David Clarke - Page 41

Houston's Theatre Community offers something for everyone-ranging from the very modern and experimental to the classics. Next week, on September 26, 2012 Classical Theatre Company will be opening MISS JULIE at their new home, Studio 101 in the Spring Street Studios. Director of MISS JULIE, Julia Traber and I recently chatted about the show, Studio 101, August Strindberg's legacy, and the impact of arts on politics.

Main Street Theater's production of Pedro Calderon de la Barca's LIFE IS A DREAM, translated by Nilo Cruz, began previews on Saturday, September 15, 2012. Following their first preview, I had a chance to sit down with Crystal O'Brien, who plays Estrella, and her husband Justin O'Brien, who plays Astolfo. On a lovely almost Fall-like Sunday morning, we met at the exquisite Prego on Amherst. Over a charming brunch we discussed LIFE IS A DREAM, acting together, what else they're up to this season, and successful relationships.

Rains are coming and going, altering the barometric pressure in the air and creating what feels like a mix between a pressure cooker and sauna. It's that time of year where summer takes it last, lingering steps before being put to bed for a handful of months in Houston. All of this occurs simultaneously with a new season of theatre dawning in the city. On a particularly humid, rainy Saturday evening, Kim Tobin and Philip Lehl, co-founders and Artistic Directors of Stark Naked Theatre Company, invited me to chat with them in their studio at Spring Street Studios. On the floor below us, Studio 101 is well on its way to be a hot locale for local theatre and the starting point for our conversation.

In our current culture, it is impossible to escape tales of the apocalypse. As a collective audience, we are inundated with zombie pandemics and deadly catastrophes. Then, every so often we are treated to a fresh and original look at the end of humanity. This is exactly what Black Lab Theatre is offering Houston with their production of Peter Sinn Nachtrieb's big bang of a hit comedy BOOM.

On a dark and stormy night, Philip L. Nichols, Jr.'s MURDER FOR DUMMIES had its world premiere at the Country Playhouse as part of their murder mystery desert theatre that is catered and sponsored by Brio Tuscan Grille. The play is a comedic murder mystery and revels in its genre cliches. The plot of the show follows the gathering of a wealthy family to hear the reading of a will. Each member of the family and assorted acquaintances has a lot to gain from the murders, giving rise to plenty of suspicion and possible motives. So where do a ventriloquist and his dummy fit into this assembled group? Patriarch of the family, William Vanderby, has invited him to provide entertainment over the course of the weekend. Once the group is assembled at the Vanderby mansion, a hurricane barrels through and messes with the unstable power grid, and a classic 1930s murder mystery set unfolds.

Black Lab Theatre is busy putting the bang into the BOOM by Peter Sinn Nachtrieb. The cast and crew are hard at work rehearsing their upcoming production of the popular dark comedy. During Friday evening's rehearsal break Jordan Jaffe, Black Lab Theatre's Artistic Director who is playing Jules in the show, Lindsay Ehrhardt, who is playing Jo in the show, Justin Doran, who is directing the show, Aaron Garrett, who is one Assistant Director, and Luna Oliveira, Black Lab Theatre's Dramaturg and also an Assistant Director for the show, all sat down with me to talk about BOOM, the apocalypse, and Black Lab Theatre's upcoming season.

When Masquerade Theatre closed earlier this year, many Houstonians felt pangs of anguish and hoped for an angel of theatre to bestow upon the organization a grant that would allow them to remain open. Masquerade, as far as we know, is not reopening; however, many of their former cast members have been assembled for Music Box Musicals' inaugural performance of their inaugural season-Stephen Sondheim and John Weidman's Tony Award Winning ASSASSINS.

To kick off their 2012-2013 season, A.D. Players is presenting Steven Dietz's Edgar award winning play SHERLOCK HOLMES: THE FINAL ADVENTURE. The play itself is an adaptation of American actor William Gillette's 1899 play, which borrows Irene Adler from Sir Arthur Conan Doyle's "A Scandal in Bohemia" and Professor James Moriarty from "The Adventure of the Final Problem." Irene Adler is an opera singer and a superficial villainess in her own right, tempting Sherlock Holmes' typically nonexistent romantic feelings. Professor James Moriarty is the malevolent architect of most of England's iniquitous scum, which earns him Sherlock's admiration for being a completely reserved and ultimately clever man.

The Houston Ballet is synonymous with fantastic and sumptuous performances. Each of their dancers, from Principals to Apprentices, is a supremely talented artist at the top of their class in professional skill. Currently, Houston Ballet is featuring their male dancers in CLEAR, which was created for American Ballet Theatre in New York City in 2001, and their ability to move audiences through gorgeous storytelling in MADAME BUTTERFLY, which has its world premiere on February 24, 1995 by The Australian Ballet and its Houston premiere on September 19, 2002. These pieces are distinctly different from each other; yet, Stanton Welch's choreography is sure to leave audiences breathless and spellbound in both productions.

Who has not worked hard to achieve a dream and later had to swallow the bitter pill of a dream lost? This authentic and original play charms its way into the heart of the audience, tickling their ribcages as skillfully as the actors tickle the keys of the two pianos.

Everything old is new again, but some classic treasures just sparkle and shine brighter than others. After taking in a performance of Bayou City Concert Musicals' ONE TOUCH OF VENUS, I am surprised that this is its first performance in Houston. The show, which became a starring vehicle for the legendary Mary Martin, originally opened on Broadway on October 7, 1943 ran for 567 performances. Kurt Weill's score is infectious and poppy, and Ogden Nash's lyrics compliment the comedic plot with the right amounts of sap and zing to completely entertain and enthrall. ONE TOUCH OF VENUS is a delightful piece that is truly deserving of Bayou City Concert Musicals' splendid resurrection and concert staging. Houston owes great multitudes of thanks to Paul Hope and Bayou City Concert Musicals for programming this show, giving audiences an opportunity to see something that is old yet new and fresh to us all at the same time.

After attending a recent production of Stage Door Inc.'s FRANKENSTEIN-A NEW MUSICAL by Mark Baron, Jeffrey Jackson, and Gary P. Cohen, I had the opportunity to sit down with members of the talented cast.

Certainly programming a piece such as this is a major risk, especially for a community theatre, but Stage Door Inc. has put together a genuinely entertaining and completely enjoyable theatrical experience for their audiences.

The Alley Theatre's production of David Mamet's NOVEMBER ensures that the audience will laugh the entire way to their polling stations.

Ron Jones, Founding Artistic Director of Celebration Theatre, deserves endless praise for the bold mission and theatrical experiences he is fearlessly bringing to the Houston Theatre Scene. Dedicated to producing compelling plays that handle LGBT issues with sensitivity and integrity, Ron Jones is opening Celebration Theatre's inaugural season with Geoffrey Nauffts' riveting and emotionally charged drama NEXT FALL. The small audience gathered at Obsidian Art Space at the performance I saw witnessed history in the making, and hopefully Celebration Theatre will grow a loyal audience and experience many years of success in Houston.

It has been noted time and time again that Houston, Texas has one of the most impressive theatre scenes in the nation. Comparable to New York, one of the aspects that makes Houston's theatre scene so notorious, is the amount of talented playwrights premiering their work at local venues. Coupled with a buzzing experimental theatre scene, Houston is constantly producing new and innovative theatre. Celebrating its fifth season, The Houston Fringe Festival, kicks off on August 30, 2012 and offers a smorgasbord of plays written by experimental veterans and newbies until its closing weekend September 15, 2012.

Black Lab Theatre is busy putting the bang into the BOOM by Peter Sinn Nachtrieb. The cast and crew are hard at work rehearsing their upcoming production of the popular dark comedy. During Friday evening's rehearsal break Jordan Jaffe, Black Lab Theatre's Artistic Director who is playing Jules in the show, Lindsay Ehrhardt, who is playing Jo in the show, Justin Doran, who is directing the show, Aaron Garrett, who is one Assistant Director, and Luna Oliveira, Black Lab Theatre's Dramaturg and also an Assistant Director for the show, all sat down with me to talk about BOOM, the apocalypse, and Black Lab Theatre's upcoming season.

Main Street Theatre has been a staple in the Houston theatre scene since Rebecca Udden found the company in the 1970s. Over time, the company has continued to evolve and grow. It seems that Houston audiences may not be fully aware of just how dynamic this stellar theatre company is. To help set the record straight, Rebecca Udden, Founding and Executive Artistic Director, and Vivienne St. John, Theater For Youth Producing Director, spoke with me about this fantastic and multifaceted theatrical company.

Despite being completely busy preparing for the concert staging of A TOUCH OF VENUS, Paul Hope, Artistic Director and Founder of Bayou City Concert Musicals, took a break from his busy schedule to talk to me about his innovative and charitable organization. Since it's inception, Bayou City Concert Musicals has been providing Houston audiences with well-produced and lauded performances of often-neglected musicals. Continuing to grow an ever-increasing loyal audience and fan following, I asked Paul Hope to tell me more about Bayou City Concert Musicals and the shows they choose to produce.

After attending Noah Haidle's MR. MARMALADE, I can't recall the last time I saw something so delightfully irreverent and hilarious, and I honestly loved every moment of it. Leaving Country Playhouse, my sides truly ached from laughing so much.