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 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.

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.

 

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