Breaking the 4th Wall

 

red stage curtains

The theater world is full of intricate terms and techniques. These ultimately help actors to perform their roles to the best of their abilities. One term used commonly among thespians is “breaking the 4th wall.” Let’s take a look at what this means, and how these terms help to keep actors focused and in tune with their character.

First, let’s get a visual of the fourth wall in our heads: picture yourself on stage, with the back curtain behind you and the two wings on each side of you. Think of these as your ‘walls.’ The fourth wall would be the invisible wall that connects you to the audience.

acting on stage

We use the term ‘breaking’ the fourth wall when we’re talking about interacting with the audience. Actors almost never want to break the fourth wall unless it’s a clearly defined moment in the script. If you break the fourth wall, this would mean you slipped up, and accidentally came out of character. Don’t worry, there are techniques you can practice to avoid this!

kid actors

Actors avoid breaking the fourth wall by always keeping a center of attention. Some actors will fixate their attention either on the back wall of the theatre auditorium, or on another specific location. Focusing their attention, and acting like they are delivering their role directly to that specific spot helps tremendously.

lights can be distracting

Many things can be distracting as an actor: lights, camera flashes (even though photography is usually prohibited, there are always those few guests) motion, people standing, and loud noises. Not breaking the fourth wall can be a challenge when acting in front of a large crowd, but that’s why actors work so hard on passion, delivery, and attention.

standing ovation

Many of the audience members are really enveloped in the show, and want to be involved with the characters as much as possible throughout their viewing experience. Some guests will try to get the attention of the actors while on stage, wave their hands, or even call out characters’ names (as very unadvised in previous blog, A Guide to Theatre Etiquette). Actors try their best to stay on script, and keep things running as smoothly as possible despite these distractions.

If you’re an actor, there are many things you can do to help practice avoiding breaking the fourth wall. Avoid audience eye contact, and focus on your next move. When rehearsing, and during dress rehearsal even more so, pick your focus point in the auditorium and have it already decided before the show.

Backdrops by Charles H. Stewart has been your leading edge scenic design and backdrop rental company for over 100 years. Planning your next production? Reach out to us today for questions and more information: https://charleshstewart.com/

Musicals Making Their Way to the Big Screen

Les Mis Poster

Musicals are one of the oldest, most loved, and renowned forms of theatre in existence. Characterized by singsong dialogue and a show tune structure throughout the production, musicals have greatly made their mark on the social sphere of entertainment.

pitch perfect cast

The genre exploded in the 1930s when the Great Depression was weighing heavily upon the U.S. Most musicals highlighted the lives of the upper echelons of society, and weren’t as realistic as they could have been. Times have changed, and of course, musical theatre greatly reflected this. Now, by just looking at theatre, we can see how we’ve progressed through history. Musical theatre has been recognized as something we truly love for entertainment.

Into the Woods

Today, we see movies and television shows that have flourished from the rudiments of musical theatre. Musical to film adaptations are very common today. At first glance, we may not realize how much we really enjoy the musical elements in our entertainment.

Movies like Pitch Perfect, Into the Woods, Hairspray, La La Land, Les Miserables, and shows like Glee were all once musicals that were adapted to the big screen. They represent our love for the melodic tunes and show tune structure.

Glee cast

Musical to film adaptations are undoubtedly a great way to extend a timeless or older story into something relatable in present day. Adaptations are taking a classic storyline, revamping, extending characters, changing up the plot, and putting out a new piece of art. The director has much to work with. The principal characters and everything about the musical generally remain, but there is definitely room to be creative with the visuals and all other movie elements.

But why has musical theatre made its way to the big screen? What caused this change? The answer lies within the true elements of musical theatre that have stuck with us. Show tune structure, repetition and reprisal of songs, as well as the sung dialogue are all elements we still see in movies today.

Hairspray

Musicals create a cohesive feel and bring you in more than a movie does. They include tons of human elements, moments of recognition, missions, realizations, and problem solving. This paired with music and very little spoken dialogue is what we want to see. The catchy tunes get stuck in our head, and the stories take us on a ride. We invest, we get enveloped, and it works. Now in 2018, it’s safe to say that musical theatre is here to stay.

Backdrops by Charles H. Stewart has been your leading-edge scenic design and backdrop and rental company for over 100 years. If you’re hosting a production soon, check out our catalog for all of our offerings. We can answer all of your questions about your design needs for your next production. Reach out to us at (978) 682-5757 today! We want to hear from you.

A Guide to Theatre Etiquette

 

Theater audience

Going to see a theatre production is a favorite of many. If you’re an avid theatre goer, or a thespian yourself, this blog will explore obvious commonalities for you. Unfortunately, some people don’t understand theatre etiquette easily, but this is understandable as the environment is particular and unique. When you go to one production, it’s hard to pick up the etiquette on your first time. If you love theatre, but don’t know how to assimilate with the crowd, check out the list we’ve compiled of the basics.

 

interacting with crowd

Dress well. You don’t have to go overboard, but you should definitely feel confident. Look nice and feel nice. If you’re wearing a hat, take it off as soon as you enter the house. Avoid distracting clothing, and heavy perfume or cologne. Theaters are designed beautifully and regally, so dress like you belong there.A

Sit quietly. No fidgeting, eating snacks, falling asleep, snoring, or leaning your head. If you’re bored or uninterested, you probably shouldn’t be there.

Don’t create distractions. Distractions include singing along, getting out of your seat other than at intermission, and letting a cell phone buzz or ring.

Respect the space of others. Sit respectfully and keep to yourself. Don’t take your shoes off or get comfortable like you’re in a movie theatre. Though you are enjoying yourself too, remember that you are in a professional space supporting a cause.

Be appreciative. This includes clapping only when appropriate, and giving a standing ovation at the end of the production. Only clap or interact with actors when they ‘break the fourth wall’ or, in other words, interact with you.

Actors on stage

Actors and theatre goers will think everything on this list is absolutely unnecessary. If you’re going to a production and want to brief a friend, send them to this blog! If you know someone who doesn’t understand theatre etiquette and needs to see this list in writing, share our blog so your followers can read through. Theatre etiquette isn’t strict without a reason – it creates an environment in which actors can thrive and perform their best. If you don’t agree with theatre etiquette, maybe Broadway is not the place for you, and that’s okay! But when attending a show, you must abide by theatre culture and respect your environment.  

Backdrops by Charles H. Stewart has been your leading-edge scenic design and backdrop rental company for over 100 years. We can help you find the perfect backdrops and accessories for any production. Reach out to us for questions at (978) 682-5757.

What Should I Bring to Rehearsal?

What do you bring to rehearsal?  Well, be prepared.  You don’t want to forget something you know you need or even something that might be nice to have…

So, before you head out, make sure your bag is packed with all of the essentials that you will definitely need.  If you bring the “definites”, then you should be ready.

  1. Script

Obvious, right?  Guess what?  Sometimes you forget the most obvious things.  It happens to everyone.  Not a bad idea to check for the script before you leave the house.

  1. Notebook

Don’t forget a pencil and/or highlighter too.  It’s a good idea to write down notes from the director, any schedule changes, steps for choreography, and even your own lines (they say you remember what you write more than what you read).  Blocking will inevitably change.  Your lines might change.  A highlighter will help with this too.

  1. Flashlight

You’re sitting there.  Waiting.  Wishing you could rehearse your lines or check out your notes because you remembered your script and a notebook.  But it’s so dark and you forgot your bleeping flashlight!

  1. Sweater

Theaters and rehearsal studios are known to be chilly.  Just sayin’.

  1. Recorder

Now I mentioned earlier that people usually remember more what they write than what they read.  Hearing is the same thing.  During some down time, record your cue lines so that you can respond to the correct characters.  Recording your own lines as you would perform them can also help with dialect, accents, intonation, etc

  1. Water bottle

Duh!  Very important to hydrate especially if you’re involved in very intense dance routines, fight scenes, etc.  Plus, water fountains are gross, and no one wants to share with you!

  1. Snack

Who knows how long you’ll be?  Rehearsal could go through lunch or dinner.  Bring something with protein and healthy fats to help keep you energized.  Because like water, no one wants to share with you.  You don’t want anything sugary either where you’ll crash in the middle of rehearsal.  Nuts, food bars, and fruit salads are good choice for snacks.

  1. Towel

No one wants to perform or rehearse through a puddle of sweat on stage.  No one wants to give you a sweaty hug or high five.  Your cast mates will appreciate that you brought a towel.

  1. Shoes

The shoes make the man…or woman…or character.  Don’t start rehearsing in say high heel shoes or work boots even if your character calls for them.  Start out in flats or tennis shoes or any other stage shoe so that you get comfortable with the routines and staging.  Once you get into the rehearsals and the costume department provides you with your character shoes or recommends what you should wear for your character should you start rehearsing in them.  Once you have this info, then you can bring them to rehearsal and start “becoming” you character.

  1. Rehearsal Outfit “Blacks”

There’s no need to stand out at rehearsal.  Save it for your character and performance.  Bring rehearsal blacks or darker colors that are easy to move in.  Jeans and dresses are not recommended unless the director has specifically instructed you to do so.

Thrill of Victory, Agony of Defeat Part II

With the Stanley Cup and NBA Finals all wrapped up, here are some more sports themed stage productions.

 

Rocky (Boxing)

Rocky the Musical (originally Rocky: Das Musical) is a 2012 musical with music and lyrics by Stephen Flaherty and Lynn Ahrens, with a book by Thomas Meehan, adapted from a screenplay by Sylvester Stallone. The show held its world premiere in Hamburg in 2012 and opened on Broadway on March 4, 2014 at the Winter Garden Theatre and closed on August 17, 2014 after 28 previews and 188 performances. The show roughly follows the plot of the 1976 film Rocky.  The show featured 20 original songs, with additional music taken from the original film series including “Eye of the Tiger” and “Gonna Fly Now”.

The show’s set, which for Broadway cost $4.3 million, is set around a mostly bare stage which represents the Gym that Rocky trains in. The production uses sliding box like sets to represent the homes of the characters and the sliding element goes onto include a full sized regulation boxing ring.  Audience members seated within the front stalls Golden Circle seating section, are escorted onto the stage for the final 20 minutes to sit on bleacher style seats, in doing so this allows the boxing ring to enter the auditorium and sit in rows A-F, bringing the audience close to the final fight scene.  The production did win a Tony Award for Set Design.

 

Lombardi (Football)

Lombardi is a play by Eric Simonson, based on the book When Pride Still Mattered: A Life of Vince Lombardi by Pulitzer Prize-winning author David Maraniss.  I’ve read the book.  Unbelievable life.

The play follows Green Bay Packers coach Vince Lombardi through a week in the 1965 NFL season as he attempts to lead his team to the championship. (The Packers won the NFL championship that year, which would be the last season before the introduction of the Super Bowl.) A “Look Magazine” reporter, Michael McCormick, wants to “find out what makes Lombardi win”. However, players on the team refuse to be interviewed, wary of giving up information. He goes instead to Lombardi’s wife, Marie, for answers. Meanwhile, in a flashback, Lombardi frets over his lack of promotion and contemplates quitting football. His wife reveals that the family had an emotional move to Green Bay, Wisconsin when Lombardi joined the Packers.

Lombardi ends up yelling at Michael in front of the team, prompting both to storm off. Linebacker and place kicker Dave Robinson comforts Michael at a local bar, sharing stories about his initial impressions of the coach, the “honor of being barked at” by Lombardi, and the equality established on the team. After more positive insight from running back, option quarterback and kicker Paul Hornung and fullback Jim Taylor, Michael decides to attend the next game. As he narrates what happened at the game, the Packers win.

After he writes his news story, Michael reveals to Lombardi that he is quitting “Look Magazine” to form his own publishing company. Lombardi congratulates him on his move to independence and celebrates the win with Michael and Marie. Michael realizes that Lombardi is “the most imperfect, perfect man” he ever met.

Lombardi officially premiered on Broadway at the Circle in the Square Theatre on October 21, 2010, after previews beginning on September 23. The creative team includes direction by Thomas Kail, sets by David Korins, costumes by Paul Tazewell, and lighting by Howell Binkley. This production is being produced by Tony Ponturo and Fran Kirmser. Lombardi closed on May 22, 2011, after 30 previews and 244 performances.

Due to the Packers winning Super Bowl XLV in 2011, their fourth Super Bowl but their second since Lombardi was head coach, the show’s producers were “hoping for a halo effect at the box office.”  Patrick Healy wrote in The New York Times: “The Packers’ victory on Sunday lent “Lombardi” plenty of visibility before and after the Fox broadcast of the game. One FOX commentator, Oakland/Los Angeles Raiders Hall of Fame defensive end Howie Long, who had seen the play, talked up the play before kickoff and during the postgame show he said, ‘I think Lombardi the play just got an extension on Broadway.’ ” Healy also wrote that the show had not recouped its $3 million investment, and while producer Tony Ponturo said that the show was scheduled to run until June 19, 2011, it ended its run early. Producers would not comment on whether or not the play had earned back its production budget.

The original Broadway cast included Dan Lauria as Vince Lombardi, Judith Light as Marie Lombardi, Keith Nobbs as Michael McCormick, Bill Dawes as Paul Hornung, Robert Christopher Riley as Dave Robinson, and Chris Sullivan as Jim Taylor. Light was nominated for a 2011 Tony Award for Best Performance by a Featured Actress in a Play for her performance in Lombardi.

 

 

The Changing Room (Rugby)

The Changing Room is a 1971 play by David Storey, set in a men’s changing room before, during and after a rugby league football game. It premiered at the Royal Court Theatre on 9 November 1971, directed by Lindsay Anderson. The 1973 Broadway production, directed by Michael Rudman, won several awards including the New York Drama Critics’ Circle award for Best Play and the Tony Award for Best Featured Actor for John Lithgow.  After three previews, the Broadway production, directed by Michael Rudman, opened on 6 March 1973 at the Morosco Theatre, where it ran for 192 performances.

At the play’s core is a semi-pro Northern England rugby league team. During the week, its members are peaceable men toiling away at mindless, working class jobs. On Saturday, they prepare for gory combat on the playing field. The changing room is where they perform their pre-game initiation rites, strip down, loosen muscles, and get into their uniforms. After the match they return, often broken, muddy, and bloody, regretting their loss or giddy with victory in the communal shower. There is little in the way of plot, but Storey engages his audience with his ability to dissect his characters’ hurts, hopes, desires, and fighting instincts.

Choosing Your Next Production

Cast on Stage

If you have a theater group and you’re constantly putting on productions, read on for inspiration in choosing your next production. We’ve put together a guide to choosing your next production for your theater community. Here are a few things we think are important to think about when brainstorming your possibilities:

Anastasia

Deciding on the Type of Production
Do you want to do a musical? Do you want to do a situational comedy or a dramatic play? Do you want to perform a greek tragedy? A historical play or a romantic play? There are many subsets of plays and types of productions. When you narrow down your goal, you can then choose a script.

Thinking of your Actors
Deciding on a play depends on your strengths and weaknesses as a theater community. Sometimes the tell-tale signs of your next production can be evident through your actors’ strong suits. Make sure you have the right type of actors available to be matched with the right roles.

Spider-Man

Accessing a Script
Be sure you have access to ordering scripts for your community. Are there enough scripts available for the production of your choice? Be sure that you’re choosing from plays that are accessible, and that you have the rights to get ahold of the script.

Look to your Inventory
Looking at the props you already have and the props you need to buy can help you decide on your next production. If you have a smaller budget, and it’s always helpful for theater communities to spend as little as possible, you can look at what you already own. You may not need to buy much if you have a good selection and you use a little creativity.

Tarzan

Time and Duration
Think about how much time each production will take to rehearse and choreograph. You need to think about time from the beginning of your first rehearsal to your last dress rehearsal. Be sure that the plays you’re considering all fall within your time frame for preparation.  

Set Hands and Available Crew
Some productions take more help behind the scenes and backstage. Other productions require less stage help and more actors on stage. Every production is different, so being sure you have enough set hands and available help is something you’ll definitely want to think through before choosing a play.

Backdrops by Charles H. Stewart can provide you with the best quality backdrops for your productions. Visit our website to check out our inventory, and reach out to our staff with any questions.

Ethos, Logos, and Pathos

Ethos Pathos Logos Chart

Aristotle coined the terms ethos, logos, and pathos as modes of persuasion. These are used in theatre, in literature, and tons of other places. When actors are learning acting styles and methods, they learn about the three modes of persuasion to better their skills and create a more authentic production. Read on to learn more about the three modes of persuasion.

Ethos is the ethical appeal, and it means to convince an audience of the author’s credibility or character. An actor would use ethos to prove to his audience that he’s credible and worth listening to. An actor appealing to ethos would use the same language as their character, and try to dress exactly like them.

Actor in Wig with Glasses and bandana

Logos is the appeal to logic, meaning to convince the audience by using logic or reason. An actor may cite facts or statistics. An actor may appeal to logos by presenting logical or well rounded points, may cite important information, or may refer to historical analogies for explanations and proof.

Pathos is the emotional appeal, meaning to convince an audience through appealing on emotional levels. Actors may evoke sympathy to try make the audience feel how the author intended for them to feel. They aim to get a certain emotion out of their actions when appealing to pathos. Pathos can be expressed by actors through language, emotional tones, or emotional events or implications.

These forms of persuasion immensely help actors get into character. Persuasion helps the audience to believe and understand the plot and action of the production. Strong productions rely on the effective use of these persuasion techniques. By studying each one, actors can learn how to better their styles and increase their overall credibility while on stage.

Backdrops by Charles H. Stewart can help you with your backdrop needs. Visit our website to learn about our offerings, accessories, and handmade backdrops. Don’t hesitate to reach out to our staff with any questions.

Thrill of Victory, Agony of Defeat

Sports.  It has drama, competition, and emotion.  A perfect recipe for a Broadway show.  Sports has been the backdrop for many movies, tv shows, and musicals.  We will take a look at a few classics and maybe a few not so classics.  But nonetheless, the marriage of sports and Broadway has gone on for a very long time, and it’s easy to see why.

 

Damn Yankees (Baseball)

Perhaps the most classic sports musical ever made, Damn Yankees is a musical comedy with a book by George Abbott and Douglass Wallop, music and lyrics by Richard Adler and Jerry Ross. The story is a modern retelling of the Faust legend set during the 1950s in Washington, D.C., during a time when the New York Yankees dominated Major League Baseball. It is based on Wallop’s novel The Year the Yankees Lost the Pennant.

The show ran for 1,019 performances in its original 1955 Broadway production. Adler and Ross’s success with it and The Pajama Game seemed to point to a bright future for them, but Ross suddenly died of chronic bronchiectasis at age 29 several months after it opened.

Joe Boyd, an aging Washington Senators fan, would sell his soul for the Senators to beat the New York Yankees and win the pennant. Enter Applegate, who offers to turn Boyd into Joe Hardy, a powerful young baseball player, in exchange for his soul. When Boyd agrees, he becomes Hardy and leads the Senators on a winning streak. When he starts to miss his wife, though, and questions the deal, Applegate sends temptress Lola into the mix.

Hey!  As a Red Sox fan, I might have considered this after the 2003 season!

 

Good News (Football)

Another classic Broadway musical, Good News is a musical with a book by Laurence Schwab and B.G. DeSylva, lyrics by DeSylva and Lew Brown, and music by Ray Henderson.  The show opened on Broadway in 1927, the same year as Show Boat, but though its plot was decidedly old-fashioned in comparison to Show Boat’s daring storyline, it was also a hit. Good News spawned two films, an unsuccessful 1974 Broadway revival, and a 1993 updated production by Music Theatre of Wichita, which created a largely new libretto and made changes to the score, It proved to be DeSylva, Brown, and Henderson’s biggest hit out of a string of topical musicals.

World War I is over, the Roaring Twenties have arrived, women have won the right to vote, and college campuses, such as fictional Tait College, are as much a social scene as an academic one. Football is the big game, and star player Tom Marlowe is a prime catch. All the girls are interested in Tom, and vice-versa, although one society climber seems to have him in hand. Studious part-time school librarian Connie Lane doesn’t seem to have a chance and stays out of the fray. When Marlowe fails a final exam, he needs a tutor to help him pass so he can play in the big game on Saturday. Connie is selected to help keep his nose to the grindstone, and the two fall for each other. The couples’ romance can only endure if the team wins the big game.

 

Golden Boy (Boxing)

Golden Boy is a 1964 musical with a book by Clifford Odets and William Gibson, lyrics by Lee Adams, and music by Charles Strouse.  The Broadway production was directed by Arthur Penn, choreographed by Donald McKayle, and starred Sammy Davis Jr and opened on October 20, 1964 at the Majestic Theatre, where it ran for 568 performances and twenty-five previews.

Based on the 1937 play of the same name by Odets, it focuses on Joe Wellington, a young man from Harlem who, despite his family’s objections, turns to prizefighting as a means of escaping his ghetto roots and finding fame and fortune. He crosses paths with Mephistopheles-like promoter Eddie Satin and eventually betrays his manager Tom Moody when he becomes romantically involved with Moody’s girlfriend Lorna Moon.  In Odets’ original book, Joe was a sensitive would-be surgeon fighting in order to pay his way through college, but careful to protect his hands from serious damage so he could achieve his goal of saving the lives of blacks ignored by white doctors.  In an ironic twist, the hands he hoped would heal kill a man in the ring.

 

Magic/Bird (Basketball)

Magic/Bird is a play by Eric Simonson about basketball stars Magic Johnson of the Los Angeles Lakers and Larry Bird of the Boston Celtics, their rise from college basketball to the NBA and super stardom, and eventually the Olympic Dream Team, their team and personal rivalries and ultimately their long-running friendship. The play premiered on Broadway at the Longacre Theater on March 21, 2012.  It has the full support of the NBA with Johnson and Bird prominently supportive.  And, according to the producers: “At the heart of one of the fiercest rivalries in sports, two of the greatest athletes of all-time battled for multiple championships and the future of their sport…Johnson and Bird, went head to head, electrified the nation, reinvigorated the NBA, and turned their rivalry into the greatest and most famous friendships in professional sports. With classic NBA footage prominently designed throughout, Magic/Bird transports the audience into the heart of their matchup.

Proper Warm-Up Routines

Actors on stage in a scene

 Every performer has their own personal routine when warming up before rehearsal or for a show. Some directors like when the performers warm up together, and think it can be helpful for creating a cast bond. Though warm ups may differ depending on whether you have rehearsal or a production that day. Check out these ideas for warm ups.

Stretching your Muscles

When warming up for rehearsal you should still be putting your all into warm ups. It’s the time when you feel out your body and get comfortable with your character, so putting your all into warm ups is very important. It exercises your body and stretches you out just like muscles before working out. You wouldn’t think, but there’s actually a muscle that actors workout called your diaphragm that you stretch like any other muscle to perform your best.

Microphone held by hand with dark background

Individual or Group?

Try individual warm ups and group warm ups. Anything goes for rehearsals as long as they’re really working you out. Stick with your individual routine, and allow yourself to warm up as you will to get to know your character the best you can.

Routines

When it comes closer to the opening night of the production, work through some group warm up activities that you’ve practiced. Make a routine of doing group warm ups as opening night slowly approaches. These group activities help boost morale, and increase chemistry and bonds between cast members.

Actor looking off into distance

Experience Helps Warm-Ups

As you gain experience with different types of productions, warming up becomes easier. It will make more sense as to which warm up routine should be done with which type of productions/characters.

Next time you’re planning your set, consider Backdrops by Charles H. Stewart. Call us at (978) 682-5757 or visit our website at https://charleshstewart.com/

 

I Saw the Strangest Thing On Broadway

Has anyone seen a truly strange play or musical?  What’s the strangest one you’ve heard of?  Here, we will look at a few of the strangest plays or musicals out there.  Some you may have heard of, and some, maybe not.

 

The Rocky Horror Picture Show – Wallpaper #1

Rocky Horror Picture Show

We all have heard of it.  We all don’t really understand it.  We all know it has a cult following with people dressing up like the characters.  But what is it about?  The story centers on a young engaged couple whose car breaks down in the rain near a castle where they seek a telephone to call for help. The castle or country home is occupied by strangers in elaborate costumes celebrating an annual convention. They discover the head of the house is Dr. Frank N. Furter, an apparent mad scientist who actually is an alien transvestite who creates a living muscle man, Rocky, in his laboratory. The couple are seduced separately by the mad scientist and eventually released by the servants who take control.  The musical was adapted into a film in 1975 and still enjoys success to this day…but I don’t get it.

 

Urintown: The Musical

Urinetown: The Musical is a satirical, comedy musical that premiered in 2001, with music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and book by Kotis. It satirizes the legal system, capitalism, social irresponsibility, populism, bureaucracy, corporate mismanagement, and municipal politics. The show also parodies musicals such as The Threepenny Opera, The Cradle Will Rock and Les Misérables, and the Broadway musical itself as a form.  Does sound strange, right?  Well, not until you realize that it all revolves around—you guessed it—going to the bathroom.  Due to a twenty year drought and a severe water shortage, all restroom activities are regulated.  No more private toilets only public ones.  You have to pay to go to the bathroom.  There are strict laws that if broken gets you sent to a “penal colony” called Urinetown…..

 

Octomom: The Musical

Do I really need to write anything about this?…

I will mention one thing, when the show opened, the producers left nine seats open just in case.

 

Triassic Parq

The novel and film Jurassic Park told from the perspective of the dinosaurs. A clan of genetically engineered female dinosaurs (played by male and female actors) is thrown into chaos when one of the female dinosaurs spontaneously turns male. Originally directed by Marshall Pailet and presented Off-Broadway at the Soho Playhouse in 2012. The original cast featured Alex Wyse (Velociraptor of Innocence), Wade McCollum (Velociraptor of Faith), Lindsay Nicole Chambers (Velociraptor of Science), Shelley Thomas (T-Rex 1), Claire Neumann (T-Rex 2), Brandon Espinoza (Mime-a-saurus), Lee Seymour (Morgan Freeman) and Zak Sandler (Pianosaurus).  Originally produced in 2010 at the NY International Fringe Festival under the title “Jurassic Parq: The Broadway Musical” where it won “Best Overall Musical/Production.” After Off-Broadway, it was slightly re-written and presented at the Chance Theater in Orange County where it won the Ovation Award for “Best Production of a Musical (Intimate Theater)” in addition to two other awards.