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Workshop Players Auditions: "Steel Magnolias"
by Workshop Players 16 Jan '18

16 Jan '18

Auditions Sunday January 21 and Monday January 22 at 7p.m. at the theater *For Steel Magnolias!* Show Dates: March 8, 9, 10, 16, 17, 18, 23, 24, 25 Director Judy MacKeigan is looking for a cast of strong, female actors to portray the iconic women of *Steel Magnolias*. Set in the late 1980s in a small town in Louisiana, Steel Magnolias is an homage to the strength of friendship that holds us together through life’s tragedy and comedy. Auditions will consist of cold readings from the script, but those auditioning are encouraged to be familiar with the story and the characters. (note: actors should be able to portray the following age/age range for each character.) Truvy- Owner and operator of the beauty salon where the action of the show takes place. Kind hearted, practical, and lively. Age 40-50 Annelle- newly hired assistant to Truvy, naïve, gullible and lacking in self-confidence, but sweet and lovable. age 18-20 Clairee –neighborhood patron of the beauty shop, widow of the former mayor, a bit reserved and formal age 65-75 Shelby- pretty, popular and self assured, but has a life-threatening form of type 1 Diabetes, 25-30 M’lynn- Shelby’s mother, career woman, confident and strong, but concerned for her daughter 50-60 Ouiser- female curmudgeon, acerbic and sarcastic, but caring and loyal to her friends 65-75 for more information, contact the director at Judy(a)davenjudy.net -- Workshop Players 44820 Middle Ridge Road, Amherst, OH 44001 Box Office: 440-988-5613 (Box Office hours: 9 a.m. to 7 p.m.) contact(a)workshopplayers.com www.workshopplayers.com "If all the world's a stage, I want better lighting!"

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REVIEW of DOUBT at Canton Players Guild
by Tom Wachunas 16 Jan '18

16 Jan '18

Impassioned Ambiguities By Tom Wachunas “Doubt requires more courage thanconviction does, and more energy; because conviction is a resting place anddoubt is infinite – it is a passionate exercise. You may come out of my playuncertain. You may want to be sure. Look down on that feeling. We’ve got tolearn to live with a full measure of uncertainty. There is no last word. That’sthe silence under the chatter of our time. ”― John Patrick Shanley, author of Doubt John PatrickShanley’s 2005 Pulitzer Prize-winning play, Doubt,is a 90-minute drama with no intermission. On one level, this riveting workcould be called an unresolved cerebral and emotional thriller. The story unfolds in 1964 at a Catholic schoolin the Bronx. The school principal, Sister Aloysius, accuses Father Flynn ofsexual misconduct with 12 year-old Donald Muller, the school’s sole blackstudent. Seemingly convinced that her allegations are provable, Sister Aloysiusembarks on a campaign to expose and oust Father Flynn. In the process sheattempts to rally support from the boy’s teacher, Sister James, and the boy’smother, Mrs. Muller, who has her own very compelling reasons for resistingSister Aloysius’ efforts. In a recent CantonRepository article (January 4) about the current Players Guild production ofthe play, director Craig Joseph said,“The idea is to create a production that itself creates doubt. It fails ifpeople walk out thinking, ‘He’s guilty’ or ‘He’s not guilty.’ It’s fun figuringout ways to shift and change the audience’s sympathies.” Joseph has indeed figured out how to shift oursympathies in powerful fashion, thanks to the altogether gripping articulationsfrom his cast of four. These articulations spring from the sharpness and depthof Shanley’s writing and its many forays into wily ambiguity. What’s written,however, could never come fully to light and life but for the prowess requiredto speak a language without words. Here in the intimate surrounds of theGuild’s arena space we’re able to clearly see that the cast has mastered thepotency of nuanced physical expression – furrowed brows, eyes frightened ornarrowed, snarling lips, heaving or stiffened shoulders, arched backs. In thistense he-said–she-said game of cat and mouse, queries and allegations arewielded like swords, parried with responses at once eloquent and terse, and allto the point, as it were, of stunning uncertainty. Even the silences thatpunctuate the fast-moving dialogue are voluminous with myriad unspoken questions. Meg Hopp is a relentlessly commanding presenceas Sister Aloysius. She perfectly embodies her character’s wry and rigid world-view,steeped as it is in theself-righteousness and pernicious judgementalism that fuels her stridentrefusal to grant the possibility of Father Flynn’s innocence. She renders acomplex portrait, colored with debilitating pessimism and real exasperationwith what she considers to be the inept pastoral leadership in her community. Shesees Sister Jane as too impressionable, lacking in wisdom and real-worldexperience - a potential ally who needs to be molded. In that role, LanaSugarman is wholly endearing in her obsequious way, exuding a sweetvulnerability and bubbly optimism. At first not believing the report of FatherFlynn’s sinful actions, as the play progresses she struggles mightily to graspthe darker implications of the circumstances emerging around her. Ryan C. Nehlen’s magneticportrayal of Father Flynn makes it easy to understand Sister Jane’s initialincredulity. He’s gentle and confident, erudite, and indisputably charismatic. Andyet from the play’s outset, when he delivers an intriguing sermon that extols thespiritual value of being “stricken by private calamity,” Nehlen’s delivery - alternatelypoker-faced and impassioned - has theuncanny effect of presaging trouble ahead and his more acerbic exchanges withSister Aloysius. A startling surprise ensues when SisterAloysius has a short conference with Mrs. Muller, played by Joy A. Ellis. Forall of that scene’s brevity, Ellis packs it with an authentic and heartrendingemotional intensity – a shift that significantly enlarges the philosophicaldimensions of the story. There’s good reasonto call this play “a parable.” On the surface,its words might suggest an indictment of corrupted Catholic patriarchy andpriestly pedophilia. In the end, though, I think the apparent religious contextis somewhat cosmetic in nature, and arguably better regarded as symbolic of alarger societal malaise. Is it stillreasonable to want our words to describe or report reality in absolute,unarguable terms? In this troubled ageof moral and philosophical relativism, words can be especially convenientweapons, too easily abused, leading to tragic judgements. If nothing else, Doubt presents us with the capacity ofwords to veil as much as they reveal, to incite and justify uncertaintiesrather than declare unassailable truths. Playwright Shanley’s sobering,arresting words are woven together into a gray tapestry of innuendo, ofassumptions acted upon as fact, of accusations without proof. Think of his play as a compelling allegory of thedoubtful practices rampant on so many of our current social media platforms,the “…chatter of our time.” Doubt – A Parable, by John PatrickShanley / Directed by Craig Joseph,at Players Guild William G. Frye Theatre, Cultural Center for the Arts, 1101 Market Ave. N., Canton / THROUGHJANUARY 28, 2018 / shows at 8 p.m. Friday and Saturday, and 2 p.m. Sunday.TICKETS: $20 adults, $17 seniors, $13 ages 17 and younger.Order at 330-453-7617 and www.playersguildtheatre.com

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High School Students Needed for the CIFF² Program
by Jasmine Golphin 15 Jan '18

15 Jan '18

Cleveland International Film Festival is currently looking for* girls of color and non-binary students of color* to apply to the CIFF² (“CIFF-squared”) program being held at the festival in early April. Now in its second year, CIFF² was created to help bridge the race and gender gap in the world of filmmaking through a mentorship program with visiting filmmakers. The students chosen to participate will attend several film screenings at CIFF 42, engage in meaningful dialogue and interaction with a select group of female filmmakers of color, learn more about the Film Festival from a filmmakers’ point of view, and ultimately produce a short film about their experience. *Interested students do not have to have background in filmmaking, just an interest to learn more about the art form.* Below is a link with more information about the program. If you know someone who may be a good fit, please have them email *ciffsquared(a)clevelandfilm.org <ciffsquared(a)clevelandfilm.org> *for an application. Applications are due February 1st. https://www.clevelandfilm.org/festival/special-programs/ciff2 Thank you! Jasmine Golphin CIFF² Program Manager

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Auditions Jan 28 / 29 - "The Country House" by Donald Margulies
by Chagrin Valley Little Theatre 15 Jan '18

15 Jan '18

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LAST CHANCE to enroll 3-5 graders in Cleveland Youth Improv Classes... as seen on Cleveland Scene and Cool Cleveland!
by Emma Shepard 15 Jan '18

15 Jan '18

Cleveland Youth Theater Project is still enrolling students for Intro To Improv class for grades 3-5 at The Magalen in Slavic Village! Enrollment closes on the 18th and classes begin on The 22nd! More information can be found through Cleveland Scene: https://m.clevescene.com/scene-and-heard/archives/2018/01/12/cleveland-yout… or on our website: www.cleytp.com

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Model Logic: Confidence and the Business of Modeling Intensive
by Ariona Beninato 15 Jan '18

15 Jan '18

*MODEL LOGIC* On January 28th from 3pm-6pm, Ariona Beninato will be hosting an interactive model workshop at The SPOT in Cleveland, Ohio. In this 1 day intensive, Ariona will teach an introduction into the business of modeling. She will also teach how to turn your profile into a portfolio, self confidence, and how to book jobs without being signed. Ariona Beninato is a model and actress from Cleveland, OH. Her work includes commercial print work, film, television, commercial, live presentation, editorial, runway, catalog, music videos, and e-commerce. Ariona Beninato works in the Midwest market and New York City. She has appeared in projects for Teen Vogue, Allure Magazine, MAKE UP FOREVER, and many more. She has had roles on Empire, Lifetime's Surviving Compton, and has appeared in numerous commercials for brands including Kia of Bedford, Hoover Vacuums, and Nike. Models are advised to bring a notebook and pen during the workshop. Models should arrive hair and make up ready. For any questions, please contact 347.506.6925 or ariona.beninato(a)gmail.com *PURCHASE TICKETS:* www.picatic.com/ModelLogic *Follow Ariona & Collective Casting:* @arionabeninato @collectivecasting

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Auditions for Weathervane's LES LIAISONS DANGEREUSES
by Craig Joseph 15 Jan '18

15 Jan '18

Auditions are only a week away - on January 21st and 22nd. Still a few slots left. Show runs May 3-20. For more details and to sign up, please check out http://weathervaneplayhouse.com/audition#Liaisons. With questions, contact director Craig Joseph at craigjose(a)gmail.com.

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Seeking Afr. Am. actor
by Joseph Bauer 15 Jan '18

15 Jan '18

Please send your headshot and resume to Joeybauer1967(a)gmail.com by Jan. 19th if you are a male black actor, believable for age 19 and an excellent reader. The role is a teen star being interviewed for a magazine and revealing intimate details about his life. The ten-minute play, a two-hander, will be read at Ensemble Theatre in Cleveland Heights on Wed., Jan. 24th at 7 p.m.

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CHILDREN’S AUDITIONS
by Marc Howard 15 Jan '18

15 Jan '18

Aurora Community Theatre is holding……… *ADDITIONAL CHILDREN’S AUDITIONS FOR:* *THE KING & I* We are looking for children (stage ages 7-13) When: Sun. Jan. 21st 5:30 pm Where: 115 E. Pioneer Trail, Aurora, OH 44202 What to Prepare: Please bring a resume, headshot and 16-32 measures of a Classic Broadway song not from the show, prepare your sheet music for an, accompanist. No acapella or taped music. If invited to callbacks, scene work, choreography, and further music will be given. Rehearsals: Will begin Sun. March 4th Performances: April 27th – May 19th Fri. & Sat. Evenings 8 pm and Sun. Matinee 3 pm May 6th & 13th For questions or further information, contact the director at dustinmoliver(a)gmail.com Prince Children’s Roles Available: *Chulalongkorn* – Male (stage age 11-12), High Tenor (G3-A4), intelligent and opinionated, he is the crowned prince of Siam who constantly questions the world around him. Songs include, “The Royal Bangkok Academy” (ensemble) and “Reprise: A Puzzlement.” Dancing involved. *Louis Leonowens* – Male (stage age 9-10), High Tenor (G3-B4), the dutiful son of Anna, he quickly makes friends with Prince Chulalongkorn as he stands in awe of his new surroundings. Songs include, “I Whistle a Happy Tune,” “The Royal Bangkok Academy” (ensemble), and “Reprise: A Puzzlement.” Dancing involved. *Princess Ying Yaowalak* – Female (stage age 9-10), a young daughter of the king and one of Anna’s pupils. Songs include, “The Royal Bangkok Academy” (ensemble) and “Getting to Know You” (ensemble). Dancing involved. *Royal Children* – Male/Female (stage ages 7-13), sons/daughters of the King and pupils of Anna. Songs include, “The Royal Bangkok Academy” and “Getting to Know You.” Dancing involved.

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AUDITIONS: Exit the Body, by Fred Carmichael
by James Charpie 15 Jan '18

15 Jan '18

East Cleveland Theater is hosting auditions for “Exit the Body”, by Fred Carmichael. *Director: Christopher Bizub* *Synopsis:* A mystery writer rents a New England house that is the rendezvous point for some jewel thieves. The focal point of the set is the closet which opens into a living room and a library. A body found in the closet promptly disappears only to be succeeded by another. The hunt for the jewels reaches a climax at two A.M. when four couples unknown to each other turn up to search. Not since the days of Mack Sennett has there been such an hilarious series of entrances and exits. *The Roles:* *Crane Hammond**: *Female, 30s to 50s A successful mystery writer, she is bright, gay, witty and an altogether likeable person. *Kate Bixley**: *Female, 30s to 50s Crane Hammond's secretary, she has an irrepressible sense of humor that often borders on the sarcastic, but she doesn't really mean it. *Helen O’Toole**: *Female, 30s to 40s A very efficient real estate saleswoman, perhaps a trifle too folksy and straight-laced, but she means well. *Lillian Seymour**: *Female, 30s to 50s A top-flight fashion designer. *Jenny**: *Female, 20s to 30s Young country girl, rather loud, but the epitome of innocence. *Lyle Rogers**: *Male, 30s to 50s Attractive trophy husband of Lillian Seymour. *Vernon Cookley**: *Male, 30s to 60s A middle-aged New Englander, who has never traveled more than ten miles outside his hometown, emotionless and leery of everyone and everything. *Randolph**: *Male, 20s to 30s An inept small time crook, and proud of it. *Philip Smith**: *Male, 30s to 50s A nice, honest-looking guy with amnesia. *Richard Hammond**: *Male, 30s to 60s Crane's husband, average businessman type. *Audition Dates:* Sunday, February 11, from 7 to 10pm. Thursday, February 15, from 7 to 10pm. Callbacks on Saturday, February 17, from 3 to 6pm (by invitation only). All roles are open. All ethnicities considered, and the stated age ranges can be somewhat flexible. Auditioners should be prepared to read from the script. *Show Dates:* Shows on Friday, Saturday, and Sunday, 9 shows total Opening: Friday, May 04, 2018 Closing: Sunday, May 20, 2018 Friday and Saturday shows start at 8pm Sunday shows start at 3pm *Rehearsals:* Rehearsals will begin the end of March 2018. Exact dates have not been determined. We typically have rehearsals Sundays thru Thursdays (5 days / week), but again that is not yet set in stone. If you are concerned about dates and timeframes, please show up at auditions and tell us your limitations. East Cleveland Theater is a community theater celebrating its 49th Season. Our actors, like most of our personnel, are unpaid volunteers. We hope you will join us as we entertain and challenge our audiences. If you have questions, please call James Charpie at 330-416-1311, or email me at jcharpie(a)eastclevelandtheater.org. East Cleveland Theater 14108 Euclid Avenue East Cleveland, OH 44112 216-851-8721 www.eastclevelandtheater.org Thank You, James Charpie Stage Manager East Cleveland Theater

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