Your Senators
Below is the sample letter:
Subject: Support the Arts in the Economic Stimulus Bill
Dear [decision maker name automatically inserted here],
On behalf of my performing arts organization, I am writing to urge support for the arts in the Economic Stimulus Bill, specifically the inclusion of $50 million in funding for the National Endowment for the Arts (NEA). The NEA has exemplary mechanisms for the quick and effective allocation of funds to non-profit organizations to retain jobs and stimulate continued spending in the economy.In addition, I support the removal of an amendment offered by Senator Tom Coburn (R-OK) prohibiting funding for arts and cultural institutions. If the amendment (S.Amdt.309, Section 1609 of the Collins-Nelson bill) is included in the final version of the legislation, performing arts organizations would be prevented from receiving funding support from the Economic Stimulus Bill.The arts are essential to our economy and our nation's recovery. Investment in the arts through the economic stimulus package secures vital jobs for the economy and ensures vital services that a ffect every community in America.According to recent research by Americans for the Arts, non-profit arts organizations and their audiences generate $166.2 billion in economic activity, support 5.7 million jobs, and return nearly $30 billion in government revenue every year. Investment in non-profit arts generates a 7:1 return on investment.
Urge Support for the Arts in the Economic Stimulus Bill!
We are writing today to urge you to contact your Senators and Members of Congress to ask them to support the arts in the Economic Stimulus Bill by including $50 million in the final legislation to be distributed by the National Endowment for the Arts (NEA) and removing Senator Tom Coburn's (R-OK) amendment prohibiting any funds in the Bill from going to arts and cultural institutions.
The House version of the Bill includes $50 million to be distributed by the NEA. The Senate version does not include the $50 million and includes an amendment (S.Amdt. 309, Section 1609 of the Collins-Nelson bill) offered by Senator Coburn, prohibiting funds in the Economic Stimulus Bill from being "used for any casino or other gambling establishment, aquarium, zoo, golf course, swimming pool, stadium, community park, museum, theater, arts center, or highway beautification project, including renovation, remodeling, construction, salaries, furniture zero-gravity chairs, big screen televisions, beautification, rotating pastel lights, and dry heat saunas." The Senate approved the amendment by a vote of 73-24, and, if included in the final legislation, would prevent economic recovery funds from reaching many performing arts organizations.
Immediate action is needed as the Bill goes to Conference Committee this week. We still have an opportunity to advocate for the $50 million and for performing arts organizations to be eligible for other programs within the Economic Stimulus.
Following the Senate vote tomorrow on the Economic Stimulus Bill, key members will be selected from the Senate and the House to form the Conference Committee, including senior members of the Senate Finance Committee, the Senate Appropriations Committee, the House Appropriations Committee, and the House Ways and Means Committee. Committee members will debate the differences in the Bill sending a final version to President Obama for signature. According to Majority Leader Steny Hoyer's (D-MD) office, likely House Democratic conferees will include Appropriations Chairman David Obey, Ways and Means Chairman Charles Rangel, Education and Labor Chairman George Miller, Transportation and Infrastructure Chairman James Oberstar, and House Budget Chairman John Spratt.
Please link below to full committee lists:
Senate Finance Committee
Senate Appropriations Committee
House Appropriations Committee
House Ways and Means Committee
Please contact your Senators and Members of Congress, and urge them to protect economic recovery funds for the arts, which will ensure the protection of jobs for our field, providing the capacity to serve our communities.
By clicking "Take Action," a pre-addressed email to your Senator or Member of Congress will be ready for you to customize and send urging support for the arts in the Economic Stimulus Bill.
Send a letter to the following decision maker(s): Your Congressperson Your Senators
Below is the sample letter:
Subject: Support the Arts in the Economic Stimulus Bill
Dear [decision maker name automatically inserted here],
On behalf of my performing arts organization, I am writing to urge support for the arts in the Economic Stimulus Bill, specifically the inclusion of $50 million in funding for the National Endowment for the Arts (NEA). The NEA has exemplary mechanisms for the quick and effective allocation of funds to non-profit organizations to retain jobs and stimulate continued spending in the economy.In addition, I support the removal of an amendment offered by Senator Tom Coburn (R-OK) prohibiting funding for arts and cultural institutions. If the amendment (S.Amdt.309, Section 1609 of the Collins-Nelson bill) is included in the final version of the legislation, performing arts organizations would be prevented from receiving funding support from the Economic Stimulus Bill.The arts are essential to our economy and our nation's recovery. Investment in the arts through the economic stimulus package secures vital jobs for the economy and ensures vital services that a ffect every community in America.According to recent research by Americans for the Arts, non-profit arts organizations and their audiences generate $166.2 billion in economic activity, support 5.7 million jobs, and return nearly $30 billion in government revenue every year. Investment in non-profit arts generates a 7:1 return on investment.
Monday, February 9, 2009
We Need that Money!
There is a moment in THE PRODUCERS when Max Bialystock throws himself to his knees, looks up to the heavens and shouts "I want that money!" I have been saying the same thing myself from time to time lately . . . especially when I am thinking about all the bills we have to pay while working on the show.
The early draft of the latest recovery package included some language about supporting the arts with government money. Of course, the Republicans targeted that money right away as "pork." Never mind that the arts drive billions of dollars in the American economy and that every arts organization has employees and most have been laying off . . .
We need that money!
We are accustomed to our American government regularly slashing arts funding, we are a market-based economy, after all. Teh thinking goes that if the arts truly had value, people would support it with government intervention . . . however, real studies show that ticket sales equate to about 60 percent of any arts organization's total budget. Therefore, that extra 40 percent has got to come from somewhere. But it's not going to come from the government thanks to the Coburn Amendment recently passed in the Senate. They can bail everyone else out but the arts are on their onw!
It might be too late, but the only thing we can do now is write to our Congressmen and women and tell them that we think funding for the arts is important. I have already done so and I hope you will soon. Village Green writes elegantly here about her e-mails to Senators Brown and Voinovich. Also, Check out the Americans for the Arts website here for more ideas about making your voice heard. If we don't speak now it will surely be too late.
We should get that money!
A friend forwarded to me a story I am not altogther sure is true. Here it is:
"During World War II the military chiefs came to Churchill saying they desperately needed more funding for the war effort. When he asked where they thought the money could come from they replied "the arts budget." "If we did that then what would we be fighting for" he replied. These Republicans think the arts are some kind of frivolity and have no comprehension that it is central to our culture and what we are."
We're not going to get it. But we should.
The early draft of the latest recovery package included some language about supporting the arts with government money. Of course, the Republicans targeted that money right away as "pork." Never mind that the arts drive billions of dollars in the American economy and that every arts organization has employees and most have been laying off . . .
We need that money!
We are accustomed to our American government regularly slashing arts funding, we are a market-based economy, after all. Teh thinking goes that if the arts truly had value, people would support it with government intervention . . . however, real studies show that ticket sales equate to about 60 percent of any arts organization's total budget. Therefore, that extra 40 percent has got to come from somewhere. But it's not going to come from the government thanks to the Coburn Amendment recently passed in the Senate. They can bail everyone else out but the arts are on their onw!
It might be too late, but the only thing we can do now is write to our Congressmen and women and tell them that we think funding for the arts is important. I have already done so and I hope you will soon. Village Green writes elegantly here about her e-mails to Senators Brown and Voinovich. Also, Check out the Americans for the Arts website here for more ideas about making your voice heard. If we don't speak now it will surely be too late.
We should get that money!
A friend forwarded to me a story I am not altogther sure is true. Here it is:
"During World War II the military chiefs came to Churchill saying they desperately needed more funding for the war effort. When he asked where they thought the money could come from they replied "the arts budget." "If we did that then what would we be fighting for" he replied. These Republicans think the arts are some kind of frivolity and have no comprehension that it is central to our culture and what we are."
We're not going to get it. But we should.
Friday, February 6, 2009
Friends in High Places
My wife reminded me last night that she is Facebook friends with Harvey Fierstein. She is one of more than 3000 and she is fairly certain that it really is Mr. Harvey Fierstein based on the online interactions he has had with her and others. Strange world this internet place is. Not sure how she swung this online friendship with Broadway royalty, exactly, as she is not friends with him in real life. Although we both have met him more than once.
We both met him for the first time at a party hosted by a friend here in Akron after Mr. Fierstein had spoken at a local fundraiser. He was dutifully making the rounds talking to everyone and I was getting inreasingly nervous for reasons I do not understand even now. I was not feeling that good to begin with as my stomach was a little upset but by the time Mr. Fierstein had gotten around to my wife and me I was in a full-on sweat. Not a pretty sight I am sure.
Mr. Fierstein looked to me from about ten feet away and spoke.
"Oh, sweetheart," he said to me, "What's the matter? Haven't you ever met a celebrity before?"
I stammered a response I do not recall.
He said, "You are adorable," as he grabbed my face and planted a kiss on my cheek. Flashbulbs were going off all over the room -- or maybe I just thought they were. I don't remember any more details but he moved on to talk with other guests and my wife and I made a respectful retreat.
A few years later we saw Mr. Fierstein in HAIRSPRAY in NYC. My wife and I stood side-by-side at the stage door along with our student travelers. Mr. Fierstein was working the crowd again. He was signing autographs, posing for pictures, and chatting up just about everyone.
My wife asked permission to take his picture and he easily agreed. While lining up the shot she said, "We have met before."
"Could be," he replied simply as she snapped the photo.
"It was in Akron, Ohio," she told him.
"Could be."
"You kissed my husband."
"Could be," he concluded with a noticable twinkle in his eye. It was a classic comic moment and got a few laughs from those nearby.
It probably won't be long now before she reminds him again that he once kissed her husband. Since they are online buddies and all.
She is also Facebook friends with George Lucas. I have not been kissed by him.
We both met him for the first time at a party hosted by a friend here in Akron after Mr. Fierstein had spoken at a local fundraiser. He was dutifully making the rounds talking to everyone and I was getting inreasingly nervous for reasons I do not understand even now. I was not feeling that good to begin with as my stomach was a little upset but by the time Mr. Fierstein had gotten around to my wife and me I was in a full-on sweat. Not a pretty sight I am sure.
Mr. Fierstein looked to me from about ten feet away and spoke.
"Oh, sweetheart," he said to me, "What's the matter? Haven't you ever met a celebrity before?"
I stammered a response I do not recall.
He said, "You are adorable," as he grabbed my face and planted a kiss on my cheek. Flashbulbs were going off all over the room -- or maybe I just thought they were. I don't remember any more details but he moved on to talk with other guests and my wife and I made a respectful retreat.
A few years later we saw Mr. Fierstein in HAIRSPRAY in NYC. My wife and I stood side-by-side at the stage door along with our student travelers. Mr. Fierstein was working the crowd again. He was signing autographs, posing for pictures, and chatting up just about everyone.
My wife asked permission to take his picture and he easily agreed. While lining up the shot she said, "We have met before."
"Could be," he replied simply as she snapped the photo.
"It was in Akron, Ohio," she told him.
"Could be."
"You kissed my husband."
"Could be," he concluded with a noticable twinkle in his eye. It was a classic comic moment and got a few laughs from those nearby.
It probably won't be long now before she reminds him again that he once kissed her husband. Since they are online buddies and all.
She is also Facebook friends with George Lucas. I have not been kissed by him.
Thursday, February 5, 2009
The Scenery Graveyard
THE PRODUCERS requires a lot of scenery. I guess you could do it on a small scale . . . but that's not our style. I made a decision early on that we would try to do justice to the show to give it even more "pizazz!" The jury is still out on the pizazz but there definitely a lot of half-finished pieces littering our stage right now.
There are two versions of Max's office (one to be white and one not). Over there is Roger's very tall NY townhouse. There are two rows of oversized file cabinets. Two soon-to-be painted safes and two more standing cabinets. The front door of the Shubert Theatre is leaning agains one stage wall while the wall of Shubert Alley is getting put ona long, skinny wagon. The pieces of max's jail cell sit on the floor of the orchestra pit waiting patiently for assembly. A mostly finished pigeon coop sits nearby. Plans for the roof entrance were recently scrapped.
We haven't even started on the scenery for "Little Old Lady" Land or the "Springtime for Hitler" production number. We also have to build all the hanging marque signs and whatever Leo sees in his dream sequence in "I Want to be a Producer."
Will all this fit into the wings? We don't know for sure but I, for one, am anxius to find out.
There are two versions of Max's office (one to be white and one not). Over there is Roger's very tall NY townhouse. There are two rows of oversized file cabinets. Two soon-to-be painted safes and two more standing cabinets. The front door of the Shubert Theatre is leaning agains one stage wall while the wall of Shubert Alley is getting put ona long, skinny wagon. The pieces of max's jail cell sit on the floor of the orchestra pit waiting patiently for assembly. A mostly finished pigeon coop sits nearby. Plans for the roof entrance were recently scrapped.
We haven't even started on the scenery for "Little Old Lady" Land or the "Springtime for Hitler" production number. We also have to build all the hanging marque signs and whatever Leo sees in his dream sequence in "I Want to be a Producer."
Will all this fit into the wings? We don't know for sure but I, for one, am anxius to find out.
Tuesday, February 3, 2009
. . . . And Away We Go!
It has been called shocking, outrageous and insulting . . . and you will love every minute of it!
Firestone High School is set to present Mel Brooks’ hysterical comedy The Producers for performances at 7:30 p.m. on Thursday, March 5, 2009, Friday, March 6, 2009, and Saturday, March 7, 2009. A single matinee is scheduled for 2:30 p.m. on Saturday, March 7, 2009.
Advanced, general admission tickets cost $7.00 and at-the-door general admission tickets cost $10.00. A limited number of premium, reserved tickets are available for $13.00 and can be purchased in advance or at the door. Advanced tickets can be ordered by mail or at the box office in the school commons from 11:00 a.m. to 1:00 p.m. starting no later than Thursday, February 26, 2009.
An advanced ticket order form can be downloaded from the website at www.FirestoneTheatre.com.
The outrageous content of the Producers might make it inappropriate for students under the age of 13.
Firestone High School is set to present Mel Brooks’ hysterical comedy The Producers for performances at 7:30 p.m. on Thursday, March 5, 2009, Friday, March 6, 2009, and Saturday, March 7, 2009. A single matinee is scheduled for 2:30 p.m. on Saturday, March 7, 2009.
Advanced, general admission tickets cost $7.00 and at-the-door general admission tickets cost $10.00. A limited number of premium, reserved tickets are available for $13.00 and can be purchased in advance or at the door. Advanced tickets can be ordered by mail or at the box office in the school commons from 11:00 a.m. to 1:00 p.m. starting no later than Thursday, February 26, 2009.
An advanced ticket order form can be downloaded from the website at www.FirestoneTheatre.com.
The outrageous content of the Producers might make it inappropriate for students under the age of 13.
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