Howdy hey, Everybody! It had definitely been a long while since I've added a new post. For that I am sorry. For other things...I'm not sorry. I've been trying to finish up my semester, and just get everything done. In addition to that, I've been rehearsing my ass off for my next show, going up this week. It's got everything: dentists, Billie Dawn-esque leading ladies, and plants...lots and lots of plants.
That's right folks, I'm doing Little Shop of Horrors with KTK Productions. Add to that, I'm Seymour Krelborn, plant nerd extraordinaire. While this wasn't one of my dream roles, Little Shop is one of my dream shows. I never thought I would get a chance to do it, let alone play Seymour. Everything is coming together pretty well, though I do wish we had a bit more rehearsal time. Rehearsing 3 days together then having a 4 day break kind of messed with my head, and I just felt really unprepared until this week. However, now we're cooking with gas, and I think we'll have a decent show on our hands.
I guess until next time, good bye, and remember not to feed the plants, otherwise they may feed on you.
Thursday, May 10, 2012
Saturday, February 18, 2012
We have a good thing goin'
Sorry it's been so long since my last update. A lot has been going on that I need to catch you up on.
Anyhow, we finished blocking the show last week, and so far, have attempted our first run-thru. Not my most shining moment, but I actually believe it went pretty well. It also helped that we were able to move into the theatre a little bit earlier than originally anticipated. The only things I'm having problems with right now are just hearing some of my harmonies and the marathon that is "The Chase" (for those coming to see the show, there is a chance you will be winded watching it cause I'll be winded about halfway through).
This past weekend, though, was a lot of fun just for the fact that the set is in place. I have to say that I love building the set of a show that I'm cast in. I find it helps me to connect a bit more to each scene, knowing the effort put forth to create that flat or platform, grounding the entire process.
In addition, we had publicity photos this past Tuesday. Much fun was had by all (I hope...I don't want to lie on the interwebs), and everyone looked smashing in their costumes. The creepiest thing was when I got home after rehearsal, and was looking in my closet, I swear to God that I found the same exact shirt Amy brought in for me, except in a different color. Mind Blown!
This show is coming together in such a wonderful fashion, I find it hard to believe that we open in less than two weeks. It has been such an amazing and difficult experience bringing new life to this show that just didn't have a chance to shine in New York. I think that this is the production John Water's and the creative team really wanted instead of the Hairspray-esque version that made its way to Broadway. This is a down and dirty show that has no qualms of telling the audience "up yours", though we never actually say a bad word in the show (ass doesn't count because it could just mean we need to pay close attention to our load-bearing, canyon exploring little friends).
So, things to be aware of when you come see the show:
1. If you have never played with a baton before, it can be harder than one might imagine. Right, Taylor?
2. If there is a death, orgy, funeral, or just something that might be slightly fucked up, it's a New Line show.
3. Please keep the aisles clear so we may debauch ourselves all over the place.
4. Though it might not say it in the program, Mr. Dupree W. Dupree named the Drapes that the Whiffles play.
5. It's really fun to say "whiffle". Say it with me now..."whiffle"
6. Ass Chords, Racist Monkeys, and Wagons Full of Wet Kittens are all real things that need to be controlled and worried about.
Til next time, stay nifty.
Anyhow, we finished blocking the show last week, and so far, have attempted our first run-thru. Not my most shining moment, but I actually believe it went pretty well. It also helped that we were able to move into the theatre a little bit earlier than originally anticipated. The only things I'm having problems with right now are just hearing some of my harmonies and the marathon that is "The Chase" (for those coming to see the show, there is a chance you will be winded watching it cause I'll be winded about halfway through).
This past weekend, though, was a lot of fun just for the fact that the set is in place. I have to say that I love building the set of a show that I'm cast in. I find it helps me to connect a bit more to each scene, knowing the effort put forth to create that flat or platform, grounding the entire process.
In addition, we had publicity photos this past Tuesday. Much fun was had by all (I hope...I don't want to lie on the interwebs), and everyone looked smashing in their costumes. The creepiest thing was when I got home after rehearsal, and was looking in my closet, I swear to God that I found the same exact shirt Amy brought in for me, except in a different color. Mind Blown!
This show is coming together in such a wonderful fashion, I find it hard to believe that we open in less than two weeks. It has been such an amazing and difficult experience bringing new life to this show that just didn't have a chance to shine in New York. I think that this is the production John Water's and the creative team really wanted instead of the Hairspray-esque version that made its way to Broadway. This is a down and dirty show that has no qualms of telling the audience "up yours", though we never actually say a bad word in the show (ass doesn't count because it could just mean we need to pay close attention to our load-bearing, canyon exploring little friends).
So, things to be aware of when you come see the show:
1. If you have never played with a baton before, it can be harder than one might imagine. Right, Taylor?
2. If there is a death, orgy, funeral, or just something that might be slightly fucked up, it's a New Line show.
3. Please keep the aisles clear so we may debauch ourselves all over the place.
4. Though it might not say it in the program, Mr. Dupree W. Dupree named the Drapes that the Whiffles play.
5. It's really fun to say "whiffle". Say it with me now..."whiffle"
6. Ass Chords, Racist Monkeys, and Wagons Full of Wet Kittens are all real things that need to be controlled and worried about.
Til next time, stay nifty.
Wednesday, January 25, 2012
Who ya been lovin' since I been gone?
Good Day Everyone! I hope that everyone who reads this is doing well.
I realize that it's been a while since I last posted. Every time I've tried, something has come up. Therefore, here I am now, and I have a lot to catch ya up on.
We have finished blocking the entire first act as of last night, and let me just say...this show is going to rock and/or roll the entire evening. Everyone sounds amazing, and seeing the designs for the set has made this whole experience even more real for me. I'm going to be the second person ever to play the bass Whiffle (he doesn't have a name in the script, but you can call me Brad). As we block and rehearse each scene, everyone is bringing their own little tweaks and perks to the material. We are essentially creating a new(ish) work the minute we step out on the stage, and I wish I could just watch it happen. Happily, though, I am a part of it. :D
A few of my favorite bits about this show (so far)
5. Ryan and Taylor killing it every time they do "I'm Infected"
4. Ari singing "Jukebox Jamboree". He hits it, rubs some funk on it, then hits it again.
3. Singing that awesome doo-wop background to "Girl, Can I Kiss You?" Still my favorite song to sing in the entire show.
2. The Teardrops...period. I honestly think they are going to stop the show several times in the first act alone.
1. Being a Whiffle. That's the simplest way to put it. It's been a long while since I sang some honest-to-goodness 4-part harmonies. This is what I was raised on; what made me want to join St. Matthias Choir (and be the only boy for the longest time); what made my 4 years at DeSmet worth it: being able to sing barbershop/doo-wop/4-part anything. It's my destiny, much like Lenora is Cry-Baby's destiny.
.5. Terrie singing "Screw Loose"/just being Lenora. She's that good.
As I said before, my Whiffle name is Bradley. That's not all though. My prisoner name is Hugh, and my Drape name is Terrence (many thanks to Dupree for the name). More on this to come.
Along with the blocking rehearsals, Robin has been teaching us some killer choreography. I know for a fact that it nearly killed me the first time...'ahem'... Bad joke aside, I haven't danced this hard in the longest time. I would greatly advise everyone to invest in Bayer aspirin til the end of March. Their stock might be rising some. After watching myself in the mirror, and some of the dance videos, I don't know how the hell my body is doing some of the things it's doing, fucked up knees and all. (For those that haven't noticed it before, my natural stance is first/second position. I like to think I'm a little duck-footed). Now all that needs to be done is to practice til the cows come home.
Well, I must get going, so I leave you with my new favorite rockabilly song. Have a great night.
PS: I thought of this earlier last week, but Terrie put this song on her blog earlier, reminding me of it. One of the all-time great doo-wop songs from the 50's. First, what Terrie posted
This is what the Squares would listen to. Perfectly acceptable in its own way. Now the next version, the original version from 1954 by the Chords. I believe this would be the Drape version. Your thoughts?
I realize that it's been a while since I last posted. Every time I've tried, something has come up. Therefore, here I am now, and I have a lot to catch ya up on.
We have finished blocking the entire first act as of last night, and let me just say...this show is going to rock and/or roll the entire evening. Everyone sounds amazing, and seeing the designs for the set has made this whole experience even more real for me. I'm going to be the second person ever to play the bass Whiffle (he doesn't have a name in the script, but you can call me Brad). As we block and rehearse each scene, everyone is bringing their own little tweaks and perks to the material. We are essentially creating a new(ish) work the minute we step out on the stage, and I wish I could just watch it happen. Happily, though, I am a part of it. :D
A few of my favorite bits about this show (so far)
5. Ryan and Taylor killing it every time they do "I'm Infected"
4. Ari singing "Jukebox Jamboree". He hits it, rubs some funk on it, then hits it again.
3. Singing that awesome doo-wop background to "Girl, Can I Kiss You?" Still my favorite song to sing in the entire show.
2. The Teardrops...period. I honestly think they are going to stop the show several times in the first act alone.
1. Being a Whiffle. That's the simplest way to put it. It's been a long while since I sang some honest-to-goodness 4-part harmonies. This is what I was raised on; what made me want to join St. Matthias Choir (and be the only boy for the longest time); what made my 4 years at DeSmet worth it: being able to sing barbershop/doo-wop/4-part anything. It's my destiny, much like Lenora is Cry-Baby's destiny.
.5. Terrie singing "Screw Loose"/just being Lenora. She's that good.
As I said before, my Whiffle name is Bradley. That's not all though. My prisoner name is Hugh, and my Drape name is Terrence (many thanks to Dupree for the name). More on this to come.
Along with the blocking rehearsals, Robin has been teaching us some killer choreography. I know for a fact that it nearly killed me the first time...'ahem'... Bad joke aside, I haven't danced this hard in the longest time. I would greatly advise everyone to invest in Bayer aspirin til the end of March. Their stock might be rising some. After watching myself in the mirror, and some of the dance videos, I don't know how the hell my body is doing some of the things it's doing, fucked up knees and all. (For those that haven't noticed it before, my natural stance is first/second position. I like to think I'm a little duck-footed). Now all that needs to be done is to practice til the cows come home.
Well, I must get going, so I leave you with my new favorite rockabilly song. Have a great night.
PS: I thought of this earlier last week, but Terrie put this song on her blog earlier, reminding me of it. One of the all-time great doo-wop songs from the 50's. First, what Terrie posted
This is what the Squares would listen to. Perfectly acceptable in its own way. Now the next version, the original version from 1954 by the Chords. I believe this would be the Drape version. Your thoughts?
Friday, January 13, 2012
Bum Bum Bum Bum...
We finished learning all of the songs this past Tuesday; therefore, it's time for the read-thru. I have never been more excited for a read-thru than this one. It's amazing how well the cast envelops the story through the music, but I can't wait to see and hear how we handle the actual text of the show.
Update: After having the read-thru last night, I am so friggin' excited for this show now. Everyone sounded great, and I know the minute we start blocking, we are going to be in business.
On the personal side, however, I'm already having some problems, mainly with knowing this music. There is an awful lot of it, which isn't the problem. I'm really just not used to having to sing bass. I mean, I was singing first tenor from 2002 to May 2010. Evita with New Line was the first time I had ever actually sung Bass/Baritone, and that was difficult enough. The good thing there was that Eeyan and Aaron were down there with me, so if I couldn't hear it I just had to search for their voices to get back on track. I still have problems reading bass clef but it's gotten better. I'm just worried I'm going to eff up the Whiffle stuff. From what I've been able to tell, I'm anchoring a majority of the chords, so that adds a little more pressure. The thing is being the only person down on that part. Oh well, just means that I have to practice more on my own. Practice makes Permanent, so I just need to know the music even better than I normally do.
While I've been working on the music, I've been doing a lot of research into the original movie, production, and just the time period we are depicting. I thought I knew a lot about the fifties, but there is so much more that I need to look into. I mean, I can listen to all the oldies and doo-wop I want, but when you start looking at the years some of those songs were coming out, they came out after 1954 (when Cry-Baby takes place). It's almost like I need to ignore all the fifties music I know and love, and try and come at the show from a different angle. The Squares are still in the Big Band mentality, almost. They are the clean cut, probably listening to Glenn Miller, or Count Basie if they are feeling really adventurous. The Whiffles are almost worse, going back to the barbershop quartet music from the turn of the century. Meanwhile the Drapes draw inspiration from the rhythm and blues coming down South. This is the kind of music that would be played underground, in the flop houses and hole-in-the-wall bars found down on Beale Street in Memphis, or at Sam Phillips' Sun Records.
Well, I gotta get going, so thanks for reading, and don't forget your Anti-Polio shot.
Update: After having the read-thru last night, I am so friggin' excited for this show now. Everyone sounded great, and I know the minute we start blocking, we are going to be in business.
On the personal side, however, I'm already having some problems, mainly with knowing this music. There is an awful lot of it, which isn't the problem. I'm really just not used to having to sing bass. I mean, I was singing first tenor from 2002 to May 2010. Evita with New Line was the first time I had ever actually sung Bass/Baritone, and that was difficult enough. The good thing there was that Eeyan and Aaron were down there with me, so if I couldn't hear it I just had to search for their voices to get back on track. I still have problems reading bass clef but it's gotten better. I'm just worried I'm going to eff up the Whiffle stuff. From what I've been able to tell, I'm anchoring a majority of the chords, so that adds a little more pressure. The thing is being the only person down on that part. Oh well, just means that I have to practice more on my own. Practice makes Permanent, so I just need to know the music even better than I normally do.
 | |
| Allison (Elizabeth Stanley) and the Whiffles led by Baldwin Blandish (Christopher J. Hanke) |
Well, I gotta get going, so thanks for reading, and don't forget your Anti-Polio shot.
Thursday, January 5, 2012
Here We Go Again.
First things first. I has been a long time since I last posted here (well over a year). So much has happened in that time. I started grad school, have been working with theatres around town, and just trying to live each day as it comes. Now that we are caught up, I must start the topic at hand...
Cry-Baby the Musical!!!!!
Rehearsals started early this week for New Line Theatre's production of John Water's Cry-Baby the Musical, of which I am happy and proud to be a member of the cast. This is going to be a fantastic experience, primarily due to the fact that we are the first production outside of the Broadway production. No one else has touched this show, so we are going to be bringing a whole new experience to a welcoming audience. Also, I am technically getting college credit for being in the show, so I'm glad to be sharing the wackiness that develops as well as the process of bringing this show to life.
Now, I'm no stranger to the kookiness that is John Waters. I have been a fan of Hairspray and Cry-Baby since I first saw them on television so many years ago, and now being able to do both in less than a year is even cooler. I still think I fit better in the fifties and sixties, hence the reason why my favorite musicals are Grease and Jersey Boys. Those were the years when rock and roll was created, perfected, and at the same time, destroyed. The fact that this entire genesis makes its way through the show gives me reason enough to enjoy this.
First Rehearsal
As I mentioned earlier, rehearsals started this week, and we have a hell of a show in our hands. Though I was sitting further back in the bass section, I was still amazed by the power and pure "raw"-ness coming from everyone involved. This is definitely not an easy score. In comparing it to the other John Waters' musical, Hairspray ranks as a 6.5 while Cry-Baby hits around a low 8 (for scale significance, I put Birdie at a 4.5 and Sunday in the Park with George at an 11).
The score wages kind of a battle between the lovely, though occasionally cheesy tunes of shows like Finian's Rainbow and Bye Bye Birdie to the pure rockabilly drive created by Sam Phillips and his Sun Record Label. Though I get to sing a little bit of everything throughout, I'm proud to be on the cheesy side, being a Whiffle, one of the harmony guys. I mean, this is the style I grew up on: The Four Lads, The Four Aces, The Lettermen. The Whiffles are the Baltimore version of The Plaids in Forever Plaid, and who can say anything bad about the Plaids?...please don't say anything bad about the Plaids, or else I may get pissy.
At the same time, I'm having so much fun singing these rock songs. I really can't wait until we get to I'm Infected and Girl, Can I Kiss You just because they serve kind of a midpoint. They have that four-part background with the more expressive lyrics, making those numbers almost doo-wop, in my opinion. And, really, if doo-wop is involved, I'm going to be singing somewhere.
Sadly, I must now go. So till next time, watch your ass.
Cry-Baby the Musical!!!!!
Rehearsals started early this week for New Line Theatre's production of John Water's Cry-Baby the Musical, of which I am happy and proud to be a member of the cast. This is going to be a fantastic experience, primarily due to the fact that we are the first production outside of the Broadway production. No one else has touched this show, so we are going to be bringing a whole new experience to a welcoming audience. Also, I am technically getting college credit for being in the show, so I'm glad to be sharing the wackiness that develops as well as the process of bringing this show to life.
Now, I'm no stranger to the kookiness that is John Waters. I have been a fan of Hairspray and Cry-Baby since I first saw them on television so many years ago, and now being able to do both in less than a year is even cooler. I still think I fit better in the fifties and sixties, hence the reason why my favorite musicals are Grease and Jersey Boys. Those were the years when rock and roll was created, perfected, and at the same time, destroyed. The fact that this entire genesis makes its way through the show gives me reason enough to enjoy this.
First Rehearsal
As I mentioned earlier, rehearsals started this week, and we have a hell of a show in our hands. Though I was sitting further back in the bass section, I was still amazed by the power and pure "raw"-ness coming from everyone involved. This is definitely not an easy score. In comparing it to the other John Waters' musical, Hairspray ranks as a 6.5 while Cry-Baby hits around a low 8 (for scale significance, I put Birdie at a 4.5 and Sunday in the Park with George at an 11).
The score wages kind of a battle between the lovely, though occasionally cheesy tunes of shows like Finian's Rainbow and Bye Bye Birdie to the pure rockabilly drive created by Sam Phillips and his Sun Record Label. Though I get to sing a little bit of everything throughout, I'm proud to be on the cheesy side, being a Whiffle, one of the harmony guys. I mean, this is the style I grew up on: The Four Lads, The Four Aces, The Lettermen. The Whiffles are the Baltimore version of The Plaids in Forever Plaid, and who can say anything bad about the Plaids?...please don't say anything bad about the Plaids, or else I may get pissy.
At the same time, I'm having so much fun singing these rock songs. I really can't wait until we get to I'm Infected and Girl, Can I Kiss You just because they serve kind of a midpoint. They have that four-part background with the more expressive lyrics, making those numbers almost doo-wop, in my opinion. And, really, if doo-wop is involved, I'm going to be singing somewhere.
Sadly, I must now go. So till next time, watch your ass.
Monday, July 19, 2010
OH, WE'RE HALFWAY THERE...
First, and foremost, I would like to thank the cast and crew of Evita. This has been the most the amazing theatrical experience I have ever had. All of you are so talented, and it has been an honor to appear on stage with all of you.
That being said, I'm not ready for it to end. We've just finished our second weekend of performances, with two more coming up, and I just want it to keep going. I've only had this feeling once or twice, and they were few and far between; namely, Seussical at Nerinx Hall, How to Succeed, and Bat Boy. Those were some of the best shows I've ever been part of, at least when I look back on them, and Evita has already shaped up to become next on the list. Never have I had so much fun on stage, and it just continues when we get off. I love the friends I made and the shows I did at Truman, but at the end of the night, it always just felt like another class. I never really got a good sense of fulfillment from an audience because, though a lot of my friends came to see me, a good majority of our audiences were people seeing shows to get credit for class. They were enthusiastic, but they didn't seem to want to be there. On the other hand, all of the audiences for Evita have been stupendous. I mean, these people want to see a New Line show (and why wouldn't they?). These are the audiences I've always wanted to perform for. Not just parents and friends; not just students; but real patrons of the arts, real theatre people; more importantly, people just like me, who see a good review, and decide to see a show that night. For this I applaud Scott and the rest of New Line. They have found their place in the Saint Louis theatre scene, and they are basking in it.
Scott mentioned this in his most recent entry (check it out: New Line Theatre), but I have been trying to remember one of the first shows I saw. This may sound crazy, but I know I have memories of seeing Peter Pan with Cathy Rigby at the Fox when I was around two. I know I saw most of the first act, when they are in the Darling home, but after that, I think I fell asleep. This has been confirmed by my mother, who knows I didn't make it past the first act. Sometimes I wonder what this says about me. I mean, I have always found myself identifying with Peter Pan, always afraid to grow up, to enter into the "adult" world. But at the same time, I look back on my childhood, and I try to figure out what I was so afraid of. If I hadn't grown up, I never would have had all the wonderful opportunities that I've had. It took maturity to go to that first audition for Crestwood-Kirkwood, and even more to head to Characters & Company after that. It's as if theatre has made me grow up, in a way. With each passing audition, I matured and got rid of my nerves. Hell, Peter Pan is still in my top 5 musicals...
DESERT ISLAND ALL-TIME TOP FIVE MUSICALS
1. Grease
2. Jersey Boys
3. Peter Pan
4. Seussical
5. South Pacific
Anyway, that's enough for tonight. Everyone go see Evita
Vaya Con Dios, mis amigos. Strawtilla
That being said, I'm not ready for it to end. We've just finished our second weekend of performances, with two more coming up, and I just want it to keep going. I've only had this feeling once or twice, and they were few and far between; namely, Seussical at Nerinx Hall, How to Succeed, and Bat Boy. Those were some of the best shows I've ever been part of, at least when I look back on them, and Evita has already shaped up to become next on the list. Never have I had so much fun on stage, and it just continues when we get off. I love the friends I made and the shows I did at Truman, but at the end of the night, it always just felt like another class. I never really got a good sense of fulfillment from an audience because, though a lot of my friends came to see me, a good majority of our audiences were people seeing shows to get credit for class. They were enthusiastic, but they didn't seem to want to be there. On the other hand, all of the audiences for Evita have been stupendous. I mean, these people want to see a New Line show (and why wouldn't they?). These are the audiences I've always wanted to perform for. Not just parents and friends; not just students; but real patrons of the arts, real theatre people; more importantly, people just like me, who see a good review, and decide to see a show that night. For this I applaud Scott and the rest of New Line. They have found their place in the Saint Louis theatre scene, and they are basking in it.
Scott mentioned this in his most recent entry (check it out: New Line Theatre), but I have been trying to remember one of the first shows I saw. This may sound crazy, but I know I have memories of seeing Peter Pan with Cathy Rigby at the Fox when I was around two. I know I saw most of the first act, when they are in the Darling home, but after that, I think I fell asleep. This has been confirmed by my mother, who knows I didn't make it past the first act. Sometimes I wonder what this says about me. I mean, I have always found myself identifying with Peter Pan, always afraid to grow up, to enter into the "adult" world. But at the same time, I look back on my childhood, and I try to figure out what I was so afraid of. If I hadn't grown up, I never would have had all the wonderful opportunities that I've had. It took maturity to go to that first audition for Crestwood-Kirkwood, and even more to head to Characters & Company after that. It's as if theatre has made me grow up, in a way. With each passing audition, I matured and got rid of my nerves. Hell, Peter Pan is still in my top 5 musicals...
DESERT ISLAND ALL-TIME TOP FIVE MUSICALS
1. Grease
2. Jersey Boys
3. Peter Pan
4. Seussical
5. South Pacific
Anyway, that's enough for tonight. Everyone go see Evita
Vaya Con Dios, mis amigos. Strawtilla
Sunday, July 4, 2010
HEY EUGEN(IO)!!!!!
The show opens in two days...HOLY CRAP!!!! This has been one of the best theatrical experiences that I have ever had. Before, I would always look forward to going to rehearsals. But this is the first show that I don't want rehearsals to end each night. I am so drained by the end of each run through, but it is one of the best feelings I've ever had. It's a sense of accomplishment, that I have put forth the best performance I can based on my abilities.
In other news, the cue to cue and sitzprobe this past weekend were a lot of fun. It was a new experience doing the cue to cue, since the only people that had to be there at Truman were the crew for the most part. It was nice being able to see the lights taking shape to form just another layer to this wonderful show. Also, the band is working hard out there. This score is not the easiest thing to play, and they are kicking ass and taking names. This is not your mother's EVITA. This production has an edge to it that just rocks.
This show is also the first time I've really tried to delve into the life of the character that I'm playing. I love the freedom to actually create my character for the show, and not just have to play one that was written originally. This is the freedom that actors dream of.
So, everyone come see Evita. It runs Thursday through Saturday at 8pm, starting July 8, 2010. For more information, see www.newlinetheatre.com/evitapage.html
In other news, the cue to cue and sitzprobe this past weekend were a lot of fun. It was a new experience doing the cue to cue, since the only people that had to be there at Truman were the crew for the most part. It was nice being able to see the lights taking shape to form just another layer to this wonderful show. Also, the band is working hard out there. This score is not the easiest thing to play, and they are kicking ass and taking names. This is not your mother's EVITA. This production has an edge to it that just rocks.
This show is also the first time I've really tried to delve into the life of the character that I'm playing. I love the freedom to actually create my character for the show, and not just have to play one that was written originally. This is the freedom that actors dream of.
So, everyone come see Evita. It runs Thursday through Saturday at 8pm, starting July 8, 2010. For more information, see www.newlinetheatre.com/evitapage.html
Subscribe to:
Posts (Atom)