What is the theatre? It might bring to mind someone looking suspiciously like Derek Jacobi or Lawrence Olivier spewing Shakespeare. In a modern context, plays certainly qualify as theatre. Probably musicals, too. Maybe even opera and ballet. But what about...balloon art? What?!?
Bear with me for a moment. On December 1, 2011, the world encountered Stuff Theatre: a 24-hour Facebook theatre extravaganza featuring everything from muppet Shakespeare to dolphin improv to gospel singing, all coming together to bring your facebook page to life on the stage. Hard to imagine? See the Best of Stuff Theatre video here.
So in light of this remarkable feat of performing arts, it begs a new look at the concept of theatre. I had always drawn a strict line between cinema and theatre, but the definition I am coming to accept is that theatre is any situation in which a performer (in-person or otherwise) does something (perform in any sense) for an audience. Of course, that opens a potentially rotten can of worms. Does that mean a sporting event is theatre? What about a circus? Or a political speaker? Is it something that only takes place in an actual theatre, so to speak? But then what about grassroots companies like ours, many of whom perform out of doors?
In the end, this is probably a semi-rhetorical question. Almost as bad as "what is art?" People will simply have to agree to disagree. But I like to think it encourages us to keep open minds, always. Be adventurous. Be analytical. Be amazed. Enjoy a performance for its own sake and the experience will be rewarding.
Sunday, December 11, 2011
Friday, December 2, 2011
The death scene of the century...Hallelujah!
Twentieth Century, adapted by Ken Ludwig: Synopsis
If you have ever looked up a review of Ken Ludwig's Twentieth Century (adapted from an adaption by Ben Hecht and Charles MacArthur, to give credit where credit is due), I believe you would be concerned. As it so happens, I read several in preparation for experiencing the eagerly-anticipated (by me, at least) Utah State production of the depression-era comedy. And as it so happens, I was slightly concerned. Let me give you a taste of what the critics were saying:
Matthew Murray of "Talkin' Broadway" described it as "one of the most unnecessary and desultory rides of the season" adding that the work had been "twisted, routed, and adapted...into flavorless unrecognizability." (Is 'unrecognizability' a word? Spell check seems to disagree.)
In Steve Palopoli's review of the TheatreWorks production he apparently felt that they "didn't quite pull it off," that while playwright Hecht wrote plenty of masterpieces in his time "this wasn't one of them," and that the plot "grows tedious."
Simon Saltzman, writing for TheatreScene.net, at least gave a nod to the supporting cast, noting that they give a "decided lift to this otherwise labored...production.
Even in the one positive review I read from Hope Baugh at the Indianapolis Civic Theatre, she admits that she "didn't find it hilarious...but...uniquely enjoyable," calling it "amusing," "elegant," and "romantic."
So, having no prior knowledge of this or any other version of the show, I entered the theatre this evening, still eager, but more eager for this production not to fall as flat as all the others apparently have in recent years. Now, two hours later, I sit here wondering if we saw the same play. I thought it was supurb! I laughed pretty much continuously throughout the show, as did the rest of the audience. So, are my tastes unrefined? Am I easily pleased? I never thought so before, I guess I don't think it matters. Tonight's cast did themselves proud.
Of course, my first impression (as it was hard to miss) when I walked into the theatre was that the set was remarkable (kudos to USU's Spencer Potter). It appeared to be the better portion of a train car, complete with platform, and spiral staircases to an upper dining car. My description hardly does it justice, but I was impressed. Little did I know... Scene 2: the whole train car spun around to reveal two interior suites! Needless to say, I am not a designer, but to me it looks super impressive to have a single set piece that large spinning ponderously on its axis. They should have been blaring Wagner in honor of the feat of engineering.
I must also give a nod of appreciation to costume designer Nancy Hill (assisted by Bethany Deal and ATC's very own Rufus ZaejoDaeus!) for her off-beat and often outrageous costumes. Lily Garland's constantly changing wardrobe was delightful...particularly the spectacular prison-striped halter jumpsuit.
As for the actors, I thought the cast was, in general, outstanding. I have to agree with Mr. Saltzman: the supporting cast was terrific. Some credit must surely be given to the playwright(s) for creating such rich characters, but the actors made them memorable. Two of the most notable performances of the evening (for me) came from Gordon Dunn, whose frank portrayal of the wise-cracking 'Owen O'Malley' made him easily the most likable character in the show despite his drinking and womanizing, and Christian Parsons who so skillfully embodied the bible-beating, sticker hurling, possibly dangerous ex-CEO/conman/escaped lunatic 'Matthew Clark' that you were never sure what to believe.
Not that I would want to neglect the rest of the cast: Cameron Parsons (Max Jacobs)'s physical comedy was as capricious as ever; Tim Roghaar (Beard) was predictably versatile as the quirky German actor (and I loved the accent!); Angela Roundy (Ida Webb) channeled Amy Fowler through the efficient, say-it-like-it-is business manager; and Lance Rasmussen (Dr. Grover Lockwood) and Rachel ZaejoDaeus (Anita Highland) were, respectively, at their earnest and flirty bests as a neurotic doctor/aspiring playwright and his pampered, outspoken mistress.
Rounding out (or perhaps topping off) the troupe was Mackenzi van Engelenhoven (Lily Garland), whose performance was an impressive balance of flounce, hysterics, charm, and intelligence; and Jason Craig West (Oscar Jaffe) who, barring a flubbed line or two, was convincingly larger-than-life and takes the award for Best Death Scene I've Seen in a While. I wasn't sure whether to laugh or cry. *wink wink* I was sincerely concerned, actually. The play had been pure comedy up to that point and I was in a certain amount of agony over whether or not the playwright would pull a fast (and devastating) one on us. In the end, I believe it was well-handled.
In keeping up my track-record of ungraceful conclusions, I would like to end with "Most Notable Quotes" for your enjoyment. (Please note that I jotted these down from memory, so if they are misquoted, do let me know.):
TWENTIETH CENTURY QUOTES:
Lily Garland--"Yes, I tried to save you pain. I lied, yes, to save you."
Oscar Jaffe--"That's from Sappho!"
Lily Garland--"Get out."
Lily Garland--"They were all lies!"
George Smith--"There was no midget?"
Lily Garland--"There were two midgets!!"
Oscar Jaffe--"Dear John: I am in the market for 25 camels, several elephants, and an ibis. Give me the rock bottom price."
Oscar Jaffe--"Go on, Owen, tell her I'm dying...and don't overact!"
TWENTIETH CENTURY
By Ben Hecht and Charles MacArthur, based on a play by Charles Bruce Millholland, in a new adaptation by Ken Ludwig. Directed by Leslie Brott. Sets by Spencer Potter; costumes by Nancy Hills; lighting by Mauri Anne Smith; sound by Ben Bielefeld. Presented by the Utah State Theatre Department, Ken Risch, Dept. Head. At the Morgan Theatre on the Utah State University campus.
WITH: Jason Craig West (Oscar Jaffe), Mackenzi Van Engelenhoven (Lily Garland), Robert Burdzy (George Smith), Gordon Dunn (Owen O'Malley), Jacob Marquez (Detective/Ensemble), Cameron Parsons (Max Jacobs), Christian Parsons (Matthew Clark), Lance Rasmussen (Dr. Grover Lockwood), Timothy Roghaar (Beard), Angela Roundy (Ida Webb), Jackson Simmons (Conductor), John Terry (Porter), and Rachel ZaejoDaeus (Anita Highland).
If you have ever looked up a review of Ken Ludwig's Twentieth Century (adapted from an adaption by Ben Hecht and Charles MacArthur, to give credit where credit is due), I believe you would be concerned. As it so happens, I read several in preparation for experiencing the eagerly-anticipated (by me, at least) Utah State production of the depression-era comedy. And as it so happens, I was slightly concerned. Let me give you a taste of what the critics were saying:
Matthew Murray of "Talkin' Broadway" described it as "one of the most unnecessary and desultory rides of the season" adding that the work had been "twisted, routed, and adapted...into flavorless unrecognizability." (Is 'unrecognizability' a word? Spell check seems to disagree.)
In Steve Palopoli's review of the TheatreWorks production he apparently felt that they "didn't quite pull it off," that while playwright Hecht wrote plenty of masterpieces in his time "this wasn't one of them," and that the plot "grows tedious."
Simon Saltzman, writing for TheatreScene.net, at least gave a nod to the supporting cast, noting that they give a "decided lift to this otherwise labored...production.
Even in the one positive review I read from Hope Baugh at the Indianapolis Civic Theatre, she admits that she "didn't find it hilarious...but...uniquely enjoyable," calling it "amusing," "elegant," and "romantic."
So, having no prior knowledge of this or any other version of the show, I entered the theatre this evening, still eager, but more eager for this production not to fall as flat as all the others apparently have in recent years. Now, two hours later, I sit here wondering if we saw the same play. I thought it was supurb! I laughed pretty much continuously throughout the show, as did the rest of the audience. So, are my tastes unrefined? Am I easily pleased? I never thought so before, I guess I don't think it matters. Tonight's cast did themselves proud.
Of course, my first impression (as it was hard to miss) when I walked into the theatre was that the set was remarkable (kudos to USU's Spencer Potter). It appeared to be the better portion of a train car, complete with platform, and spiral staircases to an upper dining car. My description hardly does it justice, but I was impressed. Little did I know... Scene 2: the whole train car spun around to reveal two interior suites! Needless to say, I am not a designer, but to me it looks super impressive to have a single set piece that large spinning ponderously on its axis. They should have been blaring Wagner in honor of the feat of engineering.
I must also give a nod of appreciation to costume designer Nancy Hill (assisted by Bethany Deal and ATC's very own Rufus ZaejoDaeus!) for her off-beat and often outrageous costumes. Lily Garland's constantly changing wardrobe was delightful...particularly the spectacular prison-striped halter jumpsuit.
As for the actors, I thought the cast was, in general, outstanding. I have to agree with Mr. Saltzman: the supporting cast was terrific. Some credit must surely be given to the playwright(s) for creating such rich characters, but the actors made them memorable. Two of the most notable performances of the evening (for me) came from Gordon Dunn, whose frank portrayal of the wise-cracking 'Owen O'Malley' made him easily the most likable character in the show despite his drinking and womanizing, and Christian Parsons who so skillfully embodied the bible-beating, sticker hurling, possibly dangerous ex-CEO/conman/escaped lunatic 'Matthew Clark' that you were never sure what to believe.
Not that I would want to neglect the rest of the cast: Cameron Parsons (Max Jacobs)'s physical comedy was as capricious as ever; Tim Roghaar (Beard) was predictably versatile as the quirky German actor (and I loved the accent!); Angela Roundy (Ida Webb) channeled Amy Fowler through the efficient, say-it-like-it-is business manager; and Lance Rasmussen (Dr. Grover Lockwood) and Rachel ZaejoDaeus (Anita Highland) were, respectively, at their earnest and flirty bests as a neurotic doctor/aspiring playwright and his pampered, outspoken mistress.
Rounding out (or perhaps topping off) the troupe was Mackenzi van Engelenhoven (Lily Garland), whose performance was an impressive balance of flounce, hysterics, charm, and intelligence; and Jason Craig West (Oscar Jaffe) who, barring a flubbed line or two, was convincingly larger-than-life and takes the award for Best Death Scene I've Seen in a While. I wasn't sure whether to laugh or cry. *wink wink* I was sincerely concerned, actually. The play had been pure comedy up to that point and I was in a certain amount of agony over whether or not the playwright would pull a fast (and devastating) one on us. In the end, I believe it was well-handled.
In keeping up my track-record of ungraceful conclusions, I would like to end with "Most Notable Quotes" for your enjoyment. (Please note that I jotted these down from memory, so if they are misquoted, do let me know.):
TWENTIETH CENTURY QUOTES:
Lily Garland--"Yes, I tried to save you pain. I lied, yes, to save you."
Oscar Jaffe--"That's from Sappho!"
Lily Garland--"Get out."
Lily Garland--"They were all lies!"
George Smith--"There was no midget?"
Lily Garland--"There were two midgets!!"
Oscar Jaffe--"Dear John: I am in the market for 25 camels, several elephants, and an ibis. Give me the rock bottom price."
Oscar Jaffe--"Go on, Owen, tell her I'm dying...and don't overact!"
By Ben Hecht and Charles MacArthur, based on a play by Charles Bruce Millholland, in a new adaptation by Ken Ludwig. Directed by Leslie Brott. Sets by Spencer Potter; costumes by Nancy Hills; lighting by Mauri Anne Smith; sound by Ben Bielefeld. Presented by the Utah State Theatre Department, Ken Risch, Dept. Head. At the Morgan Theatre on the Utah State University campus.
WITH: Jason Craig West (Oscar Jaffe), Mackenzi Van Engelenhoven (Lily Garland), Robert Burdzy (George Smith), Gordon Dunn (Owen O'Malley), Jacob Marquez (Detective/Ensemble), Cameron Parsons (Max Jacobs), Christian Parsons (Matthew Clark), Lance Rasmussen (Dr. Grover Lockwood), Timothy Roghaar (Beard), Angela Roundy (Ida Webb), Jackson Simmons (Conductor), John Terry (Porter), and Rachel ZaejoDaeus (Anita Highland).
Thursday, December 1, 2011
What is it about A Christmas Carol?
At first I intended to ask if Dickens's timeless story was becoming obsolete. However after 30-seconds of Google research spurred by semi-idle curiosity, during which I discovered 5 pages of unique links advertising upcoming productions of the play or musical or both (with two exceptions involving Doctor Who), I quickly realized that the answer was probably NO. Nevertheless, I have to wonder what it is about this show that inspires such fanaticism.
Of course, I've read the story (several times) and enjoyed it. It's classic Dickens and I'm a huge fan. But seriously? According to my super-secret wikipedic sources, there are over 30 stage adaptations alone--and despite my automatic skepticism, I am inclined to believe, in this instance, that that is an under-exaggeration. Not only that but it is performed every year without fail, often several times within the same community (mine, for example), by everyone from high school students to professional company actors.
So why aren't we tired of it? And if we are tired of it, why do we still go see it? And if we don't still go see it, why do we still perform it? I think the truth is that our love of A Christmas Carol is one of the worst kept "dirty little secrets," as they say. Sort of like the way we complain about the Wicked craze or the way we don't want to admit we are obsessed with Phantom of the Opera (although, as it happens, I've never seen Wicked and I honestly don't like Phantom, but I digress). We insist that if an overgrown Tiny Tim tries to bless everyone of us one more time we are going to puke or clobber him with his overgrown little crutch or both, but we still go back for more every holiday season like addicts.
I do not want to diminish Dickens's masterpiece, but I believe moderation in most things, stage productions of A Christmas Carol being among them, is healthy. So this year, why not take a look at the other great holiday rep out there? For the traditionalist (although perhaps not quite as traditional as Dickens), there are several interesting adaptations of It's a Wonderful Life, including a couple live radio plays to add a twist to the mix. For the musical enthusiast, check out A Christmas Survival Guide, a holiday revue that pokes fun at the "urban holiday landscape". And for the more adventurous theatre-goer, I've been enjoying George Cameron Grant's collection of one-acts entitled 4 X'mas, a set of four creative pieces that offer a nice balance of grit, moral, and humour. These are fun pieces to read, but let me offer this as a nudge to the production companies out there looking for next year's December material. In the words of Arthur Kipps (I'm still coming down from the Halloween show), "have sympathy with your audience"! Add some lime and coconut to your holiday mixer and give the Christmas Spirits a break.
Of course, I've read the story (several times) and enjoyed it. It's classic Dickens and I'm a huge fan. But seriously? According to my super-secret wikipedic sources, there are over 30 stage adaptations alone--and despite my automatic skepticism, I am inclined to believe, in this instance, that that is an under-exaggeration. Not only that but it is performed every year without fail, often several times within the same community (mine, for example), by everyone from high school students to professional company actors.
So why aren't we tired of it? And if we are tired of it, why do we still go see it? And if we don't still go see it, why do we still perform it? I think the truth is that our love of A Christmas Carol is one of the worst kept "dirty little secrets," as they say. Sort of like the way we complain about the Wicked craze or the way we don't want to admit we are obsessed with Phantom of the Opera (although, as it happens, I've never seen Wicked and I honestly don't like Phantom, but I digress). We insist that if an overgrown Tiny Tim tries to bless everyone of us one more time we are going to puke or clobber him with his overgrown little crutch or both, but we still go back for more every holiday season like addicts.
I do not want to diminish Dickens's masterpiece, but I believe moderation in most things, stage productions of A Christmas Carol being among them, is healthy. So this year, why not take a look at the other great holiday rep out there? For the traditionalist (although perhaps not quite as traditional as Dickens), there are several interesting adaptations of It's a Wonderful Life, including a couple live radio plays to add a twist to the mix. For the musical enthusiast, check out A Christmas Survival Guide, a holiday revue that pokes fun at the "urban holiday landscape". And for the more adventurous theatre-goer, I've been enjoying George Cameron Grant's collection of one-acts entitled 4 X'mas, a set of four creative pieces that offer a nice balance of grit, moral, and humour. These are fun pieces to read, but let me offer this as a nudge to the production companies out there looking for next year's December material. In the words of Arthur Kipps (I'm still coming down from the Halloween show), "have sympathy with your audience"! Add some lime and coconut to your holiday mixer and give the Christmas Spirits a break.
Wednesday, November 16, 2011
2011 Season
In light of the coming holiday, ATC would like to say thank you to its members for being so dedicated to their art and their company. To the casts and crews of Romeo and Juliet and The Woman in Black who made this inaugural performance season, not only possible, but successful. And of course to our wonderful audience members. There is no show without you. Thank you!
Pictures from The Woman in Black are coming soon, so do check back. Also stay tuned for the announcement of our 2012 Season.
Happy Thanksgiving!
Pictures from The Woman in Black are coming soon, so do check back. Also stay tuned for the announcement of our 2012 Season.
Happy Thanksgiving!
Wednesday, September 28, 2011
Friday, September 16, 2011
Auditions!
The Woman in Black
September 28, 2011 from 7-9pm
at the Logan Arthouse
795 North Main Street
September 28, 2011 from 7-9pm
at the Logan Arthouse
795 North Main Street
Roles Available:
Arthur Kipps (m) - Young man. He is an actor.
Actor (m) - Middle-aged man. He is not an actor.
Woman In Black (f) - non-speaking role
Gentlemen, please be prepared to tell a story from your childhood. Keep it under 2 minutes and don't read it.
Ladies, just come prepared to tell us why you want to be involved in the production.
Please arrive at 7 pm to fill out paper work and plan to stay for the full two hours. The first hour will be individual slots and the second will be ensemble work.
Rehearsals will begin the following week in the evenings.
Show dates are October 27th - 29th and tech is October 24th - 26th in the evenings. These dates are mandatory.
Rehearsals will begin the following week in the evenings.
Show dates are October 27th - 29th and tech is October 24th - 26th in the evenings. These dates are mandatory.
Questions? email achtungtheatre@gmail.com
Wednesday, August 31, 2011
Press Release
STAND TO ACHTUNG!
LOGAN, UT (31 August 2011)—Look out Cache Valley. There’s a new kid on the block and he’s grabbing center stage. Achtung! Theatre Company (ATC) is a grassroots company committed to bringing a full range of theatre to the community through workshops and productions. Their aim is to explore the full range of theatre genres, techniques, and styles, encouraging those involved to hone their talents, push their creative limits, and grow in new disciplines in a professional atmosphere.
ATC made its official debut on 11 August at a community Theatre Night held at the Logan Arthouse and Cinema on Main Street. The company will be holding such events on a bi-monthly basis, featuring scenes, monologues, music, one-acts, guest lecturers, and inevitable audience participation.
In September they will premiere their first full-length production with Shakespeare’s Romeo and Juliet (Old School), described by company members as “classical with a twist”, referring to the seldom-seen all-male cast. The company hopes to give the community a taste of what they are all about and, according to director/producer Susan Ballif, this production should do just that. “We’re taking a modern approach,” says Ballif. Not via sets or costumes, or the popular methods of altered time and story, but by the very lack thereof. “In the end,” Ballif continues, “you don’t need elaborate sets and you don’t need props. People can imagine. But you have to have the actors. So, we have what is essential and we build around the essentials. That’s what our company does.”
In that case, the show should be a good representation of a company committed to a focus on acting. While they strive to provide a venue for the community to participate and explore the world of theatre, they avoid getting bogged down in the pomp and circumstance that so often accompanies traditional ‘community theatre’ productions. ATC is a grassroots theatre company, first and foremost. “We are a company that focuses on quality acting,” insists ATC producer Rufus ZaejoDaeus. “We are trying something new that will stretch people, not just stretch the community, but stretch our actors.” Grassroots theatre is an ideal vehicle for such an endeavor. It has an aesthetic of its own—a unique kind of beauty that cannot be easily compared to any other theatre type. As any theatre lover can attest, on stage, magic can happen between audience and actor that transcends ostentation. “That’s what we’re going for,” acknowledges ZaejoDaeus, “the magic.”
Nevertheless, community participation is encouraged and appreciated and there are plenty of ways to get involved. All auditions are open, so performers and production volunteers are always welcome. ATC is also on the lookout for interested sponsors, underwriters, or donors. “But most importantly,” says ZaejoDaeus, “just show up. If you’re curious, show up. If you want to help out, show up.” ATC hopes to give their audience a comprehensive awareness of the theatre world and that includes exposure behind the curtain on a production level. “No one should let a fear of the stage keep them from getting involved if they are passionate about theatre,” Ballif maintains. “And if we can help someone find a niche that makes them happy we will be satisfied.”
ATC is about engaging with their community. Among themselves they discovered people passionate about theatre and determined to make it a part of their lives, and now they are doggedly spreading that enthusiasm. They want to excite young theatre students by showing them where they can go and what they can do with their art beyond middle school and high school. They want to excite community members to open themselves to things they have never experienced and find the honesty of creative expression that could change their lives. In holding true to this endeavor, ATC will make high school students their special target, holding workshops for young actors and designers and doing outreach in the local schools. The opening performance of Romeo and Juliet (10 September) will feature special discount pricing for students with ID as well as a talk-back Q&A session after the show.
THE CREATIVE TEAM
The newly-formed Achtung! Theatre Company is led by an energetic group of emerging Logan-based theatre and performance artists who work collectively to create quality classic and original productions. ATC is helmed by producers Susan Ballif, Autumn ZaejoDaeus and Rufus ZaejoDaeus along with a rotating lineup of collaborators and creators. Other current ATC performers include Maren Comendant, Michael David, Adam Earl, and Shawn Hansen.
# # #
For more information about Achtung! Theatre Company auditions, productions, or Theatre Nights, please visit achtungtheatre.blogspot.com.
To purchase tickets online visit www.loganarthouse.com.
For any other questions or concerns, please contact achtungtheatre@gmail.com.
~~~~ Maren Comendant
Sunday, August 28, 2011
Membership Auditions
Open Call
Achtung! Theatre Company Membership Auditions
September 17th, 5-6 PM
Logan Arthouse & Cinema, 795 N. Main St.
Open to the public. Bring one monologue 60 seconds or less and a resume of your experience with theatre, film, television, design, etc.
No prior experience is necessary. We believe everyone has something valuable to contribute. This company is for the most passionate and dedicated people who seek to improve themselves as part of a hard-working team.
Those who have participated in a stage production understand that theatre by nature is an organic, rigorous, soul-stretching craft. Sacrifice is a given prerequisite. This process will chew you up and spit you back out, but if you commit to your team, the end result becomes one of the most rewarding experiences this life has to offer: connecting to a live audience, fellow actors, and the moment.
Thursday, August 25, 2011
Radio Interview: Crosstalk with Jennie Christensen interviewing the producers of ATC
We had our first radio interview ever this morning with a wonderful host, Jennie Christensen, introducing Achtung! Theatre Community to the local community. For those who may have missed it or were out of range here's the link to the podcast http://podcast.cachevalleydaily.com/CT-08-25-2011.mp3
Tuesday, August 23, 2011
Who's Who
Here are the rest of the Romeo and Juliet [Old School] band of merry men. The rehearsals have been a blast! These actors are bringing their all.
Juliet/Gregory --- Conner Blankman
Nurse/ C. Watch --- Casey Allen
Friar Laurence/Tybalt --- Ryan Pence
Prince/Chorus --- Max Allen
Apothecary/ Chorus --- E. Cooper Jr.
Conner Blankman is, first of all, a man. Second, that was funny. Third, and most lengthy, he loves acting and theater and everything about it. He would do pretty much anything to be up on stage giving the performance of a lifetime. This is his first lead, also his first female, and he is absolutely thrilled to be part of this show. Thanks to all who've come out to the show and have a great night!
Casey T. Allen is a native of Cache Valley and graduated from Utah State University in 2007 with a Bachelor's degree in English with an emphasis in Professional & Technical Writing. He currently works as the Registrar/Webmaster for the Nora Eccles Harrison Museum of Art on USU campus in Logan, Utah. In past productions, Casey has performed locally with the Cache Regional Theater Company, Pickleville Playhouse, Utah State Theater, the Old Lyric Repertory Company, and the Walt Disney World Resort in Orlando Florida.
Ryan Pence is a freelance videographer, editor, producer, and director, as well as a writer and actor. He graduated from Utah State University with a BA in Theatre Arts, and a Minor in Broadcast Journalism. When he's not freelancing he's a contract employee for several local production companies. Ryan is also a budding game designer. He has so far designed two card games and is working on getting them published. He has enjoyed a long-time involvement in theatre, acting in productions of ‘Macbeth’ and 'Cabaret', and directing a number of productions including ‘Bug’, ‘Metamorphoses’, and ‘All My Sons’. He has also filmed and directed several national television commercials. He is looking forward to participating in this unique production.
Max Allen is a graduate of Sky View High School and is currently studying philosophy at Utah State University. When not studying, Max works at Weststate Theaters and plays
lacrosse for Utah State. He is very excited to make his stage debut in Achtung! Theatre Company’s Romeo and Juliet.
Cooper is a Utah State Alumnus who finds joy through perfoming. Whether it be on the stage performing a play or performing with his band Red Scare, there is no greater joy to him. Okay, maybe Cheesecake. Cooper is so excited to be joining the cast of Romeo and Juliet and looks forward to a chance to spread his wings on the stage in many different productions.
Juliet/Gregory --- Conner Blankman
Nurse/ C. Watch --- Casey Allen
Friar Laurence/Tybalt --- Ryan Pence
Prince/Chorus --- Max Allen
Apothecary/ Chorus --- E. Cooper Jr.
Conner Blankman is, first of all, a man. Second, that was funny. Third, and most lengthy, he loves acting and theater and everything about it. He would do pretty much anything to be up on stage giving the performance of a lifetime. This is his first lead, also his first female, and he is absolutely thrilled to be part of this show. Thanks to all who've come out to the show and have a great night! 
Casey T. Allen is a native of Cache Valley and graduated from Utah State University in 2007 with a Bachelor's degree in English with an emphasis in Professional & Technical Writing. He currently works as the Registrar/Webmaster for the Nora Eccles Harrison Museum of Art on USU campus in Logan, Utah. In past productions, Casey has performed locally with the Cache Regional Theater Company, Pickleville Playhouse, Utah State Theater, the Old Lyric Repertory Company, and the Walt Disney World Resort in Orlando Florida.
Ryan Pence is a freelance videographer, editor, producer, and director, as well as a writer and actor. He graduated from Utah State University with a BA in Theatre Arts, and a Minor in Broadcast Journalism. When he's not freelancing he's a contract employee for several local production companies. Ryan is also a budding game designer. He has so far designed two card games and is working on getting them published. He has enjoyed a long-time involvement in theatre, acting in productions of ‘Macbeth’ and 'Cabaret', and directing a number of productions including ‘Bug’, ‘Metamorphoses’, and ‘All My Sons’. He has also filmed and directed several national television commercials. He is looking forward to participating in this unique production.
Max Allen is a graduate of Sky View High School and is currently studying philosophy at Utah State University. When not studying, Max works at Weststate Theaters and playslacrosse for Utah State. He is very excited to make his stage debut in Achtung! Theatre Company’s Romeo and Juliet.
Cooper is a Utah State Alumnus who finds joy through perfoming. Whether it be on the stage performing a play or performing with his band Red Scare, there is no greater joy to him. Okay, maybe Cheesecake. Cooper is so excited to be joining the cast of Romeo and Juliet and looks forward to a chance to spread his wings on the stage in many different productions.
Wednesday, August 17, 2011
Who's Who
Less than one month until R&J opens! Everyone is working hard and bring their A game. It's time to acknowledge the players, well the first 5. More to come, more to come, stay tuned. Thanks gentleman for all the hard work.
Jared Rounds -- Romeo/Abraham
Ryan Pfister -- Mercutio/Paris/Samson
Shawn Hansen -- Lady Capulet
Rufus ZaejoDaeus -- Benvolio/ Balthasar
Michael David -- Montague/Peter/Friar John
Jared Rounds -- Romeo/Abraham
Ryan Pfister -- Mercutio/Paris/Samson
Shawn Hansen -- Lady Capulet
Rufus ZaejoDaeus -- Benvolio/ Balthasar
Michael David -- Montague/Peter/Friar John
Jared Rounds is thrilled to be playing such an iconic role. There is nothing that he enjoys more in this world than the theatre...super geek, right?!? Past roles include "Geoffrey" in The Lion in Winter, "Tom Wingfield" in The Glass Menagerie, "The Baker" in Into the Woods, "Cardinal Richelieu" in The Three Musketeers and a few others, as well as working this past summer with the Old Lyric Repertory Company and Utah Festival Opera and Musical Theatre. Thank you to Susan, Autumn and Rufus for making a dream become a reality!
Ryan Pfister is a Software developer by day and an Actor Extraordinaire by night. Ryan graduated from USU with a bachelor’s degree in Management Information Systems. After graduating he lived in Chicago for two and a half years, where he enjoyed all the culture the city had to offer. He is humbled by working with such great talent in this Romeo and Juliet production.
Shawn Hansen is placed on this earth for one purpose and that is to make people laugh and theater is one of the vehicles that he employs in order to fulfill said purpose. He is always ready with a wise crack, practical joke, or a hilarious observation, which, as you can imagine drives everyone around him crazy. Shawn loves to find himself in comically awkward situations, to push limits and buttons, and discover new worlds in theater.
Rufus ZaeJoDaeus considers himself blessed to be part of Achtung! Theatre Company and member of this cast of amazing, talented, dedicated actors. He thanks his acting coach and best friend, Autumn. His interests include spelunking, mythology, and granny smith apples. Don't ever offer him mayonnaise if you can help it.
Michael David is a research geophysicist at Utah State University by day, and a pianist, dancer, and theater actor by night; also active in comedy improv with the USU Improv Club. Naturally, this fractionated life requires him to be just a little bit crazy. A relative newcomer to the world of theater, he makes up for his lack of experience with enthusiasm, fierce drive, shark-like ambition, and occasionally a bit of luck as well.
Friday, August 12, 2011
"Romeo & Juliet (Old School)" Concept
"Romeo & Juliet (Old School)" is Shakespeare's classic done in Shakespeare's way:
with an all male cast.
For most of theatre's long history, females were forbidden to perform on stage. When females started to appear on the stage, they were typically regarded as loose degenerates or prostitutes. This was also during the day when actors were not buried on church grounds due to the idea that acting was considered a form of deception. During Shakespeare's day younger men played women's roles, including Juliet. This convention was widely accepted during that time, so no one thought twice about it. Somehow these boys pulled off the act well enough for the audience to cherish the play itself, otherwise we probably never would have heard about dear ol' Shakespeare in the first place.
Today, the conventions have changed, but the objective remains the same, actors of every gender, ethnicity, and background come together on stage to immerse the audience in a story. Such is our objective, yet nowadays the ancient convention of an all-male cast strikes us as comical. We are playing up the humor already present in Shakespeare's text, but it certainly won't be a parody. Immersion is our goal, not controversy, not political stance, just art for art's sake.
This concept also provides a unique opportunity for our actors to experience this ancient convention and make it work for our contemporary audience. Learning how to pull off a convincing woman is no small task, and for some it may be more apparent than in others (hence the comedy), but the research is the same, the rehearsal discipline is the same, and the magic of a live performance will still capture the hearts of those who pay attention.
Wednesday, August 10, 2011
Theatre Nights
As we come up on our first Theatre Night at the Logan Arthouse & Cinema, we company members get feeling giddy, anxious, and eager to get our show on the road. We at Achtung! Theatre Company have worked hard to get this debut to its feet. So first off, let me explain what is about to be unleashed upon the community:
Theatre Nights are a bi-monthy forum of monologues, short scenes, one acts, and exercises performed before a live audience. These nights are not only meant to entertain but also to enlighten our audiences in the vast world of theatre, including what goes on behind the scenes. This means we'll also have guest presentations that shed more light on the magic behind the curtain, such as playwriting, design, directing, and the like.
These Theatre Nights run about an hour and a half long with a ten minute intermission in between. This little break allows our patrons to take care of business and restock on their concessions, it also offers a discrete exit for those who prefer not to stay for any "edgier" material reserved for the second half. Now we at ATC don't seek to merely shock or offend, rather we select material that stretches one's perspective through honest performance. While we respect the opinions of our audience, we invite all to experience what is offered after intermission.
Admission is $5 a person. This helps us to pay for the royalties of future shows and fulfill our company's mission statement.
Besides the benefit the community can receive through a live performance, our company members reap the rewards of a consistent chance to perfect their skills and grow in their craft. We encourage you to show them your support by attending our performances.
Well, there you have it, come and see what Achtung! Theatre is all about!
Theatre Nights are a bi-monthy forum of monologues, short scenes, one acts, and exercises performed before a live audience. These nights are not only meant to entertain but also to enlighten our audiences in the vast world of theatre, including what goes on behind the scenes. This means we'll also have guest presentations that shed more light on the magic behind the curtain, such as playwriting, design, directing, and the like.
These Theatre Nights run about an hour and a half long with a ten minute intermission in between. This little break allows our patrons to take care of business and restock on their concessions, it also offers a discrete exit for those who prefer not to stay for any "edgier" material reserved for the second half. Now we at ATC don't seek to merely shock or offend, rather we select material that stretches one's perspective through honest performance. While we respect the opinions of our audience, we invite all to experience what is offered after intermission.
Admission is $5 a person. This helps us to pay for the royalties of future shows and fulfill our company's mission statement.
Besides the benefit the community can receive through a live performance, our company members reap the rewards of a consistent chance to perfect their skills and grow in their craft. We encourage you to show them your support by attending our performances.
Well, there you have it, come and see what Achtung! Theatre is all about!
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