Paul Batterson - Page 3

'(It’s) less of a character acting position and more of a ‘How can I make sure I’m conveying her story as authentically as possible while also keeping her ‘Disney personality’ in the mix?'' Olivia Noel

The script is filled with pratfalls, sight gags, puns and “Dad jokes,” but what makes this play work is the backstory and the personality given to each character and each role contributes something to the plot.

Cooney’s script is much like a van Gogh painting. Some characters, like Erin, are created with intricate paintbrush strokes; others are fingerpainted in concentric circles.

When she was living in Chicago eight years ago, Leda Hoffmann remembers getting a postcard from the Chicago Shakespeare Theatre, encouraging patrons to see RIDE THE CYCLONE.

When Elisabeth Yancey grew up playing the Hasbro game Clue, she didn’t realize she was preparing for her career. Yancey plays the role of Yvette the Maid in the national tour of CLUE, which will have an extended stay from April 9-14 at the Ohio Theatre (39 E. State Street in downtown Columbus).

“Most all of my plays happened in and around things in my life. People would say ‘Oh my God, Sean, what happened here?’ and I would be in the middle of it for some reason.” Sean Cooney

Broadway Musicals are often fantasies, musical representations about things that could not possibly happen. The saddest thing about Short North Stage’s production of THE PROM, which runs from March 14 through April 7 at the Garden Theater, is that it is based partly in truth.

In his two-hour set, Metheny, the only artist to win Grammys in 10 different categories, was like a magician as he revealed the skills that garnered him gold records for Still Life (Talking), Letter from Home, and Secret Story.

“The idea of sharing music, especially my personal, original music and music from the icons of soul is especially gratifying. I love that feeling because this is from the heart; it was born from the heart of the soul.”

Rico Parker joins a talented quartet of actors, performing with Wilma Hatton (Faye), Clarissa Rai (Shanita), and Alan Tyson (Reggie), in bringing this two-act, two-hour show to life. Each actor brings out certain nuances to his or her character, revealing the character’s strengths and concealing his or her secrets.

“I never really imagined (doing) anything other than doing what I’m doing. It has all felt like one continuous thing for me. I just want to understand music to the best of my ability.”

“The first time I read SKELETON CREW, I was enamored with it. It’s one of the first times that I got to see a play specifically about the Black working class. I think (SKELETON CREW) examines what happens to the people when industries collapse. I'm really excited to tell this story.”

The two seem to have that innate ability to write simple poetry without making them seem like something you would find at the Valentine’s cards bin at Walmart.

For most of her life, Judy McLane has tried to break out of the metaphorical boxes Broadway tries to put people into. In her most recent show, COMPANY, McLane has learned to act in a physical box.

Writing and performing became meaningful to us on a deeper level. Making and sharing music completes something. Songs have become essential to our own spiritual journey and curiosity.

Shadowbox Live reached deep into their skill sets to celebrate the 11 leaders’ achievements through art, words, dance and song while educating the audience on their significance.  

In lesser hands, THE WORRIES OF WESLEY could turn into an afterschool special on television. However, Alan Tyson’s direction and Moss’s idiosyncratic screenplay turn the issue of anxiety into something far deeper

A show about domestic violence and oppression doesn’t sound like a cheery night at the theater. Here’s what makes the show work: the music and lyrics, especially in the opening three numbers, are about as uplifting as one can get in a show and secondly, there are opportunities for redemption for every character

I really love this idea of this young girl who is curious of the world and is open to new experiences. That is a beautiful message.”

Director Joe Bishara uses overhead projections of the actual leaders in the play, allowing the audience to compare the actors on the stage and the Roosevelt and Churchills on newsreels.