Roustabout Theatre's Big Daddy Shakespeare looks at The Bard in a more personal and humanizing lens than is generally studied in school. A one-act play adapted from several of Shakespeare’s works by Anna Simmons and directed by Josie Lapczynski, shows him as a son, husband, and father who he left his young family to be a playwright in London. What was he thinking? Feeling? And how could his plays reflect his state of mind through separations -- and grief?
The Ypsi Experimental Space (YES) is decorated throughout with a specific theme. A popcorn machine greets you at the door, the warm scent of the freshly popped treat filling the air. Posters from past Roustabout Theatre shows are plastered on the walls like old circus playbills. The stage is draped in the unmistakable striped fabric of a circus tent.
The vehicles for our exploration of Shakespeare are, fittingly, four roustabouts, or circus workers who erect and dismantle tents, care for the grounds, and handle animals and equipment. Our four roustabouts (Amanda Buchalter, Julia Garlotte, Russ Schwartz, and Cynthia Szczesny) enter the stage to put up another poster (for the show we are about to see) and set up some stage equipment and costumes the circus might need, but are, of course, used for their own show.
Mother Carol (Lisa Coveney) is anxiously putting together the perfect 21st birthday party for her son Andy, who is severely disabled and living in a care home. Also invited to the party are Carol’s parents, Patricia (Lenore Ferber) and Brian (Michael Haifleigh), and Carol’s adult daughter Claire (Katie Whitney), who takes this opportunity to introduce her new boyfriend Mark (Chris Krenz) to the family. Carol’s estranged husband Ian (Brian Hayes), who abandoned the family when Andy was a baby, also chooses to attend unannounced. In the words of producer Tim Grimes, “The intrusion does not go well.”
Now in its 20th year, Redbud Productions, offers acting classes for adults and high school students using the techniques of Sanford Meisner, which, among other things, focus on emotional work.
Ypsilanti's Neighborhood Theatre Group closes their 2018-2019 season with original sketch comedy show Trending Now, highlighting the humor found in "fads, fashion, and fandom."
NTG has always had its hand on the pulse of popular culture. In previous seasons, their annual sketch show has asked, "What is love?" (Sketchual Healing, 2017) and "Can I Help You?" (focused on customer service, 2018). There is catharsis in poking fun at ourselves (and each other) and having a good laugh.
Topics this time around include a Klingon wedding, Grandma's misuse of internet initialisms, Lite-Brites, spoiler alerts, who is the best Doctor Who, dance-offs, how Facebook knows our every desire, #RaisingAwareness, and a rousing game of Craft Beer or Race Horse? with audience participation (it's harder than you might think).
Why is a raven like a writing desk?
Whether we’ve read Lewis Carroll's books or not, most of us are familiar with the character Alice and her adventures in Wonderland. One of the more iconic figures is the Mad Hatter with his tea party and nonsense riddles. Alice was based on a real person, Alice Liddell, but what about the Mad Hatter? Playwright Michael Alan Herman has proposed that he was, one Theophilus Carter, a well-known (at the time) furniture salesman and inventor who, according to Herman and others, bears a striking resemblance to Sir John Tenniel’s original illustrations of the Mad Hatter.
Roustabout Theatre Troupe’s Mad As a Hatter -- directed by Joey Albright -- imagines Carter (Russ Schwartz) and Charles Dodgson (Lewis Carroll was a pseudonym) as school friends who grew up together then grew apart after Dodgson published his less than flattering portrayal of his good friend in Alice's Adventures in Wonderland. In the play, Carter is haunted by his literary alter-ego the Mad Hatter, who not only comes to life but also bears a striking resemblance to Dodgson (both Dodgson and the Mad Hatter are played by Jeffrey Miller).
People sometimes struggle with how to refer to the first 10 years of the 21st century. The zeros? The aughts? Ypsilanti playwright A.M. Dean has put forth his own nickname for these transformative years in our nation’s history: The Dumb Decade.
Neighborhood Theatre Group’s original pop/rock musical Dispatches From the Dumb Decade follows its characters as they come of age in the age of 9/11, George W., Weapons of Mass Destruction, the Axis of Evil, "strategery," and the birth of fake news. All these things that I had put behind me were brought alive again through music and song. We were so innocent back then.
Music! Dance! Drama! And a wee bit of blood!
All that and more will feature in the Neighborhood Theatre Group's annual hit Halloween show, Black Cat Cabaret, which runs October 19 and 20 at Bona Sera Underground in Ypsilanti. Not appropriate for young children, Black Cat features live musical accompaniment by the NTG “Haunted” House Band, a cash bar, costume contest, and raffle.
Pulp spoke with NTG company member Greg Pizzino and Tom Hett of the House Band about the show.
As part of this year’s Washtenaw Community College Fall Open House and Free College Day on Sunday, September 30, WCC hosts “OPEN ARTS – A Celebration of the Arts at Washtenaw Community College,” honoring the artistic accomplishments of students, faculty, staff, and alumni. It is a chance for the WCC community to show off talents that one doesn’t necessarily see in the classroom, and that may have nothing to do with academic life.
Once known as Bravo, this event has been happening for the past four years. (The name was changed so as to avoid confusion with the Bravo awards given out to faculty members nominated by students to be recognized for their work.) This is the first year the event has “piggybacked” with Free College Day.
Department chair and dance professor Noonie Anderson “was the original push for this performance, and [has] overseen the project since it started.” She said, “Our WCC community is far-reaching and a major part of our Ann Arbor and Ypsi communities. It was a way for us to share with the communities that support us and celebrate to WCC.”
Artists, whether of visual, performance, musical, or writing persuasions, are highly imaginative and generally motivated individuals. The trouble with surrounding yourself with creative people is that you want to create. You throw ideas out there, bounce them around; sometimes they land, sometimes they float away into the ether. It’s most fun when they land, but that can also mean a lot of hard work for these ideas to claw their way to fruition.
For example, a year of pummeling away at stubborn obstacles, wrangling six other people, recruiting still more people to help in the fight, battling back and forth with a totally uncooperative corporate entity whose official help policy is “we don’t help.” It’s frustrating, it’s time-consuming, and it’s so worth it. Seeing your name on the printed page provokes a singular, feeling of satisfaction and accomplishment. Before long, you’ve forgotten all the pain and miserable moments, and you can only think about doing it again.
Anyone who has worked in the customer service industry can agree that it’s a tough business. Everyone has a story about that one customer who is too outrageous to be believed, which may not be so funny in the moment but is hilarious when recounted later.
When a situation is difficult, you need comedy to help get you through, and Ypsilanti’s Neighborhood Theatre Group (NTG) is closing its third season with Can I Help You?, a play that will help you laugh your way out of troubles.
“I've worked in customer service for over 15 years," said NTG cofounder and director Kristin Danko, "and I've been wanting to do a show about the service industry for a while. A sketch comedy show seemed like the perfect outlet.”
The best thing a film about languages can do is let the speakers speak for themselves.
Those Who Come, Will Hear, a Canadian documentary that shines a spotlight on several indigenous languages of Quebec, not only gives voice to languages that are endangered (such as Innu-aimun and Inuttitut) but also deftly illustrates how language is so tightly woven to culture and tradition. (The film is one of the 10 features in competition at this year's Ann Arbor Film Festival.)