CPCC State of the Arts February 2018

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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.

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

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?

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.