A
For more information, please check out our =
website=20
at
Cuyahoga Community = College
CENTER FOR ARTS AND = CULTURE
CONTEMPORARY VISIONS = SERIES PRESENTS
CHARLIE VICTOR = ROMEO
CVR/COCKPIT VOICE = RECORDER
THURSDAY, APRIL 4, 2002 = - 8 P.M.
FRIDAY, APRIL 5 - 8 = P.M.
PERFORMING ARTS CENTER = (EAST CAMPUS THEATRE)
Tickets: $18; call = tickets.com at 216-241-6000 or purchase tickets at the box office, open = 2 hours prior to each performance.
Charlie Victor Romeo (CVR) is a live = performance documentary derived entirely from the black box or cockpit = voice recorders (also known as charlie victor romeos), transcripts from = six major real-life airline emergencies. CVR allows the audience = to enter the tension-filled cockpits of actual flights in distress, = in-flight airline emergencies. CVR is a fascinating portrait of = the psychology of crisis and a testimony to the ability to live to the = last second of life. What is going on up there behind the door in = the front of the airplane? Who are these people we trust our = lives to, and what do they really do when things go horribly = wrong?
The performance begins with flight = attendants issuing standard safety instructions and then suddenly = mundane cockpit conversation about weather and fuel is interrupted by = shrill alarms from the instrument panel indicating a flight gone = awry. Attendees are sure to shift to the edge of their seats as = this reality-based portrayal recreates the six airline emergencies, = from failed engines to malfunctioning flight controls, and incorrect = readings.
Created by Bob Berger, Patrick = Daniels, and Irving Gregory with sound design by Jamie Mereness, = Charlie Victor Romeo opened in the fall of 1999 at the Collective: = Unconscious Theater in the heart of New York's Lower East Side's = thriving artistic community. Due to the overwhelming response = from the press, aviation community and the general public, CVR extended = five times in an entirely sold-out eight-month run and is now on a = national tour.
As this experimental theatre piece was = booked prior to the September 11th tragedy, we hope to sensitively = provide a context for our audience to meaningfully experience the = performances: we are hosting debriefing sessions facilitated by = representatives of The Katan Center of the Cleveland Psychoanalytic = Society immediately following both performances.
Embraced by the aviation community for = its unsparing truthfulness and dedication to its non-sensation = approach, Charlie Victor Romeo has been filmed by the US Air Force as a = training video for pilots and has been observed by West Point cadets = enrolled in courses studying engineering psychology and human = error.
CVR has also generated great interest = from the medical community and has been performed for groups of = physicians and healthcare administrators studying the effects of human = error and emergencies in a medical context.
Charlie Victor Romeo has received = several awards and has been heralded as an important dramatic and = technical work by many including The New York Times, The Wall = Street Journal and PBS's = "NewsHour with Jim Lehrer."
Note: Content includes adult language = and themes.
J. Kay Coughlin
CCC Center for Arts and =
Culture
216/987-2544
Arts in Strongsville
Sandra Kornick, Chair
P.O. Box 360765
Strongsville, OH 44136
(440) 238-3693
April . . .
Check out Arts in Strongsville's Calendar of Events for April. You'll find a month-long cultural and performing arts fest filled with something exciting for everyone -- men, women, teens & kids of all ages.
Call (440)238-3693, now to register for workshops, lectures and get tickets for the special events.
. Mondays, April 1, 8, 22, & 29th
7 PM - 8:30 PM
"Battle of the Sexes in Shakespeare"
A series of four Free workshops
By Dr. Susan C. Oldrieve
Professor of English, B-W College
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
(with support from the Ohio Arts Council)
. Tuesdays, April 2nd & 9th
7 PM - 8:30 PM
"Wake Up, Get Up, Get Busy!"
A series of two Free lectures for teens & young adults
by Sue Johnson, actor/director, WAKE UP And LIVE's Actors' Studio
Each session is designed specifically for teens & young adults who want to
discover, explore & enhance their own personal power in all settings - at
school, at work and at play!
Tues., April 2nd: "Acting Techniques to Create a New You"
Tues., April 9th: "Acting Techniques to Develop & Use Your Creative
Power Within"
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
. Friday, April 5th
7:30 PM
a FREE Performance of . . .
"Stumble"
a Great Lakes Theater Festival's Outreach Touring Production
written by Sarah Morton
directed by Todd S. Krispinsky
"Stumble" explores the obstacles to expressing true emotion in our profound
quest to unlock the complexities of the human heart.
The Holiday Inn Select of Strongsville (Sponsor for this event)
Interstate 71 & Royalton Rd., Strongsville, OH
Suitable for Older Teens & Adults
For reservations, (440) 238-3693 or (440) 572-0439
. Saturday, April 20th
7:30 PM
A Mexican Fiesta!
at
The Holiday Inn Select of Strongsville
. Bazaar & Flea Market
. Mexican/American Cuisine
. Dancing to Deejay, Jorge Corona
. Live Entertainment . . .
Angel Sanchez's
Mexican Strolling Guitars
&
Tepehuani Nelli's Mexican Dancers
Cash Bar
$40.00 per person
A "Fun"d-raiser for Arts in Strongsville
(with support from the Ohio Arts Council)
For tickets, (440) 238-3693 or (440) 572-0439
Don't miss out on these great opportunities to get to know about our
Arts in Strongsville special programs and events. Be sure to call Sandy Kornick,
Chair, (440) 238-3693 or (440) 572-0439 for more information or to get involved.
JUST A REMINDER THAT AUDITIONS FOR BEREA SUMMER THEATRE
WILL BE HELD THIS WEEKEND
APRIL 5th - 8th
CALL JOHN NOLAN AT 440-826-3360
TO SCHEDULE AN APPOINTMENT
Enesmble Theatre
still at the Civic
presents
A Cleveland Premiere
by Warren Leight
SIDE MAN
1999 Tony Award Winner BEST PLAY
featuring
Joseph Bonamico, Alan Byrne, Charles Kartali
Jeffrey Grover, Timothy Coles
and nancy Telzerow as Terry
A deeply moving memoriy play about the golden days of Jazz
featuring music by Cliiford Brown and Miles Davis
April 4 - 21
216-321-2930
Child = Stars?=20 How about "Porn Star"! Read this shocking research article on the = shady=20 underworld of the Olsen Twins! |
||||||||||||||
Please check=20 the date section of The Human Zoo to = find out=20 when they will be playing in your town! |
||||||||||||||
Tom Meyrose
Managing Director
P.O.Box 770056
Lakewood, Ohio 44107
E-mail replies are also welcome at huntheatre at aol.com
Tom Meyrose
440-871-8333
Don't miss=20
the final weekend of Eugene O'Neill's
The Hairy Ape=20 as directed by David Herskovits, at Cleveland Public Theatre =
this Friday=20 and Saturday at 8:00pm and Sunday at 3:00pm.
At Cleveland=20 Public Theatre, 6415 Detroit Avenue, a mere four minutes from=20 downtown.
Call 216.631.2727 for tickets and=20 information.
Mark =
your calendars=20
for these upcoming CPT events as well:
AT CLEVELAND PUBLIC =
THEATRE
Cleveland Public Theatre opens its doors to the community to =
witness=20
the power of the arts in the lives of our youth. CPT prides itself on =
its=20
commitment to bringing the arts to the inner-city. Now for one night =
only we=20
showcase the talents of some of the 200 youth we work with on a weekly=20
basis.
Saturday April 20, 2002 at 7:00pm
Admission is free and =
open to=20
the public
COSMIC ELEPHANT =
SALE
April=20
20, 2002 Gordon=20
SquareTheatre
Cleveland Public Theatre offers its finest in objects =
ranging=20
from the usual to the unusual including: jewelry, vintage and =
contemporary=20
clothing, books, furniture, Italian posters as well as posters from the =
'60s and=20
much much more at bargain basement prices.
Saturday April 20, =
2002 at=20
10:00am - 5:00pm
Admission is free and open to the =
public
May 3 -12, 2002=20
Gordon Square Theatre
By =
James A.=20
Levin and Linda Eisenstein
Directed by Randy Rollison
This satiric =
musical=20
retelling of the innocent Percival's quest for the Holy Grail takes =
place in an=20
Arthurian kingdom in disarray that may seem oddly familiar: with Knights =
of the=20
Benevolent Nation enforcing homeland security, greedy barons, and Grails =
For=20
Sale at the Castle Mall. Told through the eyes of a seen-it-all-before=20
prophetess named Cassandra, the audience is led on a magical musical =
journey=20
that eventually brings us right back home again. Written by James A. =
Levin and=20
Linda Eisenstein, authors of the legendary rock comedy, Star Wares: The =
Next=20
Generation.
Thursday through Saturday at 8:00pm
Sundays at=20
3:00pm
Regular Admission: $10.00
Students =
and=20
Seniors: $8.
UNDERGROUND GRIOTS- A FESTIVAL OF =
ONE=20
ACTS
Parma Senior High School Drama Department
Specifically looking for those who play: Trumpet, Trombone, Percussion,
Reeds (clarinet, flute, tenor saxophone,
alto saxophone, and/or baritone saxophone)
Pay: $200.00
Rehearsal commitments: Sunday, April 7th, from 1:00 - 9:00pm
Thursday, April 11th, from 6:00 - 11:00pm
Performance commitments: Friday, April 12th, at 8:00pm
Saturday, April 13th, at 2:00pm
Sunday, April 14th, at 2:00pm
Please contact Steve Higginbotham, PSH Drama Director, at PSHDramaClub at aol.com if you are interested and available for this production. Or, if you would rather call to voice your interest, please call Assistant Director, Keighty Coffey, at 216-225-5951 as soon as possible.
Thank you in advance for your time and talents!
An actor friend of mine who is now getting into film was recently BURNED by a company claiming to be a talent agency in the Ohio area.
SAG has received RECENT information from several concerned actors and models from the area who have received phone calls from an agency or agencies looking to 'represent' them from Cleveland and more East of downtown. It is my opinion that a reputable agency would not use such techniques and you should end this phone call immediately! Typical scams ask for money up front, such as $20 here or $60 there to take classes, go to shows or get your photos and sometimes get you work. Many of these operations prey on newcomers trying to get started in this business.
Because of my legal background and former acting experience, I thought it was deemed necessary to take some action and let you ALL know of a few RULES that a REAL agency CANNOT break!
Things to Remember When Trying to Recognize a SCAM:
Check here for legit AGENTS:---> http://www.sag.org/agentlist/
Agents do not advertise!
According to the indusrty's EIC Code of Ethics, talent and background agents cannot advertise to the general public.
Agents do not provide photographic services or charge to give classes!
A reputable agent may suggest specific photographers or classes to you but cannot require you to use them by the EIC code or even pay for them through the agencies own services.
An agency DOES NOT charge and is NOT ALLOWED by the EIC code to charge more than 10%
If an agency, with NO track record and no license, charges more than 10% for their services? They can be held liable.
Children and extras do not need professional-quality photos!
Babies and toddlers never need professional photos. Extras need to provide a snapshot to their agents. Children under the age of ten do not need professional photos unless they are working regularly.
An agent cannot guarantee work!
An agent who tells you that they have work for you must give you a copy of the signed contract along with the details of the job (who is hiring you, what you will be paid, etc.) If you have heard the word GUARANTEE, then you can sue for not getting the work promised.
Agents are not casting directors!
Agents earn commissions when their clients work ONLY. Casting directors are paid by the production and never take money from performers for any reason.
Agents specialize!
Agents usually represent actors, extras or models. Be wary if the agency claims to represent all of these categories plus a number of other services.
A PRINCIPAL agent will rarely represent you if you have no experience or training!
Legitimate talent agents usually require actors to have some professional training and some theater or film experience.
ONLY background agents will represent inexperienced people who have no training and will generally try to get them non-speaking roles as extras.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or for many other services used to separate you from your money.
If you are signed as a client by a legitimate talent agency, you will pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Legitimate talent agencies normally do not advertise for clients in newspaper classified columns nor do they solicit through the mail. If a purported talent agent seeks to send you to a particular photographer for pictures, hold your wallet tight and run for the nearest exit. Chances are s/he's a phony and receives a cut of the photographer's fee. If you need photographs, choose your own photographer. Better still, try another agent.
Want more? Listen to an informative, recorded message AND call (323) 549-6792.
Or VISIT: http://www.sag.com/wannabefaqs.html
Be careful and SAVE A FRIEND by passing this on!!!
Thank you!
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
I JUST GOT THIS EMAIL FROM A FRIEND OF MINE (Cristian Cruz) WHO IS SAG/AFTRA licensed and thought I'd share since it was similar to what b2k posted regarding SCAMS in OHIO:
----- Original Message -----
From: "Cristian C."
To: <Now-U-Know at rocketmail.com>
Sent: Sunday, March 3, 2002 8:25 PM
Subject: Look out man!
Mitch, as you already know, things are heating up out there in Cleveland regarding all these people looking to start agencies. But here are a few things you should tell other actors that might not be fortunate to know what we know.
There is a current list of SAG franchised talent agents on the SAG web site. In fairness to all franchised agents, SAG does not recommend any one franchised agent over any other. Some of the franchised agents also handle modeling and print work. You'll need to check those details out for yourself as Screen Actors Guild does not have jurisdiction in those areas with these details.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or anything like that. If you are signed as a client by a legitimate talent agency, you're just gonna pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Ever.
Incidentally, SAG does not have a formal relationship with "personal" or "business" managers. That doesn't mean they are bad or unnecessary; it just means that the Guild does not have an institutional relationship with them. There are well-established firms engaged in personal and business management. However, such firms usually handle established artists, and they neither advertise for newcomers, nor promise employment. The telephone number for the Talent Managers Association formerly the Conference of Personal Managers is 310-205-8495.
Otherwise than that, make good choices and never give more than 10 percent unless you sign an open contract. (N.E.) Any GOOD lawyer will tell you that.
I hope all is well and I can't to see you and your family at the party. Hope all is well at "The Compound", MITCHY RICH!!! LOL
C.C.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
A. Principal Performer Employment:
Performers may join SAG upon proof of employment or prospective employment within two weeks or less by a SAG signatory company. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, a payroll check or check stub, or a letter from the company (on company letterhead) The document proving employment must provide the following information: applicant's name and Social Security number, the name of the production or the commercial (the product name), the salary paid in dollar amount, and the specific date(s) worked.
B. Background Players Employment
Performers may join SAG upon proof of employment as a SAG covered background player at full SAG rates and conditions for a MINIMUM of three workdays subsequent to March 25, 1990. Employment must be by a company signed to a SAG Background Players Agreement, and in a SAG film, videotape, television program or commercial. Proof of such employment must be in the form of a signed employment voucher (or time card), plus an original payroll check or check stub. Such documents must provide the same information listed in paragraph 1)A above.
To join SAG, a performer must pay an initiation fee of $1,272.00, plus the first semi-annual basic dues. All joining fees are payable in full, in cashier's check or money order, at the time of application. NO PERSONAL CHECKS are accepted for joining fees. Fees may be lower if you join in some branch areas.
SAG dues are based on all earnings under SAG contracts in the prior calendar year. Earnings that were unreported in their nominal year, but reported in a later year, will be considered in the year of reporting for the purpose of calculating dues. Each SAG member pays basic annual dues of $100.00. In addition members will pay percentage dues of 1.85% of all earnings under SAG contracts up through $200,000, and 0.5% on all earnings from $200,001 through $500,000.
Dues are calculated on an annual basis, and paid in two installments ? the first on May 1, and the second on November 1. Bills are mailed to the address of record before each due date. Members who do not receive bills are responsible for requesting duplicates. Dues payments may be made by cash, check, or money order, in person or by mail to Cashier, Screen Actors Guild, 5757 Wilshire Boulevard, Los Angeles, CA 90036. Please put your member IDN, which is on your bill under your name, on your check.
Your application and proof of employment will be fully investigated by the Guild. Your application for SAG membership will be denied if you have falsified your credentials, or if your qualifying employment is not bona fide. While it is your responsibility to ascertain the validity of your qualifying employment, the Guild will be the sole arbiter in determining whether the employer was legitimate or bogus, and whether the qualifying employment which you performed was actual production work or work created solely to enable you to gain Guild membership. Please be aware that false representation or deception on your part will jeopardize your chances to join the Guild. Further, if after your application has been granted the Guild discovers such misconduct on your part, you may find yourself subject to disciplinary proceedings which could result in your being fined, suspended and/or expelled from the Guild.
If you are eligible under the conditions stated above, please contact your nearest SAG office BEFORE COMING IN so we can advise you of the amount of your joining fee and arrange an appointment with the New Membership Department.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
Edward Albee's play WHO'S AFRAID OF VIRGINIA WOOLF? opened on
Broadway on October 13, 1962. That same month, the world seemed poised on the
edge of a nuclear war when the United States faced off against the Soviet Union over
the presence of nuclear weapons on Cuba. Much like the missile crisis, George and
Martha, the play's protagonists, hurl threats, epitaphs, and fight a battle of wills.
Interestingly, though the play is considered to be one of modern America's
classics, the script did not win the Pulitzer Prize. The committee actually selected it as
the winner. However, the award is overseen by Columbia University, and the trustees
decided that the explicit language, interest in "taboo" subjects, and controversial public
reception made it the wrong choice. Nonetheless, it won the New York Drama Critics
Circle Award and the Tony Award for Best Play that year.
In this era of Jerry Springer and similar television shows which are embraced by
the public, the profanity and hateful words between George and Martha that so
shocked audiences in the 1960's, now seems commonplace.
The story concerns the relationship between George, a history professor, and his
wife, Martha, the daughter of the college's president. It depicts a series of battle games
with escalating stakes upon which George and Martha have built their marriage. The
proceedings encompass a young couple, Honey and Nick, who are guests in the house.
Director Neil Thackaberry, in a master stroke of interpretation, decided to pull
away from the oft-used device of George and Martha constantly shouting at each other.
Instead, using a clue from the script in which the characters comment on the fact that
they are "numbed enough," he chose to have them underplay their lines. This is not to
say the venom is not present. Much like snakes, the couple strikes quickly and often,
subtly, with deadly results.
Paula Duesing and Tom Fulton's performances are both astounding and
outstanding. They totally understand the nuances of Albee's lines and live their roles.
Though his lines are effectively delivered, Peter Voinovich doesn't have the
physical presence to play Nick, the young professor who is described as a stallion. In
addition, he sometimes feigns feeling with exaggerated facial expressions.
Susanna Hobrath shrilly whines her way through the role of Nick's wife Honey,
making her spaced out rather than pathetic.
Robert Stegmiller's light and set designs are excellent.
Actors' Studio should be justly proud of their mounting of WHO'S AFRAID OF
VIRGINIA WOOLF. If you like fine modern theatre at its best, see this production.
WHO'S AFRAID OF VIRGINIA WOOLF runs through April 21 at Actors' Summit, 86
Owen Brown Street in downtown Hudson. Call 330-342-0800 or go online at www.actorssummit.org for
tickets and directions.
OHIO BALLET'S HAMLET, THE BALLET VISUALLY EFFECTIVE
Earlier this year the Ohio and Dayton Ballet companies combined to present a
wonderful dance version of PETER PAN. Their newest joint venture is the full-length
balletic version of Shakespeare's HAMLET. Though the production does not reach the
excitement level of PETER PAN, HAMLET, THE BALLET makes for an enjoyable
evening of dance.
Choreographing to contemporary composer Phillip Glass's composition,
choreographer Stephen Mills wisely chose to stylize the production. Mills, the Artistic
Director of Ballet Austin, was hailed by Dance Magazine for his sleek and sophisticated
version of HAMLET, THE BALLET. And sleek and sophisticated it is. Except for the
repeated device of using vertical leaps to portray anguish, the choreography showed
texturing and integration of music and movement.
The ballet follows the Hamlet story closely enough that viewers familiar with the
Shakespearean piece have no trouble in understanding the danced story. In general,
Hamlet's father is killed by his uncle Claudius. Claudius marries Hamlet's mother.
Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him
to revenge his death. In the process of plotting revenge, more murder, intrigue and
finally the destruction of Hamlet's world, as we know it takes place.
Kirk Henning, who portrayed Hamlet on opening night, danced with ease but
he lacked the physical and emotional presence needed to portray the great brooding
and bigger-than-life character. Rachel Carmazzi was lovely as the emotionally tortured
Ophelia. Mary Beth Hansohn danced and portrayed the role of Gertrude with strength
and power. Dmitry Tubolstev, as he has done in previous performances, continues to
feign emotion. Though adequately danced, his Claudius was overacted. Brian Murphy
exerted his usual strong presence as Laertes. The sword fight between Murphy and
Henning was extremely effective and well staged.
Tony Tucci's lighting design, Christopher McCollum's contemporary costumes,
and Jeffrey Main's scenic design added a strong visual dimension to the production.
HAMLET, THE BALLET which was performed on April 5 & 6 at the State Theatre
in Cleveland, will be performed on April 12 and 13 at Akron's E. J. Thomas hall.. For
Akron tickets call 330-972-7570.
GROUNDWORKS DANCE THEATER--A SPECIAL TREAT
Anyone in Northeastern Ohio who appreciates dance and has not had the
experience of attending a performance of GROUNDWORKS DANCETHEATRE, has
missed out on one of the country's most exciting companies. Headed by Artistic
Director David Shimotakahara the group performs in various settings. Their latest
offerings were staged at Actors' Summit in Hudson. Performing to well-deserved near
sold-out audiences, the combination of dance and musical performances by pianist
David Fisher and guitarist Stephen Aron, was an emotionally fulfilling evening. Last Weekend to see the area premier
Because the performances will not be repeated individual selections will not be
reviewed, but readers are encouraged to call 216-932-0222 for information about future
programs or to go online to www.grounworksdance.org.
--0-1299983753-1018232554=:64631--
From FSternfeld at aol.com Sun Apr 7 22:52:10 2002
From: FSternfeld at aol.com (FSternfeld at aol.com)
Date: Sun Apr 7 22:52:10 2002
Subject: [NEohioPAL]Last Weekend to see "Saturday Night" at Beck Center
Message-ID: <3a.24c6aa75.29e26625@aol.com>
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Last Weekend to see the area premier
of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
"a model of theatrical craftsmanship"
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
for complete reviews, production photos, cast list, production staff & ticket
information, you can visit my website at http://www.fredsternfeld.com
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of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
A
For more information, please check out our =
website=20
at
Cuyahoga Community = College
CENTER FOR ARTS AND = CULTURE
CONTEMPORARY VISIONS = SERIES PRESENTS
CHARLIE VICTOR = ROMEO
CVR/COCKPIT VOICE = RECORDER
THURSDAY, APRIL 4, 2002 = - 8 P.M.
FRIDAY, APRIL 5 - 8 = P.M.
PERFORMING ARTS CENTER = (EAST CAMPUS THEATRE)
Tickets: $18; call = tickets.com at 216-241-6000 or purchase tickets at the box office, open = 2 hours prior to each performance.
Charlie Victor Romeo (CVR) is a live = performance documentary derived entirely from the black box or cockpit = voice recorders (also known as charlie victor romeos), transcripts from = six major real-life airline emergencies. CVR allows the audience = to enter the tension-filled cockpits of actual flights in distress, = in-flight airline emergencies. CVR is a fascinating portrait of = the psychology of crisis and a testimony to the ability to live to the = last second of life. What is going on up there behind the door in = the front of the airplane? Who are these people we trust our = lives to, and what do they really do when things go horribly = wrong?
The performance begins with flight = attendants issuing standard safety instructions and then suddenly = mundane cockpit conversation about weather and fuel is interrupted by = shrill alarms from the instrument panel indicating a flight gone = awry. Attendees are sure to shift to the edge of their seats as = this reality-based portrayal recreates the six airline emergencies, = from failed engines to malfunctioning flight controls, and incorrect = readings.
Created by Bob Berger, Patrick = Daniels, and Irving Gregory with sound design by Jamie Mereness, = Charlie Victor Romeo opened in the fall of 1999 at the Collective: = Unconscious Theater in the heart of New York's Lower East Side's = thriving artistic community. Due to the overwhelming response = from the press, aviation community and the general public, CVR extended = five times in an entirely sold-out eight-month run and is now on a = national tour.
As this experimental theatre piece was = booked prior to the September 11th tragedy, we hope to sensitively = provide a context for our audience to meaningfully experience the = performances: we are hosting debriefing sessions facilitated by = representatives of The Katan Center of the Cleveland Psychoanalytic = Society immediately following both performances.
Embraced by the aviation community for = its unsparing truthfulness and dedication to its non-sensation = approach, Charlie Victor Romeo has been filmed by the US Air Force as a = training video for pilots and has been observed by West Point cadets = enrolled in courses studying engineering psychology and human = error.
CVR has also generated great interest = from the medical community and has been performed for groups of = physicians and healthcare administrators studying the effects of human = error and emergencies in a medical context.
Charlie Victor Romeo has received = several awards and has been heralded as an important dramatic and = technical work by many including The New York Times, The Wall = Street Journal and PBS's = "NewsHour with Jim Lehrer."
Note: Content includes adult language = and themes.
J. Kay Coughlin
CCC Center for Arts and =
Culture
216/987-2544
Arts in Strongsville
Sandra Kornick, Chair
P.O. Box 360765
Strongsville, OH 44136
(440) 238-3693
April . . .
Check out Arts in Strongsville's Calendar of Events for April. You'll find a month-long cultural and performing arts fest filled with something exciting for everyone -- men, women, teens & kids of all ages.
Call (440)238-3693, now to register for workshops, lectures and get tickets for the special events.
. Mondays, April 1, 8, 22, & 29th
7 PM - 8:30 PM
"Battle of the Sexes in Shakespeare"
A series of four Free workshops
By Dr. Susan C. Oldrieve
Professor of English, B-W College
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
(with support from the Ohio Arts Council)
. Tuesdays, April 2nd & 9th
7 PM - 8:30 PM
"Wake Up, Get Up, Get Busy!"
A series of two Free lectures for teens & young adults
by Sue Johnson, actor/director, WAKE UP And LIVE's Actors' Studio
Each session is designed specifically for teens & young adults who want to
discover, explore & enhance their own personal power in all settings - at
school, at work and at play!
Tues., April 2nd: "Acting Techniques to Create a New You"
Tues., April 9th: "Acting Techniques to Develop & Use Your Creative
Power Within"
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
. Friday, April 5th
7:30 PM
a FREE Performance of . . .
"Stumble"
a Great Lakes Theater Festival's Outreach Touring Production
written by Sarah Morton
directed by Todd S. Krispinsky
"Stumble" explores the obstacles to expressing true emotion in our profound
quest to unlock the complexities of the human heart.
The Holiday Inn Select of Strongsville (Sponsor for this event)
Interstate 71 & Royalton Rd., Strongsville, OH
Suitable for Older Teens & Adults
For reservations, (440) 238-3693 or (440) 572-0439
. Saturday, April 20th
7:30 PM
A Mexican Fiesta!
at
The Holiday Inn Select of Strongsville
. Bazaar & Flea Market
. Mexican/American Cuisine
. Dancing to Deejay, Jorge Corona
. Live Entertainment . . .
Angel Sanchez's
Mexican Strolling Guitars
&
Tepehuani Nelli's Mexican Dancers
Cash Bar
$40.00 per person
A "Fun"d-raiser for Arts in Strongsville
(with support from the Ohio Arts Council)
For tickets, (440) 238-3693 or (440) 572-0439
Don't miss out on these great opportunities to get to know about our
Arts in Strongsville special programs and events. Be sure to call Sandy Kornick,
Chair, (440) 238-3693 or (440) 572-0439 for more information or to get involved.
JUST A REMINDER THAT AUDITIONS FOR BEREA SUMMER THEATRE
WILL BE HELD THIS WEEKEND
APRIL 5th - 8th
CALL JOHN NOLAN AT 440-826-3360
TO SCHEDULE AN APPOINTMENT
Enesmble Theatre
still at the Civic
presents
A Cleveland Premiere
by Warren Leight
SIDE MAN
1999 Tony Award Winner BEST PLAY
featuring
Joseph Bonamico, Alan Byrne, Charles Kartali
Jeffrey Grover, Timothy Coles
and nancy Telzerow as Terry
A deeply moving memoriy play about the golden days of Jazz
featuring music by Cliiford Brown and Miles Davis
April 4 - 21
216-321-2930
Child = Stars?=20 How about "Porn Star"! Read this shocking research article on the = shady=20 underworld of the Olsen Twins! |
||||||||||||||
Please check=20 the date section of The Human Zoo to = find out=20 when they will be playing in your town! |
||||||||||||||
Tom Meyrose
Managing Director
P.O.Box 770056
Lakewood, Ohio 44107
E-mail replies are also welcome at huntheatre at aol.com
Tom Meyrose
440-871-8333
Don't miss=20
the final weekend of Eugene O'Neill's
The Hairy Ape=20 as directed by David Herskovits, at Cleveland Public Theatre =
this Friday=20 and Saturday at 8:00pm and Sunday at 3:00pm.
At Cleveland=20 Public Theatre, 6415 Detroit Avenue, a mere four minutes from=20 downtown.
Call 216.631.2727 for tickets and=20 information.
Mark =
your calendars=20
for these upcoming CPT events as well:
AT CLEVELAND PUBLIC =
THEATRE
Cleveland Public Theatre opens its doors to the community to =
witness=20
the power of the arts in the lives of our youth. CPT prides itself on =
its=20
commitment to bringing the arts to the inner-city. Now for one night =
only we=20
showcase the talents of some of the 200 youth we work with on a weekly=20
basis.
Saturday April 20, 2002 at 7:00pm
Admission is free and =
open to=20
the public
COSMIC ELEPHANT =
SALE
April=20
20, 2002 Gordon=20
SquareTheatre
Cleveland Public Theatre offers its finest in objects =
ranging=20
from the usual to the unusual including: jewelry, vintage and =
contemporary=20
clothing, books, furniture, Italian posters as well as posters from the =
'60s and=20
much much more at bargain basement prices.
Saturday April 20, =
2002 at=20
10:00am - 5:00pm
Admission is free and open to the =
public
May 3 -12, 2002=20
Gordon Square Theatre
By =
James A.=20
Levin and Linda Eisenstein
Directed by Randy Rollison
This satiric =
musical=20
retelling of the innocent Percival's quest for the Holy Grail takes =
place in an=20
Arthurian kingdom in disarray that may seem oddly familiar: with Knights =
of the=20
Benevolent Nation enforcing homeland security, greedy barons, and Grails =
For=20
Sale at the Castle Mall. Told through the eyes of a seen-it-all-before=20
prophetess named Cassandra, the audience is led on a magical musical =
journey=20
that eventually brings us right back home again. Written by James A. =
Levin and=20
Linda Eisenstein, authors of the legendary rock comedy, Star Wares: The =
Next=20
Generation.
Thursday through Saturday at 8:00pm
Sundays at=20
3:00pm
Regular Admission: $10.00
Students =
and=20
Seniors: $8.
UNDERGROUND GRIOTS- A FESTIVAL OF =
ONE=20
ACTS
Parma Senior High School Drama Department
Specifically looking for those who play: Trumpet, Trombone, Percussion,
Reeds (clarinet, flute, tenor saxophone,
alto saxophone, and/or baritone saxophone)
Pay: $200.00
Rehearsal commitments: Sunday, April 7th, from 1:00 - 9:00pm
Thursday, April 11th, from 6:00 - 11:00pm
Performance commitments: Friday, April 12th, at 8:00pm
Saturday, April 13th, at 2:00pm
Sunday, April 14th, at 2:00pm
Please contact Steve Higginbotham, PSH Drama Director, at PSHDramaClub at aol.com if you are interested and available for this production. Or, if you would rather call to voice your interest, please call Assistant Director, Keighty Coffey, at 216-225-5951 as soon as possible.
Thank you in advance for your time and talents!
An actor friend of mine who is now getting into film was recently BURNED by a company claiming to be a talent agency in the Ohio area.
SAG has received RECENT information from several concerned actors and models from the area who have received phone calls from an agency or agencies looking to 'represent' them from Cleveland and more East of downtown. It is my opinion that a reputable agency would not use such techniques and you should end this phone call immediately! Typical scams ask for money up front, such as $20 here or $60 there to take classes, go to shows or get your photos and sometimes get you work. Many of these operations prey on newcomers trying to get started in this business.
Because of my legal background and former acting experience, I thought it was deemed necessary to take some action and let you ALL know of a few RULES that a REAL agency CANNOT break!
Things to Remember When Trying to Recognize a SCAM:
Check here for legit AGENTS:---> http://www.sag.org/agentlist/
Agents do not advertise!
According to the indusrty's EIC Code of Ethics, talent and background agents cannot advertise to the general public.
Agents do not provide photographic services or charge to give classes!
A reputable agent may suggest specific photographers or classes to you but cannot require you to use them by the EIC code or even pay for them through the agencies own services.
An agency DOES NOT charge and is NOT ALLOWED by the EIC code to charge more than 10%
If an agency, with NO track record and no license, charges more than 10% for their services? They can be held liable.
Children and extras do not need professional-quality photos!
Babies and toddlers never need professional photos. Extras need to provide a snapshot to their agents. Children under the age of ten do not need professional photos unless they are working regularly.
An agent cannot guarantee work!
An agent who tells you that they have work for you must give you a copy of the signed contract along with the details of the job (who is hiring you, what you will be paid, etc.) If you have heard the word GUARANTEE, then you can sue for not getting the work promised.
Agents are not casting directors!
Agents earn commissions when their clients work ONLY. Casting directors are paid by the production and never take money from performers for any reason.
Agents specialize!
Agents usually represent actors, extras or models. Be wary if the agency claims to represent all of these categories plus a number of other services.
A PRINCIPAL agent will rarely represent you if you have no experience or training!
Legitimate talent agents usually require actors to have some professional training and some theater or film experience.
ONLY background agents will represent inexperienced people who have no training and will generally try to get them non-speaking roles as extras.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or for many other services used to separate you from your money.
If you are signed as a client by a legitimate talent agency, you will pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Legitimate talent agencies normally do not advertise for clients in newspaper classified columns nor do they solicit through the mail. If a purported talent agent seeks to send you to a particular photographer for pictures, hold your wallet tight and run for the nearest exit. Chances are s/he's a phony and receives a cut of the photographer's fee. If you need photographs, choose your own photographer. Better still, try another agent.
Want more? Listen to an informative, recorded message AND call (323) 549-6792.
Or VISIT: http://www.sag.com/wannabefaqs.html
Be careful and SAVE A FRIEND by passing this on!!!
Thank you!
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
I JUST GOT THIS EMAIL FROM A FRIEND OF MINE (Cristian Cruz) WHO IS SAG/AFTRA licensed and thought I'd share since it was similar to what b2k posted regarding SCAMS in OHIO:
----- Original Message -----
From: "Cristian C."
To: <Now-U-Know at rocketmail.com>
Sent: Sunday, March 3, 2002 8:25 PM
Subject: Look out man!
Mitch, as you already know, things are heating up out there in Cleveland regarding all these people looking to start agencies. But here are a few things you should tell other actors that might not be fortunate to know what we know.
There is a current list of SAG franchised talent agents on the SAG web site. In fairness to all franchised agents, SAG does not recommend any one franchised agent over any other. Some of the franchised agents also handle modeling and print work. You'll need to check those details out for yourself as Screen Actors Guild does not have jurisdiction in those areas with these details.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or anything like that. If you are signed as a client by a legitimate talent agency, you're just gonna pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Ever.
Incidentally, SAG does not have a formal relationship with "personal" or "business" managers. That doesn't mean they are bad or unnecessary; it just means that the Guild does not have an institutional relationship with them. There are well-established firms engaged in personal and business management. However, such firms usually handle established artists, and they neither advertise for newcomers, nor promise employment. The telephone number for the Talent Managers Association formerly the Conference of Personal Managers is 310-205-8495.
Otherwise than that, make good choices and never give more than 10 percent unless you sign an open contract. (N.E.) Any GOOD lawyer will tell you that.
I hope all is well and I can't to see you and your family at the party. Hope all is well at "The Compound", MITCHY RICH!!! LOL
C.C.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
A. Principal Performer Employment:
Performers may join SAG upon proof of employment or prospective employment within two weeks or less by a SAG signatory company. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, a payroll check or check stub, or a letter from the company (on company letterhead) The document proving employment must provide the following information: applicant's name and Social Security number, the name of the production or the commercial (the product name), the salary paid in dollar amount, and the specific date(s) worked.
B. Background Players Employment
Performers may join SAG upon proof of employment as a SAG covered background player at full SAG rates and conditions for a MINIMUM of three workdays subsequent to March 25, 1990. Employment must be by a company signed to a SAG Background Players Agreement, and in a SAG film, videotape, television program or commercial. Proof of such employment must be in the form of a signed employment voucher (or time card), plus an original payroll check or check stub. Such documents must provide the same information listed in paragraph 1)A above.
To join SAG, a performer must pay an initiation fee of $1,272.00, plus the first semi-annual basic dues. All joining fees are payable in full, in cashier's check or money order, at the time of application. NO PERSONAL CHECKS are accepted for joining fees. Fees may be lower if you join in some branch areas.
SAG dues are based on all earnings under SAG contracts in the prior calendar year. Earnings that were unreported in their nominal year, but reported in a later year, will be considered in the year of reporting for the purpose of calculating dues. Each SAG member pays basic annual dues of $100.00. In addition members will pay percentage dues of 1.85% of all earnings under SAG contracts up through $200,000, and 0.5% on all earnings from $200,001 through $500,000.
Dues are calculated on an annual basis, and paid in two installments ? the first on May 1, and the second on November 1. Bills are mailed to the address of record before each due date. Members who do not receive bills are responsible for requesting duplicates. Dues payments may be made by cash, check, or money order, in person or by mail to Cashier, Screen Actors Guild, 5757 Wilshire Boulevard, Los Angeles, CA 90036. Please put your member IDN, which is on your bill under your name, on your check.
Your application and proof of employment will be fully investigated by the Guild. Your application for SAG membership will be denied if you have falsified your credentials, or if your qualifying employment is not bona fide. While it is your responsibility to ascertain the validity of your qualifying employment, the Guild will be the sole arbiter in determining whether the employer was legitimate or bogus, and whether the qualifying employment which you performed was actual production work or work created solely to enable you to gain Guild membership. Please be aware that false representation or deception on your part will jeopardize your chances to join the Guild. Further, if after your application has been granted the Guild discovers such misconduct on your part, you may find yourself subject to disciplinary proceedings which could result in your being fined, suspended and/or expelled from the Guild.
If you are eligible under the conditions stated above, please contact your nearest SAG office BEFORE COMING IN so we can advise you of the amount of your joining fee and arrange an appointment with the New Membership Department.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
Edward Albee's play WHO'S AFRAID OF VIRGINIA WOOLF? opened on
Broadway on October 13, 1962. That same month, the world seemed poised on the
edge of a nuclear war when the United States faced off against the Soviet Union over
the presence of nuclear weapons on Cuba. Much like the missile crisis, George and
Martha, the play's protagonists, hurl threats, epitaphs, and fight a battle of wills.
Interestingly, though the play is considered to be one of modern America's
classics, the script did not win the Pulitzer Prize. The committee actually selected it as
the winner. However, the award is overseen by Columbia University, and the trustees
decided that the explicit language, interest in "taboo" subjects, and controversial public
reception made it the wrong choice. Nonetheless, it won the New York Drama Critics
Circle Award and the Tony Award for Best Play that year.
In this era of Jerry Springer and similar television shows which are embraced by
the public, the profanity and hateful words between George and Martha that so
shocked audiences in the 1960's, now seems commonplace.
The story concerns the relationship between George, a history professor, and his
wife, Martha, the daughter of the college's president. It depicts a series of battle games
with escalating stakes upon which George and Martha have built their marriage. The
proceedings encompass a young couple, Honey and Nick, who are guests in the house.
Director Neil Thackaberry, in a master stroke of interpretation, decided to pull
away from the oft-used device of George and Martha constantly shouting at each other.
Instead, using a clue from the script in which the characters comment on the fact that
they are "numbed enough," he chose to have them underplay their lines. This is not to
say the venom is not present. Much like snakes, the couple strikes quickly and often,
subtly, with deadly results.
Paula Duesing and Tom Fulton's performances are both astounding and
outstanding. They totally understand the nuances of Albee's lines and live their roles.
Though his lines are effectively delivered, Peter Voinovich doesn't have the
physical presence to play Nick, the young professor who is described as a stallion. In
addition, he sometimes feigns feeling with exaggerated facial expressions.
Susanna Hobrath shrilly whines her way through the role of Nick's wife Honey,
making her spaced out rather than pathetic.
Robert Stegmiller's light and set designs are excellent.
Actors' Studio should be justly proud of their mounting of WHO'S AFRAID OF
VIRGINIA WOOLF. If you like fine modern theatre at its best, see this production.
WHO'S AFRAID OF VIRGINIA WOOLF runs through April 21 at Actors' Summit, 86
Owen Brown Street in downtown Hudson. Call 330-342-0800 or go online at www.actorssummit.org for
tickets and directions.
OHIO BALLET'S HAMLET, THE BALLET VISUALLY EFFECTIVE
Earlier this year the Ohio and Dayton Ballet companies combined to present a
wonderful dance version of PETER PAN. Their newest joint venture is the full-length
balletic version of Shakespeare's HAMLET. Though the production does not reach the
excitement level of PETER PAN, HAMLET, THE BALLET makes for an enjoyable
evening of dance.
Choreographing to contemporary composer Phillip Glass's composition,
choreographer Stephen Mills wisely chose to stylize the production. Mills, the Artistic
Director of Ballet Austin, was hailed by Dance Magazine for his sleek and sophisticated
version of HAMLET, THE BALLET. And sleek and sophisticated it is. Except for the
repeated device of using vertical leaps to portray anguish, the choreography showed
texturing and integration of music and movement.
The ballet follows the Hamlet story closely enough that viewers familiar with the
Shakespearean piece have no trouble in understanding the danced story. In general,
Hamlet's father is killed by his uncle Claudius. Claudius marries Hamlet's mother.
Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him
to revenge his death. In the process of plotting revenge, more murder, intrigue and
finally the destruction of Hamlet's world, as we know it takes place.
Kirk Henning, who portrayed Hamlet on opening night, danced with ease but
he lacked the physical and emotional presence needed to portray the great brooding
and bigger-than-life character. Rachel Carmazzi was lovely as the emotionally tortured
Ophelia. Mary Beth Hansohn danced and portrayed the role of Gertrude with strength
and power. Dmitry Tubolstev, as he has done in previous performances, continues to
feign emotion. Though adequately danced, his Claudius was overacted. Brian Murphy
exerted his usual strong presence as Laertes. The sword fight between Murphy and
Henning was extremely effective and well staged.
Tony Tucci's lighting design, Christopher McCollum's contemporary costumes,
and Jeffrey Main's scenic design added a strong visual dimension to the production.
HAMLET, THE BALLET which was performed on April 5 & 6 at the State Theatre
in Cleveland, will be performed on April 12 and 13 at Akron's E. J. Thomas hall.. For
Akron tickets call 330-972-7570.
GROUNDWORKS DANCE THEATER--A SPECIAL TREAT
Anyone in Northeastern Ohio who appreciates dance and has not had the
experience of attending a performance of GROUNDWORKS DANCETHEATRE, has
missed out on one of the country's most exciting companies. Headed by Artistic
Director David Shimotakahara the group performs in various settings. Their latest
offerings were staged at Actors' Summit in Hudson. Performing to well-deserved near
sold-out audiences, the combination of dance and musical performances by pianist
David Fisher and guitarist Stephen Aron, was an emotionally fulfilling evening. Last Weekend to see the area premier
Because the performances will not be repeated individual selections will not be
reviewed, but readers are encouraged to call 216-932-0222 for information about future
programs or to go online to www.grounworksdance.org.
--0-1299983753-1018232554=:64631--
From FSternfeld at aol.com Sun Apr 7 22:52:10 2002
From: FSternfeld at aol.com (FSternfeld at aol.com)
Date: Sun Apr 7 22:52:10 2002
Subject: [NEohioPAL]Last Weekend to see "Saturday Night" at Beck Center
Message-ID: <3a.24c6aa75.29e26625@aol.com>
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Last Weekend to see the area premier
of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
"a model of theatrical craftsmanship"
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
for complete reviews, production photos, cast list, production staff & ticket
information, you can visit my website at http://www.fredsternfeld.com
--part1_3a.24c6aa75.29e26625_boundary
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of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
A
For more information, please check out our =
website=20
at
Cuyahoga Community = College
CENTER FOR ARTS AND = CULTURE
CONTEMPORARY VISIONS = SERIES PRESENTS
CHARLIE VICTOR = ROMEO
CVR/COCKPIT VOICE = RECORDER
THURSDAY, APRIL 4, 2002 = - 8 P.M.
FRIDAY, APRIL 5 - 8 = P.M.
PERFORMING ARTS CENTER = (EAST CAMPUS THEATRE)
Tickets: $18; call = tickets.com at 216-241-6000 or purchase tickets at the box office, open = 2 hours prior to each performance.
Charlie Victor Romeo (CVR) is a live = performance documentary derived entirely from the black box or cockpit = voice recorders (also known as charlie victor romeos), transcripts from = six major real-life airline emergencies. CVR allows the audience = to enter the tension-filled cockpits of actual flights in distress, = in-flight airline emergencies. CVR is a fascinating portrait of = the psychology of crisis and a testimony to the ability to live to the = last second of life. What is going on up there behind the door in = the front of the airplane? Who are these people we trust our = lives to, and what do they really do when things go horribly = wrong?
The performance begins with flight = attendants issuing standard safety instructions and then suddenly = mundane cockpit conversation about weather and fuel is interrupted by = shrill alarms from the instrument panel indicating a flight gone = awry. Attendees are sure to shift to the edge of their seats as = this reality-based portrayal recreates the six airline emergencies, = from failed engines to malfunctioning flight controls, and incorrect = readings.
Created by Bob Berger, Patrick = Daniels, and Irving Gregory with sound design by Jamie Mereness, = Charlie Victor Romeo opened in the fall of 1999 at the Collective: = Unconscious Theater in the heart of New York's Lower East Side's = thriving artistic community. Due to the overwhelming response = from the press, aviation community and the general public, CVR extended = five times in an entirely sold-out eight-month run and is now on a = national tour.
As this experimental theatre piece was = booked prior to the September 11th tragedy, we hope to sensitively = provide a context for our audience to meaningfully experience the = performances: we are hosting debriefing sessions facilitated by = representatives of The Katan Center of the Cleveland Psychoanalytic = Society immediately following both performances.
Embraced by the aviation community for = its unsparing truthfulness and dedication to its non-sensation = approach, Charlie Victor Romeo has been filmed by the US Air Force as a = training video for pilots and has been observed by West Point cadets = enrolled in courses studying engineering psychology and human = error.
CVR has also generated great interest = from the medical community and has been performed for groups of = physicians and healthcare administrators studying the effects of human = error and emergencies in a medical context.
Charlie Victor Romeo has received = several awards and has been heralded as an important dramatic and = technical work by many including The New York Times, The Wall = Street Journal and PBS's = "NewsHour with Jim Lehrer."
Note: Content includes adult language = and themes.
J. Kay Coughlin
CCC Center for Arts and =
Culture
216/987-2544
Arts in Strongsville
Sandra Kornick, Chair
P.O. Box 360765
Strongsville, OH 44136
(440) 238-3693
April . . .
Check out Arts in Strongsville's Calendar of Events for April. You'll find a month-long cultural and performing arts fest filled with something exciting for everyone -- men, women, teens & kids of all ages.
Call (440)238-3693, now to register for workshops, lectures and get tickets for the special events.
. Mondays, April 1, 8, 22, & 29th
7 PM - 8:30 PM
"Battle of the Sexes in Shakespeare"
A series of four Free workshops
By Dr. Susan C. Oldrieve
Professor of English, B-W College
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
(with support from the Ohio Arts Council)
. Tuesdays, April 2nd & 9th
7 PM - 8:30 PM
"Wake Up, Get Up, Get Busy!"
A series of two Free lectures for teens & young adults
by Sue Johnson, actor/director, WAKE UP And LIVE's Actors' Studio
Each session is designed specifically for teens & young adults who want to
discover, explore & enhance their own personal power in all settings - at
school, at work and at play!
Tues., April 2nd: "Acting Techniques to Create a New You"
Tues., April 9th: "Acting Techniques to Develop & Use Your Creative
Power Within"
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
. Friday, April 5th
7:30 PM
a FREE Performance of . . .
"Stumble"
a Great Lakes Theater Festival's Outreach Touring Production
written by Sarah Morton
directed by Todd S. Krispinsky
"Stumble" explores the obstacles to expressing true emotion in our profound
quest to unlock the complexities of the human heart.
The Holiday Inn Select of Strongsville (Sponsor for this event)
Interstate 71 & Royalton Rd., Strongsville, OH
Suitable for Older Teens & Adults
For reservations, (440) 238-3693 or (440) 572-0439
. Saturday, April 20th
7:30 PM
A Mexican Fiesta!
at
The Holiday Inn Select of Strongsville
. Bazaar & Flea Market
. Mexican/American Cuisine
. Dancing to Deejay, Jorge Corona
. Live Entertainment . . .
Angel Sanchez's
Mexican Strolling Guitars
&
Tepehuani Nelli's Mexican Dancers
Cash Bar
$40.00 per person
A "Fun"d-raiser for Arts in Strongsville
(with support from the Ohio Arts Council)
For tickets, (440) 238-3693 or (440) 572-0439
Don't miss out on these great opportunities to get to know about our
Arts in Strongsville special programs and events. Be sure to call Sandy Kornick,
Chair, (440) 238-3693 or (440) 572-0439 for more information or to get involved.
JUST A REMINDER THAT AUDITIONS FOR BEREA SUMMER THEATRE
WILL BE HELD THIS WEEKEND
APRIL 5th - 8th
CALL JOHN NOLAN AT 440-826-3360
TO SCHEDULE AN APPOINTMENT
Enesmble Theatre
still at the Civic
presents
A Cleveland Premiere
by Warren Leight
SIDE MAN
1999 Tony Award Winner BEST PLAY
featuring
Joseph Bonamico, Alan Byrne, Charles Kartali
Jeffrey Grover, Timothy Coles
and nancy Telzerow as Terry
A deeply moving memoriy play about the golden days of Jazz
featuring music by Cliiford Brown and Miles Davis
April 4 - 21
216-321-2930
Child = Stars?=20 How about "Porn Star"! Read this shocking research article on the = shady=20 underworld of the Olsen Twins! |
||||||||||||||
Please check=20 the date section of The Human Zoo to = find out=20 when they will be playing in your town! |
||||||||||||||
Tom Meyrose
Managing Director
P.O.Box 770056
Lakewood, Ohio 44107
E-mail replies are also welcome at huntheatre at aol.com
Tom Meyrose
440-871-8333
Don't miss=20
the final weekend of Eugene O'Neill's
The Hairy Ape=20 as directed by David Herskovits, at Cleveland Public Theatre =
this Friday=20 and Saturday at 8:00pm and Sunday at 3:00pm.
At Cleveland=20 Public Theatre, 6415 Detroit Avenue, a mere four minutes from=20 downtown.
Call 216.631.2727 for tickets and=20 information.
Mark =
your calendars=20
for these upcoming CPT events as well:
AT CLEVELAND PUBLIC =
THEATRE
Cleveland Public Theatre opens its doors to the community to =
witness=20
the power of the arts in the lives of our youth. CPT prides itself on =
its=20
commitment to bringing the arts to the inner-city. Now for one night =
only we=20
showcase the talents of some of the 200 youth we work with on a weekly=20
basis.
Saturday April 20, 2002 at 7:00pm
Admission is free and =
open to=20
the public
COSMIC ELEPHANT =
SALE
April=20
20, 2002 Gordon=20
SquareTheatre
Cleveland Public Theatre offers its finest in objects =
ranging=20
from the usual to the unusual including: jewelry, vintage and =
contemporary=20
clothing, books, furniture, Italian posters as well as posters from the =
'60s and=20
much much more at bargain basement prices.
Saturday April 20, =
2002 at=20
10:00am - 5:00pm
Admission is free and open to the =
public
May 3 -12, 2002=20
Gordon Square Theatre
By =
James A.=20
Levin and Linda Eisenstein
Directed by Randy Rollison
This satiric =
musical=20
retelling of the innocent Percival's quest for the Holy Grail takes =
place in an=20
Arthurian kingdom in disarray that may seem oddly familiar: with Knights =
of the=20
Benevolent Nation enforcing homeland security, greedy barons, and Grails =
For=20
Sale at the Castle Mall. Told through the eyes of a seen-it-all-before=20
prophetess named Cassandra, the audience is led on a magical musical =
journey=20
that eventually brings us right back home again. Written by James A. =
Levin and=20
Linda Eisenstein, authors of the legendary rock comedy, Star Wares: The =
Next=20
Generation.
Thursday through Saturday at 8:00pm
Sundays at=20
3:00pm
Regular Admission: $10.00
Students =
and=20
Seniors: $8.
UNDERGROUND GRIOTS- A FESTIVAL OF =
ONE=20
ACTS
Parma Senior High School Drama Department
Specifically looking for those who play: Trumpet, Trombone, Percussion,
Reeds (clarinet, flute, tenor saxophone,
alto saxophone, and/or baritone saxophone)
Pay: $200.00
Rehearsal commitments: Sunday, April 7th, from 1:00 - 9:00pm
Thursday, April 11th, from 6:00 - 11:00pm
Performance commitments: Friday, April 12th, at 8:00pm
Saturday, April 13th, at 2:00pm
Sunday, April 14th, at 2:00pm
Please contact Steve Higginbotham, PSH Drama Director, at PSHDramaClub at aol.com if you are interested and available for this production. Or, if you would rather call to voice your interest, please call Assistant Director, Keighty Coffey, at 216-225-5951 as soon as possible.
Thank you in advance for your time and talents!
An actor friend of mine who is now getting into film was recently BURNED by a company claiming to be a talent agency in the Ohio area.
SAG has received RECENT information from several concerned actors and models from the area who have received phone calls from an agency or agencies looking to 'represent' them from Cleveland and more East of downtown. It is my opinion that a reputable agency would not use such techniques and you should end this phone call immediately! Typical scams ask for money up front, such as $20 here or $60 there to take classes, go to shows or get your photos and sometimes get you work. Many of these operations prey on newcomers trying to get started in this business.
Because of my legal background and former acting experience, I thought it was deemed necessary to take some action and let you ALL know of a few RULES that a REAL agency CANNOT break!
Things to Remember When Trying to Recognize a SCAM:
Check here for legit AGENTS:---> http://www.sag.org/agentlist/
Agents do not advertise!
According to the indusrty's EIC Code of Ethics, talent and background agents cannot advertise to the general public.
Agents do not provide photographic services or charge to give classes!
A reputable agent may suggest specific photographers or classes to you but cannot require you to use them by the EIC code or even pay for them through the agencies own services.
An agency DOES NOT charge and is NOT ALLOWED by the EIC code to charge more than 10%
If an agency, with NO track record and no license, charges more than 10% for their services? They can be held liable.
Children and extras do not need professional-quality photos!
Babies and toddlers never need professional photos. Extras need to provide a snapshot to their agents. Children under the age of ten do not need professional photos unless they are working regularly.
An agent cannot guarantee work!
An agent who tells you that they have work for you must give you a copy of the signed contract along with the details of the job (who is hiring you, what you will be paid, etc.) If you have heard the word GUARANTEE, then you can sue for not getting the work promised.
Agents are not casting directors!
Agents earn commissions when their clients work ONLY. Casting directors are paid by the production and never take money from performers for any reason.
Agents specialize!
Agents usually represent actors, extras or models. Be wary if the agency claims to represent all of these categories plus a number of other services.
A PRINCIPAL agent will rarely represent you if you have no experience or training!
Legitimate talent agents usually require actors to have some professional training and some theater or film experience.
ONLY background agents will represent inexperienced people who have no training and will generally try to get them non-speaking roles as extras.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or for many other services used to separate you from your money.
If you are signed as a client by a legitimate talent agency, you will pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Legitimate talent agencies normally do not advertise for clients in newspaper classified columns nor do they solicit through the mail. If a purported talent agent seeks to send you to a particular photographer for pictures, hold your wallet tight and run for the nearest exit. Chances are s/he's a phony and receives a cut of the photographer's fee. If you need photographs, choose your own photographer. Better still, try another agent.
Want more? Listen to an informative, recorded message AND call (323) 549-6792.
Or VISIT: http://www.sag.com/wannabefaqs.html
Be careful and SAVE A FRIEND by passing this on!!!
Thank you!
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
I JUST GOT THIS EMAIL FROM A FRIEND OF MINE (Cristian Cruz) WHO IS SAG/AFTRA licensed and thought I'd share since it was similar to what b2k posted regarding SCAMS in OHIO:
----- Original Message -----
From: "Cristian C."
To: <Now-U-Know at rocketmail.com>
Sent: Sunday, March 3, 2002 8:25 PM
Subject: Look out man!
Mitch, as you already know, things are heating up out there in Cleveland regarding all these people looking to start agencies. But here are a few things you should tell other actors that might not be fortunate to know what we know.
There is a current list of SAG franchised talent agents on the SAG web site. In fairness to all franchised agents, SAG does not recommend any one franchised agent over any other. Some of the franchised agents also handle modeling and print work. You'll need to check those details out for yourself as Screen Actors Guild does not have jurisdiction in those areas with these details.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or anything like that. If you are signed as a client by a legitimate talent agency, you're just gonna pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Ever.
Incidentally, SAG does not have a formal relationship with "personal" or "business" managers. That doesn't mean they are bad or unnecessary; it just means that the Guild does not have an institutional relationship with them. There are well-established firms engaged in personal and business management. However, such firms usually handle established artists, and they neither advertise for newcomers, nor promise employment. The telephone number for the Talent Managers Association formerly the Conference of Personal Managers is 310-205-8495.
Otherwise than that, make good choices and never give more than 10 percent unless you sign an open contract. (N.E.) Any GOOD lawyer will tell you that.
I hope all is well and I can't to see you and your family at the party. Hope all is well at "The Compound", MITCHY RICH!!! LOL
C.C.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
A. Principal Performer Employment:
Performers may join SAG upon proof of employment or prospective employment within two weeks or less by a SAG signatory company. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, a payroll check or check stub, or a letter from the company (on company letterhead) The document proving employment must provide the following information: applicant's name and Social Security number, the name of the production or the commercial (the product name), the salary paid in dollar amount, and the specific date(s) worked.
B. Background Players Employment
Performers may join SAG upon proof of employment as a SAG covered background player at full SAG rates and conditions for a MINIMUM of three workdays subsequent to March 25, 1990. Employment must be by a company signed to a SAG Background Players Agreement, and in a SAG film, videotape, television program or commercial. Proof of such employment must be in the form of a signed employment voucher (or time card), plus an original payroll check or check stub. Such documents must provide the same information listed in paragraph 1)A above.
To join SAG, a performer must pay an initiation fee of $1,272.00, plus the first semi-annual basic dues. All joining fees are payable in full, in cashier's check or money order, at the time of application. NO PERSONAL CHECKS are accepted for joining fees. Fees may be lower if you join in some branch areas.
SAG dues are based on all earnings under SAG contracts in the prior calendar year. Earnings that were unreported in their nominal year, but reported in a later year, will be considered in the year of reporting for the purpose of calculating dues. Each SAG member pays basic annual dues of $100.00. In addition members will pay percentage dues of 1.85% of all earnings under SAG contracts up through $200,000, and 0.5% on all earnings from $200,001 through $500,000.
Dues are calculated on an annual basis, and paid in two installments ? the first on May 1, and the second on November 1. Bills are mailed to the address of record before each due date. Members who do not receive bills are responsible for requesting duplicates. Dues payments may be made by cash, check, or money order, in person or by mail to Cashier, Screen Actors Guild, 5757 Wilshire Boulevard, Los Angeles, CA 90036. Please put your member IDN, which is on your bill under your name, on your check.
Your application and proof of employment will be fully investigated by the Guild. Your application for SAG membership will be denied if you have falsified your credentials, or if your qualifying employment is not bona fide. While it is your responsibility to ascertain the validity of your qualifying employment, the Guild will be the sole arbiter in determining whether the employer was legitimate or bogus, and whether the qualifying employment which you performed was actual production work or work created solely to enable you to gain Guild membership. Please be aware that false representation or deception on your part will jeopardize your chances to join the Guild. Further, if after your application has been granted the Guild discovers such misconduct on your part, you may find yourself subject to disciplinary proceedings which could result in your being fined, suspended and/or expelled from the Guild.
If you are eligible under the conditions stated above, please contact your nearest SAG office BEFORE COMING IN so we can advise you of the amount of your joining fee and arrange an appointment with the New Membership Department.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
Edward Albee's play WHO'S AFRAID OF VIRGINIA WOOLF? opened on
Broadway on October 13, 1962. That same month, the world seemed poised on the
edge of a nuclear war when the United States faced off against the Soviet Union over
the presence of nuclear weapons on Cuba. Much like the missile crisis, George and
Martha, the play's protagonists, hurl threats, epitaphs, and fight a battle of wills.
Interestingly, though the play is considered to be one of modern America's
classics, the script did not win the Pulitzer Prize. The committee actually selected it as
the winner. However, the award is overseen by Columbia University, and the trustees
decided that the explicit language, interest in "taboo" subjects, and controversial public
reception made it the wrong choice. Nonetheless, it won the New York Drama Critics
Circle Award and the Tony Award for Best Play that year.
In this era of Jerry Springer and similar television shows which are embraced by
the public, the profanity and hateful words between George and Martha that so
shocked audiences in the 1960's, now seems commonplace.
The story concerns the relationship between George, a history professor, and his
wife, Martha, the daughter of the college's president. It depicts a series of battle games
with escalating stakes upon which George and Martha have built their marriage. The
proceedings encompass a young couple, Honey and Nick, who are guests in the house.
Director Neil Thackaberry, in a master stroke of interpretation, decided to pull
away from the oft-used device of George and Martha constantly shouting at each other.
Instead, using a clue from the script in which the characters comment on the fact that
they are "numbed enough," he chose to have them underplay their lines. This is not to
say the venom is not present. Much like snakes, the couple strikes quickly and often,
subtly, with deadly results.
Paula Duesing and Tom Fulton's performances are both astounding and
outstanding. They totally understand the nuances of Albee's lines and live their roles.
Though his lines are effectively delivered, Peter Voinovich doesn't have the
physical presence to play Nick, the young professor who is described as a stallion. In
addition, he sometimes feigns feeling with exaggerated facial expressions.
Susanna Hobrath shrilly whines her way through the role of Nick's wife Honey,
making her spaced out rather than pathetic.
Robert Stegmiller's light and set designs are excellent.
Actors' Studio should be justly proud of their mounting of WHO'S AFRAID OF
VIRGINIA WOOLF. If you like fine modern theatre at its best, see this production.
WHO'S AFRAID OF VIRGINIA WOOLF runs through April 21 at Actors' Summit, 86
Owen Brown Street in downtown Hudson. Call 330-342-0800 or go online at www.actorssummit.org for
tickets and directions.
OHIO BALLET'S HAMLET, THE BALLET VISUALLY EFFECTIVE
Earlier this year the Ohio and Dayton Ballet companies combined to present a
wonderful dance version of PETER PAN. Their newest joint venture is the full-length
balletic version of Shakespeare's HAMLET. Though the production does not reach the
excitement level of PETER PAN, HAMLET, THE BALLET makes for an enjoyable
evening of dance.
Choreographing to contemporary composer Phillip Glass's composition,
choreographer Stephen Mills wisely chose to stylize the production. Mills, the Artistic
Director of Ballet Austin, was hailed by Dance Magazine for his sleek and sophisticated
version of HAMLET, THE BALLET. And sleek and sophisticated it is. Except for the
repeated device of using vertical leaps to portray anguish, the choreography showed
texturing and integration of music and movement.
The ballet follows the Hamlet story closely enough that viewers familiar with the
Shakespearean piece have no trouble in understanding the danced story. In general,
Hamlet's father is killed by his uncle Claudius. Claudius marries Hamlet's mother.
Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him
to revenge his death. In the process of plotting revenge, more murder, intrigue and
finally the destruction of Hamlet's world, as we know it takes place.
Kirk Henning, who portrayed Hamlet on opening night, danced with ease but
he lacked the physical and emotional presence needed to portray the great brooding
and bigger-than-life character. Rachel Carmazzi was lovely as the emotionally tortured
Ophelia. Mary Beth Hansohn danced and portrayed the role of Gertrude with strength
and power. Dmitry Tubolstev, as he has done in previous performances, continues to
feign emotion. Though adequately danced, his Claudius was overacted. Brian Murphy
exerted his usual strong presence as Laertes. The sword fight between Murphy and
Henning was extremely effective and well staged.
Tony Tucci's lighting design, Christopher McCollum's contemporary costumes,
and Jeffrey Main's scenic design added a strong visual dimension to the production.
HAMLET, THE BALLET which was performed on April 5 & 6 at the State Theatre
in Cleveland, will be performed on April 12 and 13 at Akron's E. J. Thomas hall.. For
Akron tickets call 330-972-7570.
GROUNDWORKS DANCE THEATER--A SPECIAL TREAT
Anyone in Northeastern Ohio who appreciates dance and has not had the
experience of attending a performance of GROUNDWORKS DANCETHEATRE, has
missed out on one of the country's most exciting companies. Headed by Artistic
Director David Shimotakahara the group performs in various settings. Their latest
offerings were staged at Actors' Summit in Hudson. Performing to well-deserved near
sold-out audiences, the combination of dance and musical performances by pianist
David Fisher and guitarist Stephen Aron, was an emotionally fulfilling evening. Last Weekend to see the area premier
Because the performances will not be repeated individual selections will not be
reviewed, but readers are encouraged to call 216-932-0222 for information about future
programs or to go online to www.grounworksdance.org.
--0-1299983753-1018232554=:64631--
From FSternfeld at aol.com Sun Apr 7 22:52:10 2002
From: FSternfeld at aol.com (FSternfeld at aol.com)
Date: Sun Apr 7 22:52:10 2002
Subject: [NEohioPAL]Last Weekend to see "Saturday Night" at Beck Center
Message-ID: <3a.24c6aa75.29e26625@aol.com>
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Last Weekend to see the area premier
of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
"a model of theatrical craftsmanship"
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
for complete reviews, production photos, cast list, production staff & ticket
information, you can visit my website at http://www.fredsternfeld.com
--part1_3a.24c6aa75.29e26625_boundary
Content-Type: text/html; charset="US-ASCII"
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of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
A
For more information, please check out our =
website=20
at
Cuyahoga Community = College
CENTER FOR ARTS AND = CULTURE
CONTEMPORARY VISIONS = SERIES PRESENTS
CHARLIE VICTOR = ROMEO
CVR/COCKPIT VOICE = RECORDER
THURSDAY, APRIL 4, 2002 = - 8 P.M.
FRIDAY, APRIL 5 - 8 = P.M.
PERFORMING ARTS CENTER = (EAST CAMPUS THEATRE)
Tickets: $18; call = tickets.com at 216-241-6000 or purchase tickets at the box office, open = 2 hours prior to each performance.
Charlie Victor Romeo (CVR) is a live = performance documentary derived entirely from the black box or cockpit = voice recorders (also known as charlie victor romeos), transcripts from = six major real-life airline emergencies. CVR allows the audience = to enter the tension-filled cockpits of actual flights in distress, = in-flight airline emergencies. CVR is a fascinating portrait of = the psychology of crisis and a testimony to the ability to live to the = last second of life. What is going on up there behind the door in = the front of the airplane? Who are these people we trust our = lives to, and what do they really do when things go horribly = wrong?
The performance begins with flight = attendants issuing standard safety instructions and then suddenly = mundane cockpit conversation about weather and fuel is interrupted by = shrill alarms from the instrument panel indicating a flight gone = awry. Attendees are sure to shift to the edge of their seats as = this reality-based portrayal recreates the six airline emergencies, = from failed engines to malfunctioning flight controls, and incorrect = readings.
Created by Bob Berger, Patrick = Daniels, and Irving Gregory with sound design by Jamie Mereness, = Charlie Victor Romeo opened in the fall of 1999 at the Collective: = Unconscious Theater in the heart of New York's Lower East Side's = thriving artistic community. Due to the overwhelming response = from the press, aviation community and the general public, CVR extended = five times in an entirely sold-out eight-month run and is now on a = national tour.
As this experimental theatre piece was = booked prior to the September 11th tragedy, we hope to sensitively = provide a context for our audience to meaningfully experience the = performances: we are hosting debriefing sessions facilitated by = representatives of The Katan Center of the Cleveland Psychoanalytic = Society immediately following both performances.
Embraced by the aviation community for = its unsparing truthfulness and dedication to its non-sensation = approach, Charlie Victor Romeo has been filmed by the US Air Force as a = training video for pilots and has been observed by West Point cadets = enrolled in courses studying engineering psychology and human = error.
CVR has also generated great interest = from the medical community and has been performed for groups of = physicians and healthcare administrators studying the effects of human = error and emergencies in a medical context.
Charlie Victor Romeo has received = several awards and has been heralded as an important dramatic and = technical work by many including The New York Times, The Wall = Street Journal and PBS's = "NewsHour with Jim Lehrer."
Note: Content includes adult language = and themes.
J. Kay Coughlin
CCC Center for Arts and =
Culture
216/987-2544
Arts in Strongsville
Sandra Kornick, Chair
P.O. Box 360765
Strongsville, OH 44136
(440) 238-3693
April . . .
Check out Arts in Strongsville's Calendar of Events for April. You'll find a month-long cultural and performing arts fest filled with something exciting for everyone -- men, women, teens & kids of all ages.
Call (440)238-3693, now to register for workshops, lectures and get tickets for the special events.
. Mondays, April 1, 8, 22, & 29th
7 PM - 8:30 PM
"Battle of the Sexes in Shakespeare"
A series of four Free workshops
By Dr. Susan C. Oldrieve
Professor of English, B-W College
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
(with support from the Ohio Arts Council)
. Tuesdays, April 2nd & 9th
7 PM - 8:30 PM
"Wake Up, Get Up, Get Busy!"
A series of two Free lectures for teens & young adults
by Sue Johnson, actor/director, WAKE UP And LIVE's Actors' Studio
Each session is designed specifically for teens & young adults who want to
discover, explore & enhance their own personal power in all settings - at
school, at work and at play!
Tues., April 2nd: "Acting Techniques to Create a New You"
Tues., April 9th: "Acting Techniques to Develop & Use Your Creative
Power Within"
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
. Friday, April 5th
7:30 PM
a FREE Performance of . . .
"Stumble"
a Great Lakes Theater Festival's Outreach Touring Production
written by Sarah Morton
directed by Todd S. Krispinsky
"Stumble" explores the obstacles to expressing true emotion in our profound
quest to unlock the complexities of the human heart.
The Holiday Inn Select of Strongsville (Sponsor for this event)
Interstate 71 & Royalton Rd., Strongsville, OH
Suitable for Older Teens & Adults
For reservations, (440) 238-3693 or (440) 572-0439
. Saturday, April 20th
7:30 PM
A Mexican Fiesta!
at
The Holiday Inn Select of Strongsville
. Bazaar & Flea Market
. Mexican/American Cuisine
. Dancing to Deejay, Jorge Corona
. Live Entertainment . . .
Angel Sanchez's
Mexican Strolling Guitars
&
Tepehuani Nelli's Mexican Dancers
Cash Bar
$40.00 per person
A "Fun"d-raiser for Arts in Strongsville
(with support from the Ohio Arts Council)
For tickets, (440) 238-3693 or (440) 572-0439
Don't miss out on these great opportunities to get to know about our
Arts in Strongsville special programs and events. Be sure to call Sandy Kornick,
Chair, (440) 238-3693 or (440) 572-0439 for more information or to get involved.
JUST A REMINDER THAT AUDITIONS FOR BEREA SUMMER THEATRE
WILL BE HELD THIS WEEKEND
APRIL 5th - 8th
CALL JOHN NOLAN AT 440-826-3360
TO SCHEDULE AN APPOINTMENT
Enesmble Theatre
still at the Civic
presents
A Cleveland Premiere
by Warren Leight
SIDE MAN
1999 Tony Award Winner BEST PLAY
featuring
Joseph Bonamico, Alan Byrne, Charles Kartali
Jeffrey Grover, Timothy Coles
and nancy Telzerow as Terry
A deeply moving memoriy play about the golden days of Jazz
featuring music by Cliiford Brown and Miles Davis
April 4 - 21
216-321-2930
Child = Stars?=20 How about "Porn Star"! Read this shocking research article on the = shady=20 underworld of the Olsen Twins! |
||||||||||||||
Please check=20 the date section of The Human Zoo to = find out=20 when they will be playing in your town! |
||||||||||||||
Tom Meyrose
Managing Director
P.O.Box 770056
Lakewood, Ohio 44107
E-mail replies are also welcome at huntheatre at aol.com
Tom Meyrose
440-871-8333
Don't miss=20
the final weekend of Eugene O'Neill's
The Hairy Ape=20 as directed by David Herskovits, at Cleveland Public Theatre =
this Friday=20 and Saturday at 8:00pm and Sunday at 3:00pm.
At Cleveland=20 Public Theatre, 6415 Detroit Avenue, a mere four minutes from=20 downtown.
Call 216.631.2727 for tickets and=20 information.
Mark =
your calendars=20
for these upcoming CPT events as well:
AT CLEVELAND PUBLIC =
THEATRE
Cleveland Public Theatre opens its doors to the community to =
witness=20
the power of the arts in the lives of our youth. CPT prides itself on =
its=20
commitment to bringing the arts to the inner-city. Now for one night =
only we=20
showcase the talents of some of the 200 youth we work with on a weekly=20
basis.
Saturday April 20, 2002 at 7:00pm
Admission is free and =
open to=20
the public
COSMIC ELEPHANT =
SALE
April=20
20, 2002 Gordon=20
SquareTheatre
Cleveland Public Theatre offers its finest in objects =
ranging=20
from the usual to the unusual including: jewelry, vintage and =
contemporary=20
clothing, books, furniture, Italian posters as well as posters from the =
'60s and=20
much much more at bargain basement prices.
Saturday April 20, =
2002 at=20
10:00am - 5:00pm
Admission is free and open to the =
public
May 3 -12, 2002=20
Gordon Square Theatre
By =
James A.=20
Levin and Linda Eisenstein
Directed by Randy Rollison
This satiric =
musical=20
retelling of the innocent Percival's quest for the Holy Grail takes =
place in an=20
Arthurian kingdom in disarray that may seem oddly familiar: with Knights =
of the=20
Benevolent Nation enforcing homeland security, greedy barons, and Grails =
For=20
Sale at the Castle Mall. Told through the eyes of a seen-it-all-before=20
prophetess named Cassandra, the audience is led on a magical musical =
journey=20
that eventually brings us right back home again. Written by James A. =
Levin and=20
Linda Eisenstein, authors of the legendary rock comedy, Star Wares: The =
Next=20
Generation.
Thursday through Saturday at 8:00pm
Sundays at=20
3:00pm
Regular Admission: $10.00
Students =
and=20
Seniors: $8.
UNDERGROUND GRIOTS- A FESTIVAL OF =
ONE=20
ACTS
Parma Senior High School Drama Department
Specifically looking for those who play: Trumpet, Trombone, Percussion,
Reeds (clarinet, flute, tenor saxophone,
alto saxophone, and/or baritone saxophone)
Pay: $200.00
Rehearsal commitments: Sunday, April 7th, from 1:00 - 9:00pm
Thursday, April 11th, from 6:00 - 11:00pm
Performance commitments: Friday, April 12th, at 8:00pm
Saturday, April 13th, at 2:00pm
Sunday, April 14th, at 2:00pm
Please contact Steve Higginbotham, PSH Drama Director, at PSHDramaClub at aol.com if you are interested and available for this production. Or, if you would rather call to voice your interest, please call Assistant Director, Keighty Coffey, at 216-225-5951 as soon as possible.
Thank you in advance for your time and talents!
An actor friend of mine who is now getting into film was recently BURNED by a company claiming to be a talent agency in the Ohio area.
SAG has received RECENT information from several concerned actors and models from the area who have received phone calls from an agency or agencies looking to 'represent' them from Cleveland and more East of downtown. It is my opinion that a reputable agency would not use such techniques and you should end this phone call immediately! Typical scams ask for money up front, such as $20 here or $60 there to take classes, go to shows or get your photos and sometimes get you work. Many of these operations prey on newcomers trying to get started in this business.
Because of my legal background and former acting experience, I thought it was deemed necessary to take some action and let you ALL know of a few RULES that a REAL agency CANNOT break!
Things to Remember When Trying to Recognize a SCAM:
Check here for legit AGENTS:---> http://www.sag.org/agentlist/
Agents do not advertise!
According to the indusrty's EIC Code of Ethics, talent and background agents cannot advertise to the general public.
Agents do not provide photographic services or charge to give classes!
A reputable agent may suggest specific photographers or classes to you but cannot require you to use them by the EIC code or even pay for them through the agencies own services.
An agency DOES NOT charge and is NOT ALLOWED by the EIC code to charge more than 10%
If an agency, with NO track record and no license, charges more than 10% for their services? They can be held liable.
Children and extras do not need professional-quality photos!
Babies and toddlers never need professional photos. Extras need to provide a snapshot to their agents. Children under the age of ten do not need professional photos unless they are working regularly.
An agent cannot guarantee work!
An agent who tells you that they have work for you must give you a copy of the signed contract along with the details of the job (who is hiring you, what you will be paid, etc.) If you have heard the word GUARANTEE, then you can sue for not getting the work promised.
Agents are not casting directors!
Agents earn commissions when their clients work ONLY. Casting directors are paid by the production and never take money from performers for any reason.
Agents specialize!
Agents usually represent actors, extras or models. Be wary if the agency claims to represent all of these categories plus a number of other services.
A PRINCIPAL agent will rarely represent you if you have no experience or training!
Legitimate talent agents usually require actors to have some professional training and some theater or film experience.
ONLY background agents will represent inexperienced people who have no training and will generally try to get them non-speaking roles as extras.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or for many other services used to separate you from your money.
If you are signed as a client by a legitimate talent agency, you will pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Legitimate talent agencies normally do not advertise for clients in newspaper classified columns nor do they solicit through the mail. If a purported talent agent seeks to send you to a particular photographer for pictures, hold your wallet tight and run for the nearest exit. Chances are s/he's a phony and receives a cut of the photographer's fee. If you need photographs, choose your own photographer. Better still, try another agent.
Want more? Listen to an informative, recorded message AND call (323) 549-6792.
Or VISIT: http://www.sag.com/wannabefaqs.html
Be careful and SAVE A FRIEND by passing this on!!!
Thank you!
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
I JUST GOT THIS EMAIL FROM A FRIEND OF MINE (Cristian Cruz) WHO IS SAG/AFTRA licensed and thought I'd share since it was similar to what b2k posted regarding SCAMS in OHIO:
----- Original Message -----
From: "Cristian C."
To: <Now-U-Know at rocketmail.com>
Sent: Sunday, March 3, 2002 8:25 PM
Subject: Look out man!
Mitch, as you already know, things are heating up out there in Cleveland regarding all these people looking to start agencies. But here are a few things you should tell other actors that might not be fortunate to know what we know.
There is a current list of SAG franchised talent agents on the SAG web site. In fairness to all franchised agents, SAG does not recommend any one franchised agent over any other. Some of the franchised agents also handle modeling and print work. You'll need to check those details out for yourself as Screen Actors Guild does not have jurisdiction in those areas with these details.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or anything like that. If you are signed as a client by a legitimate talent agency, you're just gonna pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Ever.
Incidentally, SAG does not have a formal relationship with "personal" or "business" managers. That doesn't mean they are bad or unnecessary; it just means that the Guild does not have an institutional relationship with them. There are well-established firms engaged in personal and business management. However, such firms usually handle established artists, and they neither advertise for newcomers, nor promise employment. The telephone number for the Talent Managers Association formerly the Conference of Personal Managers is 310-205-8495.
Otherwise than that, make good choices and never give more than 10 percent unless you sign an open contract. (N.E.) Any GOOD lawyer will tell you that.
I hope all is well and I can't to see you and your family at the party. Hope all is well at "The Compound", MITCHY RICH!!! LOL
C.C.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
A. Principal Performer Employment:
Performers may join SAG upon proof of employment or prospective employment within two weeks or less by a SAG signatory company. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, a payroll check or check stub, or a letter from the company (on company letterhead) The document proving employment must provide the following information: applicant's name and Social Security number, the name of the production or the commercial (the product name), the salary paid in dollar amount, and the specific date(s) worked.
B. Background Players Employment
Performers may join SAG upon proof of employment as a SAG covered background player at full SAG rates and conditions for a MINIMUM of three workdays subsequent to March 25, 1990. Employment must be by a company signed to a SAG Background Players Agreement, and in a SAG film, videotape, television program or commercial. Proof of such employment must be in the form of a signed employment voucher (or time card), plus an original payroll check or check stub. Such documents must provide the same information listed in paragraph 1)A above.
To join SAG, a performer must pay an initiation fee of $1,272.00, plus the first semi-annual basic dues. All joining fees are payable in full, in cashier's check or money order, at the time of application. NO PERSONAL CHECKS are accepted for joining fees. Fees may be lower if you join in some branch areas.
SAG dues are based on all earnings under SAG contracts in the prior calendar year. Earnings that were unreported in their nominal year, but reported in a later year, will be considered in the year of reporting for the purpose of calculating dues. Each SAG member pays basic annual dues of $100.00. In addition members will pay percentage dues of 1.85% of all earnings under SAG contracts up through $200,000, and 0.5% on all earnings from $200,001 through $500,000.
Dues are calculated on an annual basis, and paid in two installments ? the first on May 1, and the second on November 1. Bills are mailed to the address of record before each due date. Members who do not receive bills are responsible for requesting duplicates. Dues payments may be made by cash, check, or money order, in person or by mail to Cashier, Screen Actors Guild, 5757 Wilshire Boulevard, Los Angeles, CA 90036. Please put your member IDN, which is on your bill under your name, on your check.
Your application and proof of employment will be fully investigated by the Guild. Your application for SAG membership will be denied if you have falsified your credentials, or if your qualifying employment is not bona fide. While it is your responsibility to ascertain the validity of your qualifying employment, the Guild will be the sole arbiter in determining whether the employer was legitimate or bogus, and whether the qualifying employment which you performed was actual production work or work created solely to enable you to gain Guild membership. Please be aware that false representation or deception on your part will jeopardize your chances to join the Guild. Further, if after your application has been granted the Guild discovers such misconduct on your part, you may find yourself subject to disciplinary proceedings which could result in your being fined, suspended and/or expelled from the Guild.
If you are eligible under the conditions stated above, please contact your nearest SAG office BEFORE COMING IN so we can advise you of the amount of your joining fee and arrange an appointment with the New Membership Department.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
Edward Albee's play WHO'S AFRAID OF VIRGINIA WOOLF? opened on
Broadway on October 13, 1962. That same month, the world seemed poised on the
edge of a nuclear war when the United States faced off against the Soviet Union over
the presence of nuclear weapons on Cuba. Much like the missile crisis, George and
Martha, the play's protagonists, hurl threats, epitaphs, and fight a battle of wills.
Interestingly, though the play is considered to be one of modern America's
classics, the script did not win the Pulitzer Prize. The committee actually selected it as
the winner. However, the award is overseen by Columbia University, and the trustees
decided that the explicit language, interest in "taboo" subjects, and controversial public
reception made it the wrong choice. Nonetheless, it won the New York Drama Critics
Circle Award and the Tony Award for Best Play that year.
In this era of Jerry Springer and similar television shows which are embraced by
the public, the profanity and hateful words between George and Martha that so
shocked audiences in the 1960's, now seems commonplace.
The story concerns the relationship between George, a history professor, and his
wife, Martha, the daughter of the college's president. It depicts a series of battle games
with escalating stakes upon which George and Martha have built their marriage. The
proceedings encompass a young couple, Honey and Nick, who are guests in the house.
Director Neil Thackaberry, in a master stroke of interpretation, decided to pull
away from the oft-used device of George and Martha constantly shouting at each other.
Instead, using a clue from the script in which the characters comment on the fact that
they are "numbed enough," he chose to have them underplay their lines. This is not to
say the venom is not present. Much like snakes, the couple strikes quickly and often,
subtly, with deadly results.
Paula Duesing and Tom Fulton's performances are both astounding and
outstanding. They totally understand the nuances of Albee's lines and live their roles.
Though his lines are effectively delivered, Peter Voinovich doesn't have the
physical presence to play Nick, the young professor who is described as a stallion. In
addition, he sometimes feigns feeling with exaggerated facial expressions.
Susanna Hobrath shrilly whines her way through the role of Nick's wife Honey,
making her spaced out rather than pathetic.
Robert Stegmiller's light and set designs are excellent.
Actors' Studio should be justly proud of their mounting of WHO'S AFRAID OF
VIRGINIA WOOLF. If you like fine modern theatre at its best, see this production.
WHO'S AFRAID OF VIRGINIA WOOLF runs through April 21 at Actors' Summit, 86
Owen Brown Street in downtown Hudson. Call 330-342-0800 or go online at www.actorssummit.org for
tickets and directions.
OHIO BALLET'S HAMLET, THE BALLET VISUALLY EFFECTIVE
Earlier this year the Ohio and Dayton Ballet companies combined to present a
wonderful dance version of PETER PAN. Their newest joint venture is the full-length
balletic version of Shakespeare's HAMLET. Though the production does not reach the
excitement level of PETER PAN, HAMLET, THE BALLET makes for an enjoyable
evening of dance.
Choreographing to contemporary composer Phillip Glass's composition,
choreographer Stephen Mills wisely chose to stylize the production. Mills, the Artistic
Director of Ballet Austin, was hailed by Dance Magazine for his sleek and sophisticated
version of HAMLET, THE BALLET. And sleek and sophisticated it is. Except for the
repeated device of using vertical leaps to portray anguish, the choreography showed
texturing and integration of music and movement.
The ballet follows the Hamlet story closely enough that viewers familiar with the
Shakespearean piece have no trouble in understanding the danced story. In general,
Hamlet's father is killed by his uncle Claudius. Claudius marries Hamlet's mother.
Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him
to revenge his death. In the process of plotting revenge, more murder, intrigue and
finally the destruction of Hamlet's world, as we know it takes place.
Kirk Henning, who portrayed Hamlet on opening night, danced with ease but
he lacked the physical and emotional presence needed to portray the great brooding
and bigger-than-life character. Rachel Carmazzi was lovely as the emotionally tortured
Ophelia. Mary Beth Hansohn danced and portrayed the role of Gertrude with strength
and power. Dmitry Tubolstev, as he has done in previous performances, continues to
feign emotion. Though adequately danced, his Claudius was overacted. Brian Murphy
exerted his usual strong presence as Laertes. The sword fight between Murphy and
Henning was extremely effective and well staged.
Tony Tucci's lighting design, Christopher McCollum's contemporary costumes,
and Jeffrey Main's scenic design added a strong visual dimension to the production.
HAMLET, THE BALLET which was performed on April 5 & 6 at the State Theatre
in Cleveland, will be performed on April 12 and 13 at Akron's E. J. Thomas hall.. For
Akron tickets call 330-972-7570.
GROUNDWORKS DANCE THEATER--A SPECIAL TREAT
Anyone in Northeastern Ohio who appreciates dance and has not had the
experience of attending a performance of GROUNDWORKS DANCETHEATRE, has
missed out on one of the country's most exciting companies. Headed by Artistic
Director David Shimotakahara the group performs in various settings. Their latest
offerings were staged at Actors' Summit in Hudson. Performing to well-deserved near
sold-out audiences, the combination of dance and musical performances by pianist
David Fisher and guitarist Stephen Aron, was an emotionally fulfilling evening. Last Weekend to see the area premier
Because the performances will not be repeated individual selections will not be
reviewed, but readers are encouraged to call 216-932-0222 for information about future
programs or to go online to www.grounworksdance.org.
--0-1299983753-1018232554=:64631--
From FSternfeld at aol.com Sun Apr 7 22:52:10 2002
From: FSternfeld at aol.com (FSternfeld at aol.com)
Date: Sun Apr 7 22:52:10 2002
Subject: [NEohioPAL]Last Weekend to see "Saturday Night" at Beck Center
Message-ID: <3a.24c6aa75.29e26625@aol.com>
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Last Weekend to see the area premier
of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
"a model of theatrical craftsmanship"
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
for complete reviews, production photos, cast list, production staff & ticket
information, you can visit my website at http://www.fredsternfeld.com
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of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
A
For more information, please check out our =
website=20
at
Cuyahoga Community = College
CENTER FOR ARTS AND = CULTURE
CONTEMPORARY VISIONS = SERIES PRESENTS
CHARLIE VICTOR = ROMEO
CVR/COCKPIT VOICE = RECORDER
THURSDAY, APRIL 4, 2002 = - 8 P.M.
FRIDAY, APRIL 5 - 8 = P.M.
PERFORMING ARTS CENTER = (EAST CAMPUS THEATRE)
Tickets: $18; call = tickets.com at 216-241-6000 or purchase tickets at the box office, open = 2 hours prior to each performance.
Charlie Victor Romeo (CVR) is a live = performance documentary derived entirely from the black box or cockpit = voice recorders (also known as charlie victor romeos), transcripts from = six major real-life airline emergencies. CVR allows the audience = to enter the tension-filled cockpits of actual flights in distress, = in-flight airline emergencies. CVR is a fascinating portrait of = the psychology of crisis and a testimony to the ability to live to the = last second of life. What is going on up there behind the door in = the front of the airplane? Who are these people we trust our = lives to, and what do they really do when things go horribly = wrong?
The performance begins with flight = attendants issuing standard safety instructions and then suddenly = mundane cockpit conversation about weather and fuel is interrupted by = shrill alarms from the instrument panel indicating a flight gone = awry. Attendees are sure to shift to the edge of their seats as = this reality-based portrayal recreates the six airline emergencies, = from failed engines to malfunctioning flight controls, and incorrect = readings.
Created by Bob Berger, Patrick = Daniels, and Irving Gregory with sound design by Jamie Mereness, = Charlie Victor Romeo opened in the fall of 1999 at the Collective: = Unconscious Theater in the heart of New York's Lower East Side's = thriving artistic community. Due to the overwhelming response = from the press, aviation community and the general public, CVR extended = five times in an entirely sold-out eight-month run and is now on a = national tour.
As this experimental theatre piece was = booked prior to the September 11th tragedy, we hope to sensitively = provide a context for our audience to meaningfully experience the = performances: we are hosting debriefing sessions facilitated by = representatives of The Katan Center of the Cleveland Psychoanalytic = Society immediately following both performances.
Embraced by the aviation community for = its unsparing truthfulness and dedication to its non-sensation = approach, Charlie Victor Romeo has been filmed by the US Air Force as a = training video for pilots and has been observed by West Point cadets = enrolled in courses studying engineering psychology and human = error.
CVR has also generated great interest = from the medical community and has been performed for groups of = physicians and healthcare administrators studying the effects of human = error and emergencies in a medical context.
Charlie Victor Romeo has received = several awards and has been heralded as an important dramatic and = technical work by many including The New York Times, The Wall = Street Journal and PBS's = "NewsHour with Jim Lehrer."
Note: Content includes adult language = and themes.
J. Kay Coughlin
CCC Center for Arts and =
Culture
216/987-2544
Arts in Strongsville
Sandra Kornick, Chair
P.O. Box 360765
Strongsville, OH 44136
(440) 238-3693
April . . .
Check out Arts in Strongsville's Calendar of Events for April. You'll find a month-long cultural and performing arts fest filled with something exciting for everyone -- men, women, teens & kids of all ages.
Call (440)238-3693, now to register for workshops, lectures and get tickets for the special events.
. Mondays, April 1, 8, 22, & 29th
7 PM - 8:30 PM
"Battle of the Sexes in Shakespeare"
A series of four Free workshops
By Dr. Susan C. Oldrieve
Professor of English, B-W College
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
(with support from the Ohio Arts Council)
. Tuesdays, April 2nd & 9th
7 PM - 8:30 PM
"Wake Up, Get Up, Get Busy!"
A series of two Free lectures for teens & young adults
by Sue Johnson, actor/director, WAKE UP And LIVE's Actors' Studio
Each session is designed specifically for teens & young adults who want to
discover, explore & enhance their own personal power in all settings - at
school, at work and at play!
Tues., April 2nd: "Acting Techniques to Create a New You"
Tues., April 9th: "Acting Techniques to Develop & Use Your Creative
Power Within"
Strongsville Branch of the Cuyahoga County Public Library
13213 Pearl Rd., Strongsville, OH
For reservations, (440) 238-3693 or (440) 572-0439
. Friday, April 5th
7:30 PM
a FREE Performance of . . .
"Stumble"
a Great Lakes Theater Festival's Outreach Touring Production
written by Sarah Morton
directed by Todd S. Krispinsky
"Stumble" explores the obstacles to expressing true emotion in our profound
quest to unlock the complexities of the human heart.
The Holiday Inn Select of Strongsville (Sponsor for this event)
Interstate 71 & Royalton Rd., Strongsville, OH
Suitable for Older Teens & Adults
For reservations, (440) 238-3693 or (440) 572-0439
. Saturday, April 20th
7:30 PM
A Mexican Fiesta!
at
The Holiday Inn Select of Strongsville
. Bazaar & Flea Market
. Mexican/American Cuisine
. Dancing to Deejay, Jorge Corona
. Live Entertainment . . .
Angel Sanchez's
Mexican Strolling Guitars
&
Tepehuani Nelli's Mexican Dancers
Cash Bar
$40.00 per person
A "Fun"d-raiser for Arts in Strongsville
(with support from the Ohio Arts Council)
For tickets, (440) 238-3693 or (440) 572-0439
Don't miss out on these great opportunities to get to know about our
Arts in Strongsville special programs and events. Be sure to call Sandy Kornick,
Chair, (440) 238-3693 or (440) 572-0439 for more information or to get involved.
JUST A REMINDER THAT AUDITIONS FOR BEREA SUMMER THEATRE
WILL BE HELD THIS WEEKEND
APRIL 5th - 8th
CALL JOHN NOLAN AT 440-826-3360
TO SCHEDULE AN APPOINTMENT
Enesmble Theatre
still at the Civic
presents
A Cleveland Premiere
by Warren Leight
SIDE MAN
1999 Tony Award Winner BEST PLAY
featuring
Joseph Bonamico, Alan Byrne, Charles Kartali
Jeffrey Grover, Timothy Coles
and nancy Telzerow as Terry
A deeply moving memoriy play about the golden days of Jazz
featuring music by Cliiford Brown and Miles Davis
April 4 - 21
216-321-2930
Child = Stars?=20 How about "Porn Star"! Read this shocking research article on the = shady=20 underworld of the Olsen Twins! |
||||||||||||||
Please check=20 the date section of The Human Zoo to = find out=20 when they will be playing in your town! |
||||||||||||||
Tom Meyrose
Managing Director
P.O.Box 770056
Lakewood, Ohio 44107
E-mail replies are also welcome at huntheatre at aol.com
Tom Meyrose
440-871-8333
Don't miss=20
the final weekend of Eugene O'Neill's
The Hairy Ape=20 as directed by David Herskovits, at Cleveland Public Theatre =
this Friday=20 and Saturday at 8:00pm and Sunday at 3:00pm.
At Cleveland=20 Public Theatre, 6415 Detroit Avenue, a mere four minutes from=20 downtown.
Call 216.631.2727 for tickets and=20 information.
Mark =
your calendars=20
for these upcoming CPT events as well:
AT CLEVELAND PUBLIC =
THEATRE
Cleveland Public Theatre opens its doors to the community to =
witness=20
the power of the arts in the lives of our youth. CPT prides itself on =
its=20
commitment to bringing the arts to the inner-city. Now for one night =
only we=20
showcase the talents of some of the 200 youth we work with on a weekly=20
basis.
Saturday April 20, 2002 at 7:00pm
Admission is free and =
open to=20
the public
COSMIC ELEPHANT =
SALE
April=20
20, 2002 Gordon=20
SquareTheatre
Cleveland Public Theatre offers its finest in objects =
ranging=20
from the usual to the unusual including: jewelry, vintage and =
contemporary=20
clothing, books, furniture, Italian posters as well as posters from the =
'60s and=20
much much more at bargain basement prices.
Saturday April 20, =
2002 at=20
10:00am - 5:00pm
Admission is free and open to the =
public
May 3 -12, 2002=20
Gordon Square Theatre
By =
James A.=20
Levin and Linda Eisenstein
Directed by Randy Rollison
This satiric =
musical=20
retelling of the innocent Percival's quest for the Holy Grail takes =
place in an=20
Arthurian kingdom in disarray that may seem oddly familiar: with Knights =
of the=20
Benevolent Nation enforcing homeland security, greedy barons, and Grails =
For=20
Sale at the Castle Mall. Told through the eyes of a seen-it-all-before=20
prophetess named Cassandra, the audience is led on a magical musical =
journey=20
that eventually brings us right back home again. Written by James A. =
Levin and=20
Linda Eisenstein, authors of the legendary rock comedy, Star Wares: The =
Next=20
Generation.
Thursday through Saturday at 8:00pm
Sundays at=20
3:00pm
Regular Admission: $10.00
Students =
and=20
Seniors: $8.
UNDERGROUND GRIOTS- A FESTIVAL OF =
ONE=20
ACTS
Parma Senior High School Drama Department
Specifically looking for those who play: Trumpet, Trombone, Percussion,
Reeds (clarinet, flute, tenor saxophone,
alto saxophone, and/or baritone saxophone)
Pay: $200.00
Rehearsal commitments: Sunday, April 7th, from 1:00 - 9:00pm
Thursday, April 11th, from 6:00 - 11:00pm
Performance commitments: Friday, April 12th, at 8:00pm
Saturday, April 13th, at 2:00pm
Sunday, April 14th, at 2:00pm
Please contact Steve Higginbotham, PSH Drama Director, at PSHDramaClub at aol.com if you are interested and available for this production. Or, if you would rather call to voice your interest, please call Assistant Director, Keighty Coffey, at 216-225-5951 as soon as possible.
Thank you in advance for your time and talents!
An actor friend of mine who is now getting into film was recently BURNED by a company claiming to be a talent agency in the Ohio area.
SAG has received RECENT information from several concerned actors and models from the area who have received phone calls from an agency or agencies looking to 'represent' them from Cleveland and more East of downtown. It is my opinion that a reputable agency would not use such techniques and you should end this phone call immediately! Typical scams ask for money up front, such as $20 here or $60 there to take classes, go to shows or get your photos and sometimes get you work. Many of these operations prey on newcomers trying to get started in this business.
Because of my legal background and former acting experience, I thought it was deemed necessary to take some action and let you ALL know of a few RULES that a REAL agency CANNOT break!
Things to Remember When Trying to Recognize a SCAM:
Check here for legit AGENTS:---> http://www.sag.org/agentlist/
Agents do not advertise!
According to the indusrty's EIC Code of Ethics, talent and background agents cannot advertise to the general public.
Agents do not provide photographic services or charge to give classes!
A reputable agent may suggest specific photographers or classes to you but cannot require you to use them by the EIC code or even pay for them through the agencies own services.
An agency DOES NOT charge and is NOT ALLOWED by the EIC code to charge more than 10%
If an agency, with NO track record and no license, charges more than 10% for their services? They can be held liable.
Children and extras do not need professional-quality photos!
Babies and toddlers never need professional photos. Extras need to provide a snapshot to their agents. Children under the age of ten do not need professional photos unless they are working regularly.
An agent cannot guarantee work!
An agent who tells you that they have work for you must give you a copy of the signed contract along with the details of the job (who is hiring you, what you will be paid, etc.) If you have heard the word GUARANTEE, then you can sue for not getting the work promised.
Agents are not casting directors!
Agents earn commissions when their clients work ONLY. Casting directors are paid by the production and never take money from performers for any reason.
Agents specialize!
Agents usually represent actors, extras or models. Be wary if the agency claims to represent all of these categories plus a number of other services.
A PRINCIPAL agent will rarely represent you if you have no experience or training!
Legitimate talent agents usually require actors to have some professional training and some theater or film experience.
ONLY background agents will represent inexperienced people who have no training and will generally try to get them non-speaking roles as extras.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or for many other services used to separate you from your money.
If you are signed as a client by a legitimate talent agency, you will pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Legitimate talent agencies normally do not advertise for clients in newspaper classified columns nor do they solicit through the mail. If a purported talent agent seeks to send you to a particular photographer for pictures, hold your wallet tight and run for the nearest exit. Chances are s/he's a phony and receives a cut of the photographer's fee. If you need photographs, choose your own photographer. Better still, try another agent.
Want more? Listen to an informative, recorded message AND call (323) 549-6792.
Or VISIT: http://www.sag.com/wannabefaqs.html
Be careful and SAVE A FRIEND by passing this on!!!
Thank you!
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
I JUST GOT THIS EMAIL FROM A FRIEND OF MINE (Cristian Cruz) WHO IS SAG/AFTRA licensed and thought I'd share since it was similar to what b2k posted regarding SCAMS in OHIO:
----- Original Message -----
From: "Cristian C."
To: <Now-U-Know at rocketmail.com>
Sent: Sunday, March 3, 2002 8:25 PM
Subject: Look out man!
Mitch, as you already know, things are heating up out there in Cleveland regarding all these people looking to start agencies. But here are a few things you should tell other actors that might not be fortunate to know what we know.
There is a current list of SAG franchised talent agents on the SAG web site. In fairness to all franchised agents, SAG does not recommend any one franchised agent over any other. Some of the franchised agents also handle modeling and print work. You'll need to check those details out for yourself as Screen Actors Guild does not have jurisdiction in those areas with these details.
Legitimate talent agencies do not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or anything like that. If you are signed as a client by a legitimate talent agency, you're just gonna pay that agency nothing until you work and then 10 percent of your earnings as a performer -- but nothing in advance. Ever.
Incidentally, SAG does not have a formal relationship with "personal" or "business" managers. That doesn't mean they are bad or unnecessary; it just means that the Guild does not have an institutional relationship with them. There are well-established firms engaged in personal and business management. However, such firms usually handle established artists, and they neither advertise for newcomers, nor promise employment. The telephone number for the Talent Managers Association formerly the Conference of Personal Managers is 310-205-8495.
Otherwise than that, make good choices and never give more than 10 percent unless you sign an open contract. (N.E.) Any GOOD lawyer will tell you that.
I hope all is well and I can't to see you and your family at the party. Hope all is well at "The Compound", MITCHY RICH!!! LOL
C.C.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
A. Principal Performer Employment:
Performers may join SAG upon proof of employment or prospective employment within two weeks or less by a SAG signatory company. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, a payroll check or check stub, or a letter from the company (on company letterhead) The document proving employment must provide the following information: applicant's name and Social Security number, the name of the production or the commercial (the product name), the salary paid in dollar amount, and the specific date(s) worked.
B. Background Players Employment
Performers may join SAG upon proof of employment as a SAG covered background player at full SAG rates and conditions for a MINIMUM of three workdays subsequent to March 25, 1990. Employment must be by a company signed to a SAG Background Players Agreement, and in a SAG film, videotape, television program or commercial. Proof of such employment must be in the form of a signed employment voucher (or time card), plus an original payroll check or check stub. Such documents must provide the same information listed in paragraph 1)A above.
To join SAG, a performer must pay an initiation fee of $1,272.00, plus the first semi-annual basic dues. All joining fees are payable in full, in cashier's check or money order, at the time of application. NO PERSONAL CHECKS are accepted for joining fees. Fees may be lower if you join in some branch areas.
SAG dues are based on all earnings under SAG contracts in the prior calendar year. Earnings that were unreported in their nominal year, but reported in a later year, will be considered in the year of reporting for the purpose of calculating dues. Each SAG member pays basic annual dues of $100.00. In addition members will pay percentage dues of 1.85% of all earnings under SAG contracts up through $200,000, and 0.5% on all earnings from $200,001 through $500,000.
Dues are calculated on an annual basis, and paid in two installments ? the first on May 1, and the second on November 1. Bills are mailed to the address of record before each due date. Members who do not receive bills are responsible for requesting duplicates. Dues payments may be made by cash, check, or money order, in person or by mail to Cashier, Screen Actors Guild, 5757 Wilshire Boulevard, Los Angeles, CA 90036. Please put your member IDN, which is on your bill under your name, on your check.
Your application and proof of employment will be fully investigated by the Guild. Your application for SAG membership will be denied if you have falsified your credentials, or if your qualifying employment is not bona fide. While it is your responsibility to ascertain the validity of your qualifying employment, the Guild will be the sole arbiter in determining whether the employer was legitimate or bogus, and whether the qualifying employment which you performed was actual production work or work created solely to enable you to gain Guild membership. Please be aware that false representation or deception on your part will jeopardize your chances to join the Guild. Further, if after your application has been granted the Guild discovers such misconduct on your part, you may find yourself subject to disciplinary proceedings which could result in your being fined, suspended and/or expelled from the Guild.
If you are eligible under the conditions stated above, please contact your nearest SAG office BEFORE COMING IN so we can advise you of the amount of your joining fee and arrange an appointment with the New Membership Department.
SO FOCUSED and STILL makin' things happen!
http://TheAnswer.mustbehere.com
A fansite with over 5,160+ friends & new updates PLUS pics, MP3's, video and MORE!
?1991 The MAB/EG--------The MAB/EG ?2002
Edward Albee's play WHO'S AFRAID OF VIRGINIA WOOLF? opened on
Broadway on October 13, 1962. That same month, the world seemed poised on the
edge of a nuclear war when the United States faced off against the Soviet Union over
the presence of nuclear weapons on Cuba. Much like the missile crisis, George and
Martha, the play's protagonists, hurl threats, epitaphs, and fight a battle of wills.
Interestingly, though the play is considered to be one of modern America's
classics, the script did not win the Pulitzer Prize. The committee actually selected it as
the winner. However, the award is overseen by Columbia University, and the trustees
decided that the explicit language, interest in "taboo" subjects, and controversial public
reception made it the wrong choice. Nonetheless, it won the New York Drama Critics
Circle Award and the Tony Award for Best Play that year.
In this era of Jerry Springer and similar television shows which are embraced by
the public, the profanity and hateful words between George and Martha that so
shocked audiences in the 1960's, now seems commonplace.
The story concerns the relationship between George, a history professor, and his
wife, Martha, the daughter of the college's president. It depicts a series of battle games
with escalating stakes upon which George and Martha have built their marriage. The
proceedings encompass a young couple, Honey and Nick, who are guests in the house.
Director Neil Thackaberry, in a master stroke of interpretation, decided to pull
away from the oft-used device of George and Martha constantly shouting at each other.
Instead, using a clue from the script in which the characters comment on the fact that
they are "numbed enough," he chose to have them underplay their lines. This is not to
say the venom is not present. Much like snakes, the couple strikes quickly and often,
subtly, with deadly results.
Paula Duesing and Tom Fulton's performances are both astounding and
outstanding. They totally understand the nuances of Albee's lines and live their roles.
Though his lines are effectively delivered, Peter Voinovich doesn't have the
physical presence to play Nick, the young professor who is described as a stallion. In
addition, he sometimes feigns feeling with exaggerated facial expressions.
Susanna Hobrath shrilly whines her way through the role of Nick's wife Honey,
making her spaced out rather than pathetic.
Robert Stegmiller's light and set designs are excellent.
Actors' Studio should be justly proud of their mounting of WHO'S AFRAID OF
VIRGINIA WOOLF. If you like fine modern theatre at its best, see this production.
WHO'S AFRAID OF VIRGINIA WOOLF runs through April 21 at Actors' Summit, 86
Owen Brown Street in downtown Hudson. Call 330-342-0800 or go online at www.actorssummit.org for
tickets and directions.
OHIO BALLET'S HAMLET, THE BALLET VISUALLY EFFECTIVE
Earlier this year the Ohio and Dayton Ballet companies combined to present a
wonderful dance version of PETER PAN. Their newest joint venture is the full-length
balletic version of Shakespeare's HAMLET. Though the production does not reach the
excitement level of PETER PAN, HAMLET, THE BALLET makes for an enjoyable
evening of dance.
Choreographing to contemporary composer Phillip Glass's composition,
choreographer Stephen Mills wisely chose to stylize the production. Mills, the Artistic
Director of Ballet Austin, was hailed by Dance Magazine for his sleek and sophisticated
version of HAMLET, THE BALLET. And sleek and sophisticated it is. Except for the
repeated device of using vertical leaps to portray anguish, the choreography showed
texturing and integration of music and movement.
The ballet follows the Hamlet story closely enough that viewers familiar with the
Shakespearean piece have no trouble in understanding the danced story. In general,
Hamlet's father is killed by his uncle Claudius. Claudius marries Hamlet's mother.
Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him
to revenge his death. In the process of plotting revenge, more murder, intrigue and
finally the destruction of Hamlet's world, as we know it takes place.
Kirk Henning, who portrayed Hamlet on opening night, danced with ease but
he lacked the physical and emotional presence needed to portray the great brooding
and bigger-than-life character. Rachel Carmazzi was lovely as the emotionally tortured
Ophelia. Mary Beth Hansohn danced and portrayed the role of Gertrude with strength
and power. Dmitry Tubolstev, as he has done in previous performances, continues to
feign emotion. Though adequately danced, his Claudius was overacted. Brian Murphy
exerted his usual strong presence as Laertes. The sword fight between Murphy and
Henning was extremely effective and well staged.
Tony Tucci's lighting design, Christopher McCollum's contemporary costumes,
and Jeffrey Main's scenic design added a strong visual dimension to the production.
HAMLET, THE BALLET which was performed on April 5 & 6 at the State Theatre
in Cleveland, will be performed on April 12 and 13 at Akron's E. J. Thomas hall.. For
Akron tickets call 330-972-7570.
GROUNDWORKS DANCE THEATER--A SPECIAL TREAT
Anyone in Northeastern Ohio who appreciates dance and has not had the
experience of attending a performance of GROUNDWORKS DANCETHEATRE, has
missed out on one of the country's most exciting companies. Headed by Artistic
Director David Shimotakahara the group performs in various settings. Their latest
offerings were staged at Actors' Summit in Hudson. Performing to well-deserved near
sold-out audiences, the combination of dance and musical performances by pianist
David Fisher and guitarist Stephen Aron, was an emotionally fulfilling evening. Last Weekend to see the area premier
Because the performances will not be repeated individual selections will not be
reviewed, but readers are encouraged to call 216-932-0222 for information about future
programs or to go online to www.grounworksdance.org.
--0-1299983753-1018232554=:64631--
From FSternfeld at aol.com Sun Apr 7 22:52:10 2002
From: FSternfeld at aol.com (FSternfeld at aol.com)
Date: Sun Apr 7 22:52:10 2002
Subject: [NEohioPAL]Last Weekend to see "Saturday Night" at Beck Center
Message-ID: <3a.24c6aa75.29e26625@aol.com>
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Last Weekend to see the area premier
of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
"a model of theatrical craftsmanship"
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene
for complete reviews, production photos, cast list, production staff & ticket
information, you can visit my website at http://www.fredsternfeld.com
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of Stephen Sondheim's first musical
Saturday Night
Book by Julius J. Epstein
Music and Lyrics by Stephen Sondheim
Based on the play Front Porch in Flatbush
by Julius J. Epstein and Philip G. Epstein
at Beck Center
17801 Detroit Ave., Lakewood, Ohio
Thursday - Saturday @ 8pm, April 11-13
Sunday @ 3pm, April 14
Tickets: 216-521-2540
Carolyn Jack, The Plain Dealer
"peerless standards of artistry"
Fran Heller, Cleveland Jewish News
"agreeably adept and sunny mounting"
James Damico, Cleveland Free Times
"the best musical experience of the season thus far"
Keith A. Joseph, The Cleveland Scene