CPCC Summer Theatre Announces Auditions for Summer 18

CPCC Summer Theatre Auditions 2018:

CPCC Summer Theatre is holding auditions for all 5 shows of Summer Theatre ’18 on February 17th from 9:00am to 3:pm in the Halton Theatre. Auditions are by appointment only. Appointments can be made by phone or email staring February 1st.   We are looking for actors to be in the Resident Acting Company (4 of 5 shows), actors to be in individual shows, and for interns to appear in one or two shows and work backstage.  For Oklahoma actors will need to be available starting April 15th through June 9th in the evenings.  Actors for Grease rehearse May 28 – June 23 during the day. Shrek, TYA and The Mousetrap rehearse June 11 to July 8 in the daytime. Disney’s Newsies will rehearse in the evenings and afternoons from June 25th to July 21st..  All shows except Oklahoma are basically 4 week commitments.

You do not have to be a current CPCC student to audition. All genders and ethnicities are encouraged to audition.

Resident Acting Company actors are paid $375.00 a week. Actors who are in for just one show are paid on a per show basis: Principals – $975.00, Supporting Roles- $675.00 and Cameo/Chorus roles $475.00. Interns are unpaid. All non-intern actors receive college credit for each show in which they participate.

Housing is provided for out-of-town resident acting company members (Actors not living in Mecklenburg or adjacent counties.) This year, we will be partnering with Queens University of Charlotte to provide company housing on the Queens campus which is located about two miles from the CPCC campus. These fully furnished suites each have two bedrooms and a private bathroom.  Shared kitchen facilities are available on each floor. Company members are responsible for furnishing linens, kitchenware, and other personal items. A list of roommates will be provided to all company members to help establish any shareable items each might bring (and to avoid duplication.)

The contract gives the specifics on performance dates, roles and other duties. It contains the standard two week’s notice clause. The Resident Acting Company will be signed to a nine week period of employment that begins May 21st and ends July 21st. Individual show acting contracts are for a 4 week rehearsal/performance period except for Oklahoma which is for eight weeks.

Generally there is a morning and an afternoon rehearsal period. No rehearsal will take place before 9:30am and there will be no rehearsal after an evening performance. The performance schedule will not exceed six shows in a week. Breaks are in accordance with Equity standards. We try to keep the schedule somewhat flexible. On most occasions rehearsals occur in the mornings and afternoons. The first and last show require evening rehearsals. The amount of time needed is determined by the talents of cast/directors and the ease/difficulty of the show, etc. All actors are required to participate in the strike of all shows. As the summer progresses, less time is needed. During the final week, daytimes are relatively free.

We hold two auditions/interviews each year. One is at Halton Theatre in Charlotte on February 17th and the other at SETC in Mobile, AL in early March. We will start to hire locally within a few days of the first audition.  Within a few days after the SETC auditions, we contact via phone those we wish to hire from that audition. Hopefully by mid-March we will have organized most of our actors for the season. We ask you to hold options open for at least until that time. Due to the large numbers of people that we see at these auditions it is impossible for us to contact everyone who auditions.

Most actors in the Resident Acting Company are cast at least two major roles. Actors brought in for an individual show can be cast in leads, supporting or chorus roles.  Roles are stipulated by the contract offered. An actor may be asked to assume a better role if casting changes but is never asked to take a lesser role than stipulated.

This is our 45th season of successful operation. We are located on Central Piedmont Community College’s Central Campus. CPCC is one of the largest community colleges in the state system and located in the state’s largest city. The recipient of countless awards, CPCC Summer Theatre works in the Halton Theater and Pease Auditorium which seats 1000 seats and 482 respectively. Acoustically sharp and fully equipped with a state of the art sound system and computerized lighting system, the Halton stage a proscenium theatre that is 50 feet wide and 40 feet deep while Pease Auditorium is a modified proscenium that is 29 feet deep and 50 feet wide. We use a fully professional orchestra. Our Costume and Scene shops are fully equipped and adjoin the stage. The audience is very loyal; we frequently play for sold out houses. Last year we played to over 26,000 patrons.

Why choose CPCC Summer Theatre?

Quality productions by quality performers

A realistic view of the demands of professional theatre

A variety of roles for the actor

Air-conditioned rehearsal halls and theatre with proper dance floors.

A competitive pay-scale

A fully equipped scene shop and costume shop on premises

Option of receiving college-transfer academic credits

Thanks for considering CPCC Summer Theatre. Visit our website at blogs.cpcc.edu/theatre for more info.

Tom Hollis, Artistic Director – For appointments – 704-330-6835 or tom.hollis@cpcc.edu

CPCC Theatre Announces Cast of Evita

CPCC Theatre is happy to announce the cast of Evita.

Cast

(in order of appearance)

Che…Ron T. Diaz

Eva…Lucia Stetson

Magaldi…Joel King

Peron…Robert Nipper

Mistress…Leana Guzman

 

The Company (the people of Argentina)…Jeremy Borja, Cara Cameron, Amelia Cary, Neifert Cornejo-Ordonez, Isaiah Duren, Shane Elks, Karen Erbe, Amber Dawn French, Bailey Greemon, Rick Hammond, Brendan Hanks, Lisaney Kong, Laura Raynor-Williams, Tony Richardson, Hannah Risser, Patrick Stepp, Kelly Trnian, Yessena Whitfield,

 

The Children…Annabel Lamm, Cavan Meade, Isabella Stetson, Haley Vogel, Atticus Ware, Jeannie Ware

 

Thanks to everyone who auditioned. We look forward to seeing all of you back at future auditions.

Congrats to CPCC Theatre and Summer Theatre Nominees for Broadway World Charlotte Theatre Awards 2017

We want to congratulate all of our students, faculty and staff who have been nominated for the 2017 Broadway World Charlotte Theatre Awards. Follow this link https://www.broadwayworld.com/charlotte/liveupdate2017region.cfm?btype=1766&region=Charlotte#sthash.oMcXr1BW.h8h2Mnr8.dpbs to vote for your favorites from this past year.

Best Scene Design (local)

James Duke The Bridges of Madison County

Gary Sivak Fiddler on the Roof

Bob Croghan Mamma Mia

Biff Edge A Comedy of Tenors

Best Actor Play Drama (local)

Brian Logsdon Pride & Prejudice

Hank West Ma Rainey’s Black Bottom

Jonavan Adams Ma Rainey’s Black Bottom

Tom Scott Ma Rainey’s Black Bottom

Best Actor Play Comedy (local)

Craig Estep A Comedy of Tenors

Gabe Saienni A Comedy of Tenors

James K. Flynn A Comedy of Tenors

Josh Logsdon A Comedy of Errors

Winston Sims A Comedy of Tenors

Best Actor Musical (local)

Beau Stroup Fiddler on the Roof

Billy Ensley Ragtime

Carson Palmer A Chorus Line

Dakota Mullins James and the Giant Peach

Gabe Saienni The Bridges of Madison County

J. Michael Beech Mamma Mia

Jeffrey Keller Mamma Mia

Johnny Hohenstein Fiddler on the Roof and Ragtime

Josh Logsdon Fiddler on the Roof and Ragtime

Matthew Schulman Fiddler on the Roof

Patrick Ratchford Mamma Mia and Ragtime

Ryan Deal The Bridges of Madison County

Tony Wright A Chorus Line

Tyler Dema A Chorus Line

Tyler Smith Ragtime

Best Actress Drama (local)

Shar Marlin Ma Rainey’s Black Bottom

Best Actress Comedy (local)

Amanda Becker A Comedy of Tenors

Caroline Renfro A Comedy of Tenors

Taffy Allen A Comedy of Tenors

Best Actress Musical (local)

Annabel Lamm Ragtime

Bailey Rose A Chorus Line  and Mamma Mia

Brittany Harrington Ragtime

Eleni Demos A Chorus Line

Haley Vogel Fiddler on the Roof

Kathryn Stamos Mamma Mia

Lexie Wolfe A Chorus Line

Lucia Stetson  Ragtime

Meredith Fox A Chorus Line

Morgan Wakefield Fiddler on the Roof

Sarah Henkel The Bridges of Madison County

Sophie Lamm Fiddler on the Roof

Susannah Upchurch Fiddler on the Roof and A Chorus Line

Taffy Allen The Bridges of Madison County

Best Director Play (local)

Cary Kuglar A Comedy of Tenors

Corlis Hayes Ma Rainey’s Black Bottom

Heather Wilson Pride & Prejudice

Best Director Musical (local)

Cary Kuglar The Bridges of Madison County

Todf Kubo A Chorus Line

Tom Hollis Fiddler on the Roof, Mamma Mia and Ragtime

Best Music Director Play or Musical (local)

Amy Boger Morris The Bridges of Madison County

Craig Estep The Bridges of Madison County

Drina Keen A Chorus Line, Fiddler on the Roof, Mamma Mia and Ragtime

Jean Colghan Phillips James and the Giant Peach

Best Choreographer (local)

Ron Chisholm Fiddler on the Roof, Mamma Mia and Ragtime

Tod Kubo A Chorus Line

Best Play (local)

A Comedy of Tenors

Ma Rainey’s Black Bottom

Pride & Prejudice

Best Musical (local)

A Chorus Line

Fiddler on the Roof

James and the Giant Peach

Mamma Mia

Ragtime

The Bridges of Madison County

Best Costumer (local)

Barbi VanShaick A Chorus Line and Fiddler on the Roof

Bob Croghan Mamma Mia

Jamey Varnadore ma Rainey’s Black Bottom and Ragtime

Rachel Hines A Comedy of Tenors

Best Lighting Design (local)

Gary Sivak A Chorus Line and Mamma Mia

James Duke Ma Rainey’s Black Bottom

Jeff Childs The Bridges of Madison County

Jennifer O’Kelly Ragtime

Sarah Ackerman A Comedy of Tenors

Best Sound Design (local)

Stephen Lancaster A Comedy of Tenors, A Chorus Line, Fiddler on the Roof, ma Rainey’s Black Bottom, Mamma Mia, Ragtime, The Bridges of Madison County

 

 

 

 

CPCC Theatre Auditions for Evita

CPCC Theatre will hold auditions for Andrew Lloyd Webber’s Evita on December 4th and 5th at 7:00pm in the Halton rehearsal hall.  All roles are open except for Eva Peron.

We are looking for a cast of approximately 30 men, women and children.

Performances are February 16 to 25, 2018. Rehearsal will not begin until January 2nd.

Age ranges are for characters not necessarily the ages of the actors. All ethnicities are urged to audition.  You do not have to be a current CPCC student to audition. Auditions are open to all.

Cast Breakdown

CHE: (Male, 18-35) This character is dashing, impulsive, jealous, and manipulative. Che is a political activist and the narrator of the show, a radical who isn’t reluctant to ask tough questions and demand answers. An actor/singer that must move very well with a high, rock tenor voice that can sing a low A to high B, falsetto to high F.

 

PERON: (Male, 30-50) An officer in the Argentinean army who rises to become the Argentine President. He is a man who is dignified, charming, and authoritative. A strong actor and singer who can play character/leading man. Vocal bass/baritone to high F.

 

MISTRESS: (Female, 13-18) A very beautiful, fragile, vulnerable, innocent young girl who plays Juan Peron’s teenaged Mistress. She is “dismissed” out of Peron’s life by his future wife, Eva. The Mistress ponders the rejection during her song, “Another Suitcase in Another Hall.” She will also appear in the ensemble. Must be able to move well and sing a low A to a high E.

 

MAGALDI: (Male, to play 30 – 40) A tango singer with whom Eva has her first love affair. A charming loser – never quite made it. Has the first number in the show, “On This Night of a Thousand Stars” and sets up the world in which Eva exists and establishes a Latin flavor to the piece, which is essential. He will also appear in the ensemble. A Latin American “personality” type and feel that needs to be bigger than life, but real at the same time. Sings high tenor High G.

 

ENSEMBLE: Seeking a broad range of males and females of all ethnicities from late teens to 60+. Excellent singing voices in all ranges. All must understand the Latin temperament even if they don’t fit into the “look.” All shapes and sizes to play everything from Generals to Peasants. A fully featured, versatile ensemble that helps define this world. Movement ability a plus.

 

CHILDREN’S ENSEMBLE: Looking for 3 boys and 3 girls ages 7-14. Must sing and be able to hold harmonies, act and move moderately well. These young actors will be featured as well as appearing in the adult ensemble at times.

Each auditionee should have a prepared song of at least 16 bars and have sheet music in appropriate key. Be dressed to move. A short dance audition will be held following the singing audition. An accompanist will be provided.

Rehearsal will begin on January 2nd. There will be a brief meeting on December 7th at 7:00pm to get the cast organized and workout schedule conflicts.

Callbacks if necessary will be held on Wednesday December 6th at 7:00pm.

If you have any questions contact Tom Hollis at 704-330-6835 or by email at tom.hollis@cpcc.edu

CPCC Theatre Receives Three Nods from Creative Loafing’s Best of Charlotte Awards-Critics Picks

Creative Loafing announced their Best of Charlotte awards in the issue hitting newsstands today. Congrats to all involved in garnering these awards from Creative Loafing this year. The hard work of the students, faculty and staff is evident in all that they do. Onward and upward!

 

Best Musical – ‘Ragtime’

Folks who confine their diet of musicals in Charlotte to touring productions at the Performing Arts Center are missing out big time on the locally produced blockbusters playing out at smaller venues around town. Actor’s Theatre, Children’s Theatre and Theatre Charlotte all astonished with excellent productions this year. Maybe it was sheer luck, but Central Piedmont Community College’s wintertime production of Ragtime was the most timely of the year, underscoring the sad fact that institutional racism, police brutality and prejudice against immigrants aren’t quaint relics of the Jazz Age. As the martyred Coalhouse Walker, Tyler Smith’s impassioned “We are all Coalhouse!” reverberated through a city in turmoil.

 Best Drama – ‘Jitney’

As Charlotte was fully wakening to how badly we have neglected and mistreatedour underclass, theatergoers may finally have been zonked by the realization that our city is exceptionally rife with African-American acting and directing talent. Kim Parati made an auspicious directorial debut at Theatre Charlotte with a freshened-up Raisin in the Sun, but this was a vintage year for August Wilson — in two dramas directed by Corlis Hayes, Ma Rainey’s Black Bottom at CPCC and Brand New Sheriff’s Jitney at Spirit Square. Hayes brought out the best in John W. Price and Jermaine Gamble as the father-son antagonists in Jitney, with Gerard Hazelton adding a mix of comedy and poignancy as the gypsy cab company’s resident lush. Move over OnQ Productions, there’s a brand new black theater company in town.

Best Actress – Shar Marlin

The field of contenders is larger among the ladies, but the roles were more thinly distributed, eliminating productivity as a decisive criterion. But which other benchmark should override all others? We’re turning to Shar Marlin for her sheer power and imperial dominance in Ma Rainey’s Black Bottom, a dramatic stunner that also showed Marlin’s blues-singing chops. Dignity in the face of exploitation and discrimination. Diva!

Here is the link to all of the awards announced. https://clclt.com/charlotte/BestOf?category=2168599&year=2017

BWW Review: Family and Romance Tug at an Iowa Housewife in MADISON COUNTY

https://www.broadwayworld.com/charlotte/article/BWW-Review-Family-and-Romance-Tug-at-an-Iowa-Housewife-in-MADISON-COUNTY-20170928

BWW Review: Family and Romance Tug at an Iowa Housewife in MADISON COUNTY

BWW Review: Family and Romance Tug at an Iowa Housewife in MADISON COUNTY

When the touring production of THE BRIDGES OF MADISON COUNTY came to Knight Theater in the spring of 2016, I can easily imagine CPCC Theatre set designer James Duke watching the rusticated wooden bridge as it descended from the fly loft. “We can do that!” he would be thinking to himself. And nearly 17 months later at Halton Theater, he has done it, in a spare, taciturn design style that works well with the Midwest – in this case, Iowa – ably complemented by Jeff Childs’ lighting design.

One additional inverted V goes a long way to simulating the lonely Johnson homestead where roaming National Geographic photographer Robert Kincaid falls in love with Francesca, a stoically transplanted Italian housewife marooned on the prairie after raising a wholesome 4H family. Scenery pieces at ground level aren’t quite as mistakable for the touring version, largely because crew and cast shuffle them in and out of the wings with conspicuously less professional polish.

Once everything is set in place, the sound of the current CPCC Theatre production consistently overachieves. I can also imagine Rebecca Cook-Carter, CPCC Opera Theatre’s artistic director, looking at the touring version of MADISON COUNTY and saying, “We can do that!!” Look down in the orchestra pit at the Halton and you won’t find brass, woodwinds, and batteries of electric guitars and keyboards. Musicians are overwhelmingly classical string players, and their conductor, Craig Estep, has made valuable contributions to both theatrical and operatic productions at CP in the past.

In adapting the wildly popular bestseller by Robert James Waller, James Robert Brown’s score does occasionally soar toward opera in its ambitions when we listen to his melodies and orchestrations, both of which won Tony Awards. But there’s a very relaxed vibe to the roving photographer that contrasts with Francesca’s operatic frustrations, swooping toward chamber and country music. When the storyline detours toward the nosy neighbors and the raucous State Fair, velvety classical violins are likely to mutate into bluegrass fiddles.

If she hadn’t been on my radar in 2011, playing a supporting role in the CPCC Summer Theatre production of Hello, Dolly! I would have thought that Sarah Henkel was a genuine Italian neophyte as Francesca. Hand movements were shy, awkward, and clichéd at first when we looked at the opening wartime scene that tied Francesca’s fate to the uniformed Bud, who pales to humdrum farmer by the time we see him again in Iowa.

With Robert’s arrival, the shy awkwardness begins to work for Henkel, and as the couple’s intimacy increases, the fumbling and tentativeness dissolve, so there’s no longer a disconnect between Henkel’s actions and her soaring mezzo-soprano voice. I still missed a lot of the lyrics she was singing, but as passion took the place of preliminary exposition, that difficulty mattered much less. Compared with the virtually indecipherable Elizabeth Stanley on the national tour, Henkel was clarity itself.

Since I raved about Andrew Samonsky as the lanky dreamboat who captivated Francesca on tour, its no small compliment to say that Ryan Deal is nearly as fine as Robert. Deal may even be better at getting into the vagabond country lean of the music. As passionately as many local theatergoers might feel that he will never surpass his previous autumn exploits in Phantom of the Opera and Les Miz at the Halton, Deal delivers here, seemingly more comfortable in this music.

While Deal is not likely to be mistaken for a lean, rugged Marlboro man, the gap between him and Samonsky might have been bridged at least partially if Deal, along with director Cary Kugler and costume designer Rachel Engstrom, had seriously considered what a hippie looked like in 1965. To get instantly labeled as a hippie by a provincial Iowan, more hair and looser, more casual clothes are required. An untucked sport shirt just won’t do.

Politeness and consideration, mixed with a heavy sprinkling of artistic intensity, are also part of Robert’s appeal, and Deal conspires very nicely with Henkel on the chemistry of the mutual seduction. Looking at how Kugler directs and how Engstrom dresses the townsfolk, you will likely think that Marsha Norman borrowed heavily from Meredith Willson‘s Music Man in crafting the Iowans in her script.

Next door neighbors, Taffy Allen as Marge and Jeff Powell as Charlie, are exactly as you would expect. She’s unsatisfied unless she’s ferretted out every spec of scandalous gossip while, even when she’s most annoying, he can be mollified with a fresh slice of pie. Closer to the vortex of the central romance, Francesca’s family is humdrum rather than silly. Steven Martin as Bud, the husband, is a solid and confident blockhead, but we get the hint from Martin that some of his cocksureness comes from Francesca’s support.

Yet Bud is the primary reason that the kids need Mom. Gabe Saienni as Michael needs Mom to help him convince Dad that there is an alternative future for him that doesn’t include taking over the farm. Sharing the role with Olivia Aldridge from night to night, Leigh Ann Hrischenko convinces us that Carolyn’s needs are even more acute and poignant. Mom stands as buffer between Carolyn and her father’s brusqueness, and despite the fact that she may have raised a prize-winning steer, it’s Mom who must bolster the younger sib’s determination and self-confidence.

As the romance heats up, Francesca must choose between her inner drive to break free and globetrot with Robert or the tug of her loyalty, calling upon her to remain in Iowa with a family that needs her. After two hours and 18 minutes, plus a 20-minute intermission, you wouldn’t want the choice to be easy, would you?

CPCC Theatre Announces the Cast for The Crucible

CPCC Theatre is happy to announce the Tentative Cast List for  The Crucible.

 

Betty Parris……………………………………………………………………Melinda Harrison

Reverend Samuel Parris………………………………………………………….Cole Long

Tituba………………………………………………………………………………Corlis Hayes

Abigail Williams…………………………………………………………………Sarah Clifford

Susanna Walcott………………………………………………………………….Anna Young

Mrs. Ann Putnam……………………………………………………………Jerilyn McDonald

Thomas Putnam…………………………………………………………………Deevo Tindell

Mercy Lewis………………………………………………………………………Selina Lewis

Mary Warren………………………………………………………………Ashley Gildersleeve

John Proctor……………………………………………………………………..Josh Logsdon

Rebecca Nurse…………………………………………………………………Deborah Rivers

Giles Corey……………………………………………………………………Tom Ollis

Reverend John Hale…………………………………………………………Tony Wright

Elizabeth Proctor……………………………………………………………..Caryn Crye

Francis Nurse………………………………………………………………Richard Meier

Ezekiel Cheever………………………………………………………………Jared Tuton

John Willard…

Martha Cory……………………………………………………………………Iris DeWitt

Judge Hathorne……………………………………………………………Richard Thompson

Deputy-Governor Danforth…………………………………………………….Tim Huffman

Sarah Good…………………………………………………………………………Iris DeWitt

Thanks to everyone who auditioned. We hope to see you at Evita audition’s in December. Tickets on sale now at the SunTrust Box office 704-330-6534 or online at CPCCTix.