Amy Tarver - Page 2

Inviting guests to enjoy MUCH ADO ABOUT NOTHING in the open air amphitheatre in downtown Round Rock, Penfold Theatre presents a delightful adaptation of this Shakespearean classic. Traditionally classified as a comedy, the comedic elements were matched note for note with somber country western style songs - making this interpretation a dramedy for your viewing pleasure. At the heart of our story are two couples, thriving in desperation and desire at any given time in respect to their ingenue and sarcastic style of speech, they echoe classic Shakespearean qualities. As the character's continue intertwining, Claudio (played by Nathan Daniel Ford) declares his affection for fair Hero (played by Emily Christine Smith) these two are quickly swoon and a wedding date is set. A trick is hatched to play on funny man Benedick (played by Nathan Jerkins) and fiery Beatrice (played by Jennifer Coy Jennings) to falsely reveal the others affections through not-so-private conversations from other characters. Resorting back to childish tactics apparently has worked on people for centuries as their attraction for each other begins to bloom. However a more tricky foil comes to fruition when Don John (played by Suzanne Balling) falsely reveals Hero's infidelity the night before her wedding to young Claudio. Outraged by the thought of an unfaithful partner, Claudio rages away from the wedding altar cursing Hero's name for her promiscuity. The stage is set, the plot is hot and the characters are clamoring to protect one another and come out on top.

The Glass Half Full Theatre at The Vortex in East Austin, is currently an ocean chock full of plastic. In a special event for World Oceans Day on June 8th, POLLY MERMAID: APOCALYPSE WOW! examines how humans create and use plastic in a destructive way. These plastic items humanity continues to use fleetingly and toss into the nearest bin, make a bigger impact on our planet each day. At the heart of this story is Polly Mermaid herself (played by Indigo Rael), a mermaid comprised of plastic with her loyal friends in tow. With plastic lids replacing schools of fish and disposable bags covering her underwater throne, the depths of the sea resembles a landfill. Transcending space, time and terrain, we meet Dr. Deborah (play by Katy Taylor) as a crazed scientist, zapping objects in her lab transporting the 'trash' to an unknown place. After multiple calculations and tests, the mad scientist turns her experiments on herself, sending her on a path of self-discovery and global realization. Dr. Deborah lands in Polly's lagoon, surrounded by plastic both from her lab and the world at large. After seeing the styrofoam creatures and flip-flop fishes, the Doctor quickly realizes the toll humanity's plastic use has taken on the ocean floor. Realizing the future is dim, the Doctor vows to change things based on her discovery, but with ex-lovers and big business in the way, the outcome is mirrored to reflect what today's environmentalists face - overwhelming odds.

Beginning with small talk near a white picket fence, and dramatically escalating as the Keller family's skeletons reveal themselves, Arthur Miller examines the aftermath of the war within the home front. Currently running at The City Theatre, ALL MY SONS tackles the moral code of a small family and the ability to look the other way. Joe Keller (played by Rick Smith), the patriarch of the family, reads his newspaper and drinks his coffee, examining the fallen tree in his front yard - the memorial tree planted for his 'missing' son, Larry. The audience meets Kate Keller (played by Tracy Hurd), Joe's stubborn wife holding onto the hope her son Larry, who has been missing in action for three years after fighting in WWII, will come home any minute. Despite Kate's pining for her son Larry, Chris Keller (played by Sean Gordon), the surviving son from the war, has arrived home and invited a guest. Originally Larry's girlfriend, Ann Deever (played by Katrin Otterness) arrives with different intentions than Kate Keller would approve of. Given the domestic drama of Ann's love fitting within the Keller clan, the audience learns Joe Keller worked with Ann's father Steve Deever at their manufacturing plant during the war. As the drama unfolds between the moral love triangle of brothers, the moral conundrum between good and evil is examined with Steve's current imprisonment and Joe's delightful morning coffees free to brew on his current freedom. Initially, peering into the lives of the Kellers reveals a content family with friendly neighbors and patriotic, hard-working values. However, as Arthur Miller shines a critical light on their moral denial, the part the Kellers collectively played in the death of 21 World War II pilots becomes shockingly more apparent.

AS YOU LIKE IT, currently running at The City Theatre, has been transformed from its original comedic writing by William Shakespeare, into a dramedy set during the great depression in America's backyard. The premise of this show begins with young and fair Rosalind, fleeing the court from persecution into the Forest of Arden. Rosalind, along with her cousin Celia, venture into the woods dressed as a maid and a gentleman  in what appears to be a young child's game. The laws of attraction quickly interfere with their plan of evasion from the court. Young Orlando catches the eye and heart of Rosalind early in the play, and as their adventures continue in the forest, their paths inevitably cross. However, with Rosalind in disguise, Orando plays like putty in her hand, as she manipulates his motives and desires. Seemingly all characters in AS YOU LIKE IT are desperately looking for love, and falling hard for the wrong person. With one of Shakespeare's most renowned comedies, the show presented at The City Theatre is presented more dramatically with less gags than common productions.

Highlighting the old time blues and soul style of Bessie Smith AKA The Empress of The Blues, MOAN THEM BLUES provides a different style of theatrical entertainment. Essentially a one woman show starring Toni Ringgold, with her piano man sidekick Jawbone (played by Ke'Aier Mufasa Denson), the reminiscent blues of Bessie Smith is performed, while revealing deeper emotional connection to the material sung for the eager audience. Missing only cigarette smoke in the lounge, Frank Benge directs this show simply with a piano, a flask and tumbler and of course the traditional crowd work vintage vaudeville performances were known for. With a career beginning with a traveling vaudevillian performance troupe, Bessie Smith began to rise as a star in the early 1920's. Gaining a following in the Southern United States along with the east coast, Bessie quickly climbed monetarily to be the highest paid performer of her time and genre. With the show set towards the end of Bessie's career in the early 1930's, the rise of 'talkies' and the the great depression completely devastated performers and the music industry alike. Remembering the 'good ole days' of rising fame, men and the love of gin, Toni Ringgold performs Bessie's more memorable songs. The storytelling (written by Robert King Jr) in between the songs reveals more and more about her tumultuous life that has led her to the dim stage in The Sahara Lounge.

Venturing into East Austin as a theatre- goer is bound to deliver the more experimental artists and their creations within Austin's theatre community. Blurring the lines between performance and therapy/social commentary, Bottle Alley Theatre Company present SELF PORTRAITS. An ensemble-driven collection of scenes (for lack of a better term) that present more like improvisation, or an open mic variety show but with a little more rehearsal. With the content developed by the performers, monologues are the consistent pulse through the show, allowing the actors the opportunities to share their personal and sometimes traumatizing stories. With soliloquies ranging from terminally ill family to intense personal reflection, the collection of artists sharing their tales show bravery and clearly display the therapeutic nature art and more specifically performance art, can provide to survivors and victims alike. Peppered throughout the emotional feast are quick dances breaks, funny skits and political sentiment of a younger generation fed up with the current system. These young people have found passion in their expression, passion both upbeat and completely devastating.