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 Auditions for The Crucible

Auditions for The Crucible

September 11 & 12 7:00pm Pease Auditorium

CPCC Theatre will hold auditions for The Crucible on September 11 & 12 at 7:00pm in Pease Auditorium.

CPCC Theatre is proud to bring Arthur Miller’s classic American play The Crucible to the Pease stage. Winner of the 1953 Tony Award for Best Play. This exciting drama about the Puritan purge of witchcraft in old Salem is both a gripping historical play and a timely parable of our contemporary society.  “The devil has returned to Broadway with the power to make the strong tremble. Be afraid, be very afraid.”  The N Y Times

Auditions will consist of cold readings from the script. No appointment necessary. Performances are October 27 – November 5. Rehearsal will begin on Thursday September 14th. Our normal rehearsal process is Monday through Thursday evenings 7pm to 10pm. You do not have to be a current CPCC Student to audition. All ethnicities are encouraged to audition.

All roles are open. We are seeking 10 women 16 to 60 + and 11 men 18 to 60+.

Cast of Characters:

Ages are listed as approximate. If you are in the general age RANGE or can play a

particular age, please audition. Often the ages of characters are adjusted (within

reason) when we are casting these shows.

 

John Proctor (Approximately 30-40) Honest farmer forced to defend his wife and

himself against witchcraft charges. While his wife was ill, he succumbed to

temptation and was intimate with Abigail Williams, a beautiful but malevolent 17-

year-old. Although Proctor later rejects Abigail and admits his wrongdoing to his

wife, Abigail continues to pursue him.

 

Elizabeth Proctor (Approximately late 20’s-30’s) John Proctor’s loyal and upright

wife. She comes to realize that she may have been partly at fault for her husband’s

unfaithfulness because she was not always as warm and loving as she could have

been.

 

Rev. Samuel Parris (Approximately 40’s) Salem’s current minister. A faction in his

congregation is attempting to replace him. He at first attempts to silence rumors

of witchcraft because his own daughter, Betty, and his niece, Abigail Williams,

were involved in conjuring rites. However, he later vigorously supports the witch

trials when he sees that they will work to his advantage.

 

Betty Parris (Approximately 10-15) Daughter of the Rev. Parris. At the beginning of

the play, she lies in a stupor supposedly caused by witchcraft.

 

Abigail Williams (Approximately late teens) Seventeen-year-old orphan whose

parents were killed by Indians. She lives with her uncle, the Rev. Parris, and

his daughter, Betty. In a conjuring rite in the forest, where Abigail and other

girls dance wildly around a cauldron, Abigail drinks rooster blood in attempt to

summon spirits to kill Elizabeth Proctor. Mrs. Proctor had fired Abigail from

her job as a servant at the Proctor farm because Abigail seduced her husband.

 

Tituba (Approximately 40’s – African-American) Slave of the Rev. Parris. The

minister brought her to Salem from Barbados, where she learned occult practices.

She presides at a conjuring session involving teenage and adolescent girls from

Salem.

 

Thomas & Ann Putnam (Approximately 40’s) Wealthy husband and wife who use

the witchcraft frenzy to implicate rivals and enemies.

 

Rev. John Hale (Approximately 40’s) Expert in detecting spirits. Well educated, he

takes pride in his knowledge of the occult, but he is fair-minded. Although he first

believes townspeople may be practicing witchcraft, he later defends accused

persons, in particular Mr. and Mrs. Proctor.

 

Rebecca Nurse (Approximately 60’s-70s) Charitable Salem resident whom Ann

Putnam accuses of witchcraft.

 

Mary Warren (Approximately late teens) Eighteen-year-old servant of the Proctors

who took part in the conjuring rite in the forest. She first agrees to testify against

Abigail and the others. But, under pressure from her peers and the court, she

renounces her testimony and sides with Abigail.

 

Deputy Governor John Danforth (Approximately 60’s) Presiding judge who conducts

the witchcraft hearings and trials. He admits spectral evidence (testimony of

witnesses who believe they saw townspeople in the presence of the devil) but

refuses to accept a deposition presented by John Proctor. The deposition, signed

by Mary Warren, is intended as evidence that could lead to the exoneration of

Elizabeth Proctor and others.

 

John Hathorne (Approximately 40’s-60’s) Associate Judge.

 

Giles Corey (Approximately 70’s-80’s) Innocent citizen accused of witchcraft after

he attempts to defend his wife, Martha, and expose scheming John Putnam. A

courageous 83-year-old who defies the court, he is pressed to death with heavy

stones. Martha Corey is hanged.

 

Mercy Lewis (Approximately late teens) Teenage servant of the Proctors who took

part in the conjuring rite in the forest.

 

Susanna Walcott (Approximately late teens) Teenager who took part in the rite

in the forest.

 

Sarah Good (Approximately 60+) Poor, homeless woman accused of witchcraft.

 

Francis Nurse: 70 – 85. A wealthy, influential man in Salem. Nurse is well respected by most people in Salem, but is an enemy of Thomas Putnam and his wife.

 

Ezekiel Cheever: 30 – 60. Clerk of the Court

Hopkins. A guard at Salem Jail.

 

For questions or information contact Tom Hollis by email tom.hollis@cpcc.edu or call 704-330-6835.

Single Tickets on Sale for CPCC Theatre 17/18 Season

 

Single tickets for all productions of CPCC Theatre’s 2017/18 season go on sale Friday September 1st.

 

For tickets call the SunTrust Box office at 704-330-6534 or go online 24/7 to tix.cpcc.edu.

Season Tickets on sale through Oct 1st.

 

CPCC Theatre Announces Cast for The Bridges of Madison County

CPCC Theatre is happy to announce the cast of The Bridges of Madison County.

Cast

(in order of appearance)

Francesca…Sarah Henkel

Carolyn…Leigh Ann Hrischenko/Olivia Aldridge

Michael…Gabe Sienni

Bud…Steven Martin

Marge…Taffy Allen

Charlie…Jeff Powell

Marian…Christie Lee Wolf

Chiara…Katheryn Sienni

Robert…Ryan Deal

State Fair Singer…Iris DeWitt

Ensemble…Rosemary Baldwin, Alexis Johnson, Melissa Loenke, Daniel Peirano, John O’Shields, Meredith Owen, Reed Alexander, Pamela Kugler, Mike Carroll, Rosemary Baldwin Melissa Koenke, Christy Hinkleman, Iris DeWitt

Thanks to everyone who auditioned. The talent displayed made casting a difficult process. We look forward to everyone auditioning for us again.

The Bridges of Madison County will perform September 22 to Oct 1 in the Halton Theater. Get you tickets at the SunTrust Box office 704-330-6534 or online at tix.cpcc.edu. Season tickets now on sale. Individual tickets available starting September 1st.

 

Season Tickets Now On Sale for CPCC Theatre 2017/18

Season Tickets are now on sale to the general public for CPCC Theatre’s 2017/18 Season. CPCC Theatre will present an award winning season of shows from September 22nd to April 15th showcasing the finest in theatre available in the Metrolina area. Contact the SunTrust Box Office 704-330-6534 or purchase online at tix.cpcc.edu.

Season Tickets to CPCC Theatre represent the biggest savings for all around entertainment value in the Charlotte area. Call today before the best seats are gone.

The Bridges of Madison County September 22 – October 1 Halton Theater

The Crucible October 27 – November 5 Pease Auditorium

Evita February 16-25  Halton Theater

On Golden Pond April 6 -15 Pease Auditorium

Regular Season Ticket  $ 57.00

Senior Season Ticket $53.00

Single Tickets on sale September 1st.

 

Comedy of Tenors Has Plenty of Doors and Plenty of Farce – CVNC.org Review

THROUGH 7/9: CPCC’s Comedy of Tenors Has Plenty of Doors and Plenty of Farce

Event  Information

Charlotte — Wed., Jul. 5, 2017 at 7:00 PM ( Fri., Jun. 30, 2017 – Sun., Jul. 9, 2017 )

Central Piedmont Community College: A Comedy of Tenors
$22-$18; Children $10 — Pease Auditorium, CPCC , (704) 330-6534 , http://www.facebook.com/cpccarts

June 30, 2017 – Charlotte, NC:

 

Ken Ludwig has written over 20 plays and musicals over the past quarter of a century, nine of which have now been presented in Charlotte. While the books for his two Gershwin musicals, Crazy for You and An American in Paris, display his craftsmanship, Ludwig’s most enduring comedy is undoubtedly his first Broadway hit, Lend Me a Tenor. First produced in 1989, Tenor was converted to a London musical in 2011, after a Broadway revival the previous season. So why shouldn’t the playwright entertain the notion of recycling his Tenor characters into a sequel? The idea evidently seems so natural to Central Piedmont Community College Summer Theatre, an organization that rarely produces a musical or a comedy that isn’t at least a decade old, that it has brought A Comedy of Tenors to Pease Auditorium less than two years after it premiered in Cleveland.

Ludwig brings back the arrogant and flamboyant Italian tenor Tito Merelli and his wife, Maria, both highly passionate and usually squabbling. Impresario Henry Saunders, formerly the GM of the Cleveland Grand Opera, is now bringing the greatest concert in the history of opera to Paris, still as nervous, domineering, and hot-tempered as before. Saunders is provoked, but it isn’t by his son-in-law and former assistant, Max, whose singing prowess was discovered in Cleveland a farce ago. Max is now on the bill as one of the four tenors who will wow Paris, but his father-in-law feels free to yank him out of rehearsals anyway to deal with the crisis du jour.

Fresh blood stirs up the fresh complications and misunderstandings. Back in Cleveland, it was Saunders’ daughter who was the victim of mistaken identities. Now she’s back in Cleveland, married to Max, and on the verge of delivering his first child. Instead, it’s Tito’s daughter, Mimi, who is our ingénue, embarking on a similar path of confusion. She’s in love with the third tenor on the bill, Carlo, but they haven’t yet summoned the nerve to divulge their marriage plans to her parents. In the hurly-burly of evading discovery by the Merellis, Carlo tells Maria of his plans to marry her daughter, but the eavesdropping Tito gets a vivid impression that his wife has become Carlo’s sex slave. On the flipside of this specious reason for jealousy, a real one happens to be in town, Russian soprano Tatiana Racon, Tito’s old flame. Almost forgot: on the day of the performance, the fourth tenor, Jussi Björling, cancels to attend his mother’s funeral. They will need to replace him.

Besides the repeating characters, the hotel suite setting, performer dropouts, and the last-minute frenzy of preparing to go onstage, there are other holdover motifs that link Ludwig’s Tenor farces. Both of them have pesky bellhops, both have fast-forward mash-ups of the entire show before the final bows, and whether your access route is Shakespeare or Verdi, there are comical uses of Othello to watch out for in both pieces – more subtly done in this newer farce. Under the direction of Carey Kugler, that’s about all the subtlety you will find, for the script offers an abundance of physical comedy. Slapping, frantic hiding, broad suggestions of sexual activity, and a plateful of tongue are all on the menu. There is scurrying galore during the countdown to the concert, and Biff Edge’s scenic design provides four doors plus a patio looking out on the outdoors for farcical entrances and exits.

This is 1936, so Ludwig could easily be forgiven for making his operatic saga all about the men. Yet, the women aren’t altogether objectified, and they certainly aren’t marginalized. The Russian temptress Racon can carry herself like an established diva, and we sense that Mimi isn’t destined to be a hausfrau either, since she is embarking on a movie career – a happenstance that enables costume designer Rachel Hines to expand the fashion gallery beyond eveningwear, formalwear, and lingerie. Nor is Maria, Ludwig’s Desdemona, the same pure and worshipful seraph we find in Shakespeare. In addition to the vamping, it’s the women who have the lionesses’ share of the slapping and straddling.

Drugged and suicidal in the previous Lend Me a Tenor, Tito emerges as our hero in the sequel, supplanting Max. Surely this is Craig Estep‘s finest hour in straight comedy as Tito and his lookalike, the pathologically talkative bellhop, though a couple of provisos might be added. First, he does sing here, since the three tenors are destined to rehearse the “Libiamo!” from La Traviata, and Estep’s previous hookup with James K. Flynn in Monty Python’s Spamalot was certainly a CPCC Summer Theatre gem in 2013. Flynn could have been eyeing the Tito role for himself, yet he’s perfectly cast as Saunders, just sympathetic enough in panic mode to prevent us from finding him loathsome in his overbearing moments. Winston Smith doesn’t have as much to do as Max as he would have had in Lend Me, but when it came time to sing the trio, he proved capable of holding his own with Estep. As it turns out, Max isn’t in total eclipse. Eventually, he’s the one who untangles all the twists that Ludwig has put in the plot. Gabe Saienni got far more of a workout as Carlo, hiding from his future in-laws and fleeing from Tito’s deluded jealousy, so he had to sustain his terror of Tito while remaining worthy of Mimi’s love. The only real problem in Saienni’s performance was in the trio, where he was vocally a weak link.

If I could have heard them better, I would probably find myself saying that Taffy Allen as Maria and Amanda Becker as Mimi were marvelous. Loudness wasn’t the issue. I’m leaning toward my wife Sue’s theory on Allen: the thickness of her Italian accent was probably the main barrier between Maria and me. Allen has crossed over into midlife just enough to make her credible as Tito’s wife, and her aggressive attempts to reconcile with her husband were even funnier than her previous fawning on Carlo. Deep into Act II, when sexual activity runs rampant, Allen got a chance to be jealous that she definitely didn’t waste. Becker’s audibility problems seemed to stem from a rush to adhere to Kugler’s snappy pacing. But I found her attitude delectable, both as a daughter and future bride, and her jealousy, punctuated by right-handed and left-handed slaps, could hardly have been better when Mimi suspected Carlo of carrying on with her mom.

Caroline Renfro didn’t enter the fray as Racon until Act II, but it was pretty funny when she did, since the glamorous diva instantly devoured the incredulous bellhop with her pent-up passion, mistaking him for Tito. Old flame or not, Renfro had the moves and the looks to make that old flame new. Still in a generous mood, Racon agrees to add her soprano voice to the concert, presumably because the bellhop will be a new-made star after it’s over. I’m not sure that this extra episode was as savvy as the rest of Ludwig’s script, since it required a pair of hurried scene changes. At Pease Auditorium, this final segment literally hit a snag when the curtain that had been drawn over the hotel suite to simulate the backstage scene at the opera house got stuck before we reverted to the hotel for the fast-forward rehash of the entire play. When frantic actors and stagehands finally freed to curtain so it could slide back into the wings, the audience burst into applause. More laughter ensued as Kugler’s recap, even faster than the pace that had previously prevailed, was tossed off with an overacted style truly befitting a silent film.

A Comedy of Tenors continues through Sunday, July 9

A Comedy of Tenors Opens at CPCC Summer Theatre ’17

Ken Ludwig’s A Comedy of Tenors

June 30 – July 9

Pease Auditorium

One hotel suite, four tenors, two wives, three girlfriends, and a soccer stadium filled with screaming fans. What could possibly go wrong? It’s 1930s Paris and the stage is set for the concert of the century—as long as producer Henry Saunders can keep Italian superstar Tito Merelli and his hot-blooded wife Maria from causing runaway chaos. Prepare for an uproarious ride, full of mistaken identities, bedroom hijinks, and madcap delight.  Ken Ludwig does the impossible in A Comedy of Tenors he has created a sequel to the his 90’s comic hit Lend Me Tenor that is just as much fun as the original.  “From conception to execution, everything about A Comedy of Tenors hits on all comedic cylinders and, as advertised, is laugh-out-loud funny.” – The News-Hearld,

Tickets at the SunTrust box office 704-330-6534 or online at CPCCTix

State of the Arts June 2017

CPCC State of the Arts June 2017

Summer Theatre 2017 is going strong. Click on the banners below to order tickets online for any show. Or call the SunTrust box office at 704-330-6534 fro 10:00am to show time.