CPCC Theatre Announces the cast of On Golden Pond
Norman – Tom Scott
Ethel – Elyse Williams
Chelsea – Amy Dunn
Charlie – Todd Magnusson
Billy Jr. – Stepp Nadelman
Billy Ray – Paul Gibson
Operator – Diane Overcash
Get your tickets at the SunTrust Box office 704-330-6534 or online at CPCCTix
CPCC Theatre will hold auditions for On Golden Pond on February 19 & 20 at 7:00pm in Pease Auditorium. All roles are open. Cold Readings from the script. You do not have to be a current CPCC student to audition.
Rehearsal will begin in late February. Performances run April 6 – 15.
Norman Thayer, Jr.: Nearing his eightieth birthday, Norman is flirting with senility and is aware of it enough to use it to his advantage, usually in a humorous way. He is a curmudgeon, as he feels his age entitles him to be. He is very much in love with Ethel, his wife, but doesn’t quite know what to do about their daughter, Chelsea.
Ethel Thayer: Ten years younger than Norman, Ethel is a spritely, active woman who loves her husband completely and who is in love with simply being alive. She is caregiver, sweetheart, and friend to Norman.
Charlie Martin: The local delivery-by-boat mailman, Charlie is a long-time family friend and a typical Maine down-Easterner. Still single, he has had a life-long crush on Chelsea.
Chelsea Thayer Wayne: Attractive, divorced, and in her forties, Chelsea is still dealing with the lack of closeness between her and Norman. She is engaged to Bill Ray, whom she brings to meet her parents.
Billy Ray: The fourteen-year-old son of Bill Ray, he is a typical California teenager who comes to spend a month with Norman and Ethel on Golden Pond while his father and Chelsea are in Europe.
Bill Ray: Chelsea’s fiancé and Billy’s father, Bill is definitely not the outdoors type. He is trying his best to make a good impression on Norman and Ethel.
Directed by Marilyn Carter.
CPCC Theatre is happy to announce the cast of Evita.
(in order of appearance)
Che…Ron T. Diaz
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.
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®ion=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
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
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
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?