JULIUS AND ETHEL ROSENBERG: UNQUIET DEATHS?

February 1st, 2012

By Christopher Purdy

“I was with Ethel in the women’s house of detention. When the van came to take us to court, Ethel and Julius would be in there. It was pitch black. One time a prisoner lit a cigarette, from the flare we could see Ethel and Julie trying to kiss between the gate.”—Miriam Moskowitz

At first glance, there was nothing remarkable about Julius and Ethel Rosenberg. They married in 1939, and lived a lower middle-class existence not far from where they each grew up on New York’s lower east side. Both sets of parents were immigrants from the pale of Eastern Europe. Families grew up in unheated tenements with toilets down the hall. It was a crowded life, and a poor life.
Julius Rosenberg disappointed his parents who hoped he’d be a rabbi. He graduated City College in electrical engineering, near the bottom of his class. Morton Sobell, a classmate and later a co defendant with the Rosenbergs, said, “As an engineer, Julius would have made a very good rabbi”.

The high point of Julius’s life was his first meeting with Ethel Greenglass in early 1936. Ethel worked as a secretary in a Manhattan shipping firm. But the stage was her passion. She dreamed of a career in opera-and her heart was not with shipping but with the amateur dramatic societies she joined, and with New York’s prestigious Schola Cantorum, to which she aspired. There no encouragement at home. “There’s no room in life for arty people”, sniffed her mother.

But there was Ethel, pacing a corridor before going on at an amateur night to sing ‘Ciribiribin”. And there was Julius, introducing himself and talking quietly to encourage her. The two were an item from that night. They married in 1939. There were two children, Michael born in 1943, and Robert in 1947. The young family eventually moved to a three room apartment at 10 Monroe St. Ethel’s dreams of the stage receded (she never stopped trying). Julius went to work in the U.S. Army Civilian Signal Corps.
In 1942, Julius was fired. It was discovered he had been a member of the Young Communist League at City College. Ethel had joined before their marriage. Julius for years told everyone how proud he was that Ethel, then 18, had led a strike at her job, which left her unemployed.

If Julius and Ethel were penalized for membership in the YCL, so most of half the lower east side must have been indicted. Julius went further, and the couple moved from the hum drum to the dangerous. Julius was recruited by a Soviet agent early in the 1940s. He was chosen as a “friend of the party” and because he had one important recourse, Ethel’s kid brother, David Greenglass.
“Doovey” was adored by his older sister and was the pet of the family. He married Ruth Prinz in 1942. The army sent David to the machine shops at the nuclear testing facilities in Los Alamos. There he made sketches of fission lenses which were passed to Julius who presumably passed them on. Julius was arrested by the FBI on June 17, 1950; Ethel was arrested seven weeks later. They never left prison.

The charges were “Conspiracy to commit espionage”. Over the years it’s been argued that the Russians received from Julius nothing they didn’t already have. David Greenglass was told by the authorities, confess or you and your wife both will be prosecuted-1950 was not a time to be a political radical in the United Sates. A deal was made. David testified of Julius’s involvement and went on to say that Ethel was present and typed his notes. This testimony was crucial to the government’s case. The Rosenbergs were convicted and sentenced to death in the electric chair. David Greenglass got ten years and served seven. Ruth was never prosecuted. Appeals for the Rosenbergs ran out in the summer of 1953. Pablo Picasso and the Pope were among those who asked for clemency. Pro Rosenberg rallies were held all over the world. There was a vigil in New York’s Foley Square on the night of June 19, 1953. It was the Rosenberg’s 14th wedding anniversary. At Sing-Sing there was a last mintue appeal. The executions had been scheduled for 11 PM. But it was Friday. Honor the Jewish Sabbath and give them one more day. Instead the executions were moved forward to 8 PM. Julius and Ethel were allowed to spend thirty minutes together, with a heavy mesh screen between them. The guards came for Julius and he touched Ethel’s finger through the mesh-until they both bled. Thirty minutes later the couple was dead. Their sons had been sent to live with a kindly foster family. Michael was playing outside on that terrible night. He knew about the 8 PM deadline. “I stayed outside until it was two dark to see the ball. Went I went in I was told the television stations all said the same thing.”

Debate over the couple’s guilt never stopped. In 1995 the VENONA report was released. These were encrypted cables between the U.S, and the Soviet Union. From these we learn that Julius Rosenberg was indeed a spy for the Russians and had involved David and Ruth Greenglass. Ethel’s role was considered minimal. She may have been put to death for typing.

Not surprisingly, the Rosenberg case has long encouraged writers, composers, film makers and dramatists. Ethel comes back to haunt Roy Cohn on his deathbed in Tony Kushner’s Angels in America. E.L. Doctorow’s 1971 novel The Book of Daniel tells the story from the point of view of the Rosenberg children. Sidney Lumet directed the 1983 film Daniel, with Timothy Hutton, Mandy Patinkin and Lindsay Crouse. Donald Freed’s play Inquest starred George Grizzard and Anne Jackson on Broadway in 1970. Billy Joel references the case his song, We Didn’t Start the Fire. The Rubinstein Kiss by James Phillips was first performed in London, in 2005.

David Greenglass has lived under an assumed name since 1960. He surfaced briefly in 2001 on 60 Minutes II, (disguised) where he contradicted his trial testimony against his sister, but expressed no remorse to her fate. Sam Roberts’s book The Brother tells the tale form David’s perspective. Ruth Greenglass died in 2008. Neither had any contact with the Rosenberg sons, Michael and Robert Meeropol. The brothers co-authored We Are Your Sons in 1975; Robert’s memoir An Execution in the Family was published in 2003. That same year a video indispensible to anyone wishing to know more about the Rosenberg case, Heir to an Execution, was produced by Michael’s daughter, Ivy Meeropol.

Most recently, Walter Schneir has updated Invitation to an Inquest, co- authored with his wife Miriam in 1965, with Final Verdict, What Really Happened in the Rosenberg Case, published shortly after Walter’s death in 2009. This book discusses the Venona cables at length, and admits to Julius’s role as a spy-but makes clear that Ethel’s involvement was minimal, and argues that in neither case did the terrible punishment fit the crime.

Souvenir Reviewed by Audience on Opening Night

December 1st, 2011

CATCO-Phoenix asked for audience reviews on Souvenir’s opening night.   The audience jotted down their thoughts on sticky notes and posted them on the lobby wall.  There was considerable conversation as people read each others comments after the show.  Add your own thoughts to our blog when you see Souvenir.  Happy Holidays.

  • Linda Dorff is FABULOUS—72 years of fabulous!

 

  • This is a must see play!   Outstanding acting between two great actors—an accomplished pianist and a person who can’t sing but thinks she can.  Full of laughs.  It’s not easy singing off key!

 

  • A triumph of self-deception.  Gasping hilarity.

 

  • Music Award to Linda—she’s fabulous!

 

  • Super show!  Linda Dorff is simply amazing!  (But we’ve always known that!)  Here’s hoping you’ll extend the run!

 

  • Matt Clemens was magnificent!

 

  • I have no words on her voice.  Great play.

 

  • What an absolute delight to see Linda Dorff perform—and how difficult it must be for her to sing badly. . .because she sings beautifully in “real life.”  Three cheers for this fine production!

 

  • I think it probably takes as much talent to sing off-key as it does to sing on key.  Self-delusion very comically portrayed.

 

  • Linda Dorff will make you laugh uproariously! Go see Souvenir!

 

  • Delightful show.  Excellent acting.

 

  • Great interaction between characters.  Can’t believe Linda can do this with a straight face.  Great musical choices.

 

  • Linda Dorff rocks!

 

  • Matt Clemens and Linda Dorff are fantastic!

 

  • Matt Clemens is “HOT” and he can sing and act and play the piano!  Great show.

 

  • Linda Dorff is the Queen of Mozart’s Night.  Matt Clemens is the conductor in this delightful show.

 

  • There are lots of fans of Linda Dorff.  They will not be disappointed.  If you are not a fan, you will be after Souvenir.

 

  • Loved it!!  Perfect casting!  Very talented pair.  Hope the rest of the run is great!

 

  • Mrs. Foster Jenkins embodies the American ideal that one can do whatever one wants.

 

  • Cosme McMoon is that voice of reason that often saves us from ourselves.  Thanks Linda, Matt, et. Al. for a fun Friday evening!
  • Great costumes.  Super set.  Marvelous direction and acting.  Congrats to all!

 

  • Linda Dorff is a comic genious!

 

  • Wonderful acting.  Lovely play.

 

  • The timing of the commentary kept the mind focused.

 

  • Really enjoyed the music—Bravo!

 

  • Isn’t loyalty wonderful??  What happened to background chatter in Act II?

 

  • Hard to imagine better casting.  They were made for their parts.  Wonderful musicianship on the part of Matt Clemens and it takes a real talent to be as unmusical as Florence Foster Jenkins.

 

  • Loved the show it made me laugh until I cried.  Thanks.

 

  • What a wonderful, deeply moving story!  Two “strange” lives came to the same part of a shared journey!  How funny!  How emotional!  What a blend of the good, bad and the “ugly” re: notes.  Well done!  Terrific verbals and non-verbals.

 

  • Heartwarming and funny.  Amazing talent.  A joy to be part of.

Tales and Sacred Journeys of a 5th Grade Residency

November 4th, 2011

As Artist Educator at CATCO-Phoenix, I have had the pleasure to work with many young people at several schools in the Columbus area. Last year, I had the opportunity to work with the students at South Bloomfield Elementary School in the Teays Valley school district. I taught the students cross-curricular lessons, the Tools of the Actor, and how to take standardized tests more effectively using drama techniques. I have since become “That Theatre Lady” among many of the students.

This year, Craig Lautenschleger (Principal at South Bloomfield Elementary) wanted to try a 3-week performance residency with his 66 5th grade students that would result in an “informance” or informal performance for friends and family. It would be the first performance of its kind at SBE. The 5th grade team wanted their students to perform a play that aligned with Social Studies Ohio Department of Education standards. We decided on Tales and Sacred Journeys, a play written by Steven C. Anderson, and performed back in 2004 as part of the Phoenix season.

 

The play dealt with three Cherokee tales. The 5th graders learned from where strawberries come, how animals were to be respected, and how thunder and lightning came to be—all according to Cherokee tradition. The students also learned about Cherokee history, Native American Sign Language, and the Trail of Tears.

After rehearsing, learning lines, designing their own costumes, and practicing the Tools of the Actor, they performed for their parents, family, and friends. Mr. Lautenschleger had set up 150 chairs in the cafeteria space for the audience, but there were people who had to stand to watch the show. It was packed! The students did an excellent job, and I could not have been more proud. With only 9 hours of instruction time, they had hit that play out of the park. It was a new, exciting, sometimes scary journey for the students, but they exuded confidence, responsibility, and poise. Bravo South Bloomfield Elementary 5th grade!

- Whitney Thomas Eads

 

All About Florence Foster Jenkins

November 1st, 2011

Performers who buy themselves engagements are nothing new. A number of careers have been “manufactured” by wealthy dilettantes, or lovers, partners, parents or disciples of those whose need to express is not matched by a vehicle for said expression.

What happens when you mix ambition, love, money, loneliness and delusion? You don’t have Lotte Lehmann or Maria Callas. You have Florence Foster Jenkins.

Madame Jenkins was born in Wilkes-Barre Pennsylvania in 1868. No doubt she was entranced by news clippings and rotogravure reporting of life in Edith Wharton’s Europe and New York. Florence came from a well to do family but nobody was writing novels about Wilkes-Barre, Pennsylvania. The young woman escaped into marriage with a respectable doctor, and settled into a routine lifestyle of giving piano lesson s and being “at home”.

This would never do. Florence divorced her patient husband in 1901 and took off for New York. She never looked back. Two strokes of luck awaited her: she became a millionaire on her father’s death in 1911; and she took up with the actor St. Clair Byfleid. Don’t bother looking him up. Byfield‘s footnote in history exists only for his thirty years as Florence Foster Jenkins’s official consort. But St. Clair Byfield had more on his mind than cuddling up with the zaftig Florence. He was a large, corpulent man with an “over the top” theatrical bent and the best years of his stage career were long over. How to channel that energy?

Florence Foster Jenkins was not pretty and she was not young. She wasn’t slim either, but she was musical and she was rich.  Byfield had the theatrical sense and Florence’s money would provide the connections. Would she debut as a concert pianist for selected audiences? No. Not showy enough. Can’t do much with a nice lady at a piano. But singing! Costumes! Lights! Sets! Glamour!  Florence Foster Jenkins, soprano, a self created large -bosomed diva, was born.

From the recordings she made in the 1920s we know Florence was resolutely tone deaf, and had a singing range of perhaps three notes, none of them pretty. (Chickens have four notes). There was not one shred of true talent in the lady’s singing. But she sure could put on a show. Florence’s annual recitals at hotel ballrooms in New York were THE event of the social season. Of course “the public” was not invited! These were society functions, to which civilians counted themselves blessed if they gained access. People roared and cheered and applauded. Florence would strew the stage with carnations and offer costumes, from large angel wings to a dirndl with (designer made) wooden shoes.

Florence sang everything from Bach to Cole Porter. She was a performer without inhibition and probably without sense. Who’s to say? Her audiences laughed and screamed and the lady carried on delightedly. Her iron- clad denial insured her own enjoyment. “You can say I can’t sing, but you can’t say I didn’t sing.”

And sing she did, for thirty years. Society adored her. Noel Coward, Tallulah Bankhead, all the Barrymores with their friends and the Prince of wales flocked to her society gigs. She was welcomed everywhere.

And then there was Cosme McMoon. Madame’s accompanist was born in Mexico in 1901 as Cosme McMunn, the son of Irish farmers. Mexico was to Cosme as Wilkes-Barre was to Florence-he too went off to New York. McMoon was apparently a gifted pianist who hooked up with Madame and his fortune was secure.”The audience always tried not to hurt her feelings by outright laughing, so they developed a convention that when she came to a particularly excrutiating discord. Or something like that, where they had to laugh, they burst into these salvos of whistles and applause and their noise was so great they could laugh at liberty.”

There’s an annoying mystery surrounding Cosme McMoon. He was for many years rumored to be the pianist and conductor Edwin MacArthur. The latter was Kirsten Flagstad’s accompanist and a noted conductor. People insisted Cosme and Edwin were one and the same. Phooey. Your obedient servant met Edwin MacArthur late in his life-and no McMoon he. Cosme went on to careers as a body builder, chess champion and bath house attendant. He died in 1981.

And Florence? Maybe she couldn’t sing, but God lover her, she enjoyed her life. After an accident in a New York City cab the lady declared her “high notes were higher than ever before!” She sent the cabbie flowers. Joy she gave and hilarity.

At the end, society audiences gave way to Carnegie Hall. At seventy-six, Madame rented the world’s foremost concert hall for an (infamous) afternoon of song on October 25, 1944. With McMoon at the piano, she offered her favorites, the Vengeance aria of the Queen of the Night, Clavellitos (strewing these blossoms onstage the while) Johann Strauss and Bach. The public applauded and laughed. Cole Porter sat in the front row. He kept stabbing his foot with his cane to keep from laughing. But for the first time ever, Florence Foster Jenkins was reviewed in the papers as a serious artist. This was Carnegie Hall. And the incredulous and vicious notices had her take to her bed. She died one month later.

“She died happy” insisted her long time friend, Francis Robinson. I’ll bet she did. After decades before a discerning public I doubt she was sidelined by mere critics. For years the public had laughed with her. If one last time they laughed at her, well, they obviously didn’t get the message.

- Christopher Purdy

Earning a Living in the Arts – Peter Sklar

November 1st, 2011

Earning a Living in the Arts – Peter Sklar

Everything you need to know about a performing arts career – Everything.

11/14/11 – 7PM

Columbus Performing Arts Center – Shedd Theatre

Admission is free

Renowned New York Talent Scout Peter Sklar knows a thing or two about helping aspiring child stars achieve success. His list of protégés includes Sarah Jessica Parker, Reese Witherspoon, and Mischa Barton, to name a few, along with many current and former Broadway, TV, and film actors, singers and dancers. According to Sklar, an arts career is about two things: self-image and health. He argues that these qualities outweigh looks, training, connections, and even talent.

In “Earning a living in the Arts” a free lecture for aspiring teen dancers, singers and actors, and their parents on Monday Nov 14th,7pm at The Columbus Performing Arts Center in Columbus, OH, Sklar will explain why his views are in sync with the needs of top New York and Hollywood agents and casting directors.

“The casting people who sit behind the table are trying to decide two things: do they like you, and do they believe you,” Sklar tells young audiences. “If you don’t feel good mentally and physically, you won’t open up and show us who you really are. When that happens- no matter how good you are, how pretty, or who you know- we’ve already lost interest.”

Peter Sklar boasts an Ivy League pedigree, (Masters Degree in Education from Harvard University), and four decades of experience. He’s been the subject of multiple feature-length articles in the New York Times, was interviewed on E! True Hollywood Story, appeared as a guest expert on Donahue, and has had his work presented on the Bravo Channel, Good Morning America, and dozens of other media outlets.

He’s currently developing an original musical based on his experiences entitled “The Kid Who Played the Palace”, to be directed by William Martin, (Broadway’s “The Lieutenant”, recipient of five Tony Award nominations).

“Earning a living in the Arts” is open to teenagers, young adults, older children, and parents. There is no charge for admission, but reservations are strictly required.

WHEN:   Monday Nov 14th,7pm

WHERE:  The Columbus Performing Arts Center

549 Franklin Ave. Columbus, OH 43215

RESERVATIONS: Email CATCO-Phoenix Associate Artistic Director Joe Bishara at jbishara@catco.org

 

Lessons from a Candarian Demon

October 6th, 2011

Lessons from a Candarian Demon

Since joining the cast of Evil Dead the Musical, people stop me on the street all the time and ask me the same question, “So what’s it like being a Candarian Demon?”

“Great” I always say, right before I rip off his or her ear with my teeth and force them to join our evil minions…

Seriously though, being a demon can be fun and rewarding.  But for some the transition into demon-hood can be a little scary and somewhat jarring. Which is precisely why I am writing this blog post. I’ve learned so much since I started working on Evil Dead. And now I’m passing a bit of my wisdom on to you. To know a demon is to become… I mean … LOVE… a demon. So here goes:

5 Lessons from a Candarian Demon

  1. You can save a great deal of time during your day if you skip bathing, grooming, and laundry. Being a demon really lends itself to that hip, unkempt look.
  2. Not sure how to express yourself to that special someone? For a demon, it’s easy. Give him your heart. I mean, literally, reach into your chest, rip out your heart and give it to that special demon in your life. If that doesn’t work, just growl. Demons love growlimg.
  3. If you’re new to this whole un-dead thing, then you’re probably hungry. And if you are hungry then you’re probably wondering who tastes best. Honestly there is no hard and fast rule here.  Personally I prefer bald people. Shaved heads, shaved legs… the less hair the better (eating hair really grosses me out). I guess if I really thought about it, my favorite would have to be bald, left-handed, albino Eskimos.  But they tend to be really hard to come by here in Columbus. Just bite a few different types of people until you find what you like the best.
  4. If you happen to be a headless Candarian Demon, and you are trying to attack someone with a chainsaw… you won’t be able to see your prey, so you have to listen for him or her. You may be asking, “If you don’t have a head, then reason says you have no ears, and so how are you supposed to hear any…” ummmm… Actually don’t ask that. Never mind. Moving on….
  5. Demon or Human, when going to see Evil Dead the Musical, bring a poncho. It’s going to get messy.

 

Don’t you wanna join the crew,

you’ll be dead and evil too,

the coolest thing to do is join us!!!

 

See you after the show!

Geoff ‘Evil’ Martin

 

Why I am so excited about the Fall

September 23rd, 2011

Let’s face it, Fall is about as good as it gets in Central Ohio weather-wise.  Winter is brutal.  Spring can be nonexistent and who would envy our Summers?  The Fall, though, conjures favorite sweaters, multi colored panoramas of purple, gold and scarlet leaves and of course that football team we are all so enthused about.

There are two other great reasons to anticipate the Fall this year.  They are two of my favorite musicals of all time .  One is already playing at the Riffe Center.  Falsettos is a real treat being served up by Available Light in Studio One.  A stellar cast has received great reviews from local critics and audiences alike.   I first became aware of it in the early 90’s when I saw Falsettoland—which would become more or less the second act .  William Finn’s clever melodies and even cleverer lyrics told the story of family.  Family broken up.  Family reinvented.  Family reunited.  It was funny and poignant and rivoting.

Why not take a look at this entertaining show while you have the chance.  Tickets are pay what you want with a suggested $20 ticket.  Here is the vital information:

WHERE: Riffe Center Studio One Theater, 77 South High Street, 4th Floor

WHEN: September 15 – October 1

CALL: 614-558-7408

More info, show-times, videos, tickets, podcast, and more:

http://avlt.co/falsettos11

The second reason to love the Fall is another of my favorites—Stephen Sondheim’s Follies. This concert version of the musical theatre epic will be performed at the Garden Theatre in the Short North.  The cast of thousands contains a virtual who’s who of Central Ohio musical talent.   Joan Krause (Bad Dates at CATCO), Linda Roth, Jamie Cordes, and Mat Clemens head the cast.  SHAMELESS SELF PROMOTION ALERT!  You can see Matt later in the Fall in CATCO’s Souvenir.  Here is the vital information.

WHERE:  Garden Theatre,  1187 North High Street.  Valet parking available for all shows.

WHEN; October 14 – 23 (Thursday through Saturday at 8:00; Sunday at 3:00

All tickets are $25; tickets available through their website: www.shortnorthstage.org

While you are at it, don’t forget to tell a friend about the CATCO remount of Evil Dead which runs from October 1-31.

Now get busy and see some theatre!

Steven C. Anderson

 

The Key to Recruiting Deadites

September 21st, 2011

The Key to Recruiting Deadites

“Wanted – actors who sing and dance.  Must like blood.”  The casting call went out.  After our stellar run of EVIL DEAD: THE MUSICAL in June and July, how would we ever find new actors who could even begin to  touch the performances of the slobbering, pun spewing Lis Tate, (unavailable during the school year); good old reliable Jair Torres (new job in Northern Ohio and a baby on the way);  the ever improvisational “bit part demon” Liam Cronin (deserted us to test the casting waters in LA); and the inimitable Peter Matthew Smith (watch for him in the Broadway Columbus touring company of Memphis next May).

Clearly we needed to put our thinking caps on and get creative.  Jeff Horst, former Columbusite and current New Yorker, came immediately to mind for Scott.  Having directed him in numerous plays and musicals from A Funny Thing Happened on the Way to the Forum (Actors Theatre); Candide (OSU School of Music and Department of Theatre) and Seussical (Phoenix Theatre for Children).  He has been working a lot since he left Bustown.  Was he available?  Facebook is our friend in these situations.  Actors always list their current projects on their wall.  He posted a gig in November December (Watch for him in CAPA’s prosentation of A Christmas Carol during the holidays) but nothing current.  A quick phone call and he was on for an audition.  One down and three to go.

I wanted James Sargent to audition last spring for Evil Ed  but he was playing the role of Nick in CATCO’s WHAT THE BUTLER SAW and needed a breather from rehearsal and performance.  Was he available?  A quick text and he was signed onto read as well.  I love the 21st Century and its communication devices.

There are two kinds of archetypal hillbillies—big mountain men of enormous power and scrappy, stringy, scraggly weasels.  Jair Torres was the former.  Why not go the other way and really contrast the actors playing the role.  Geoff Martin, former Associate Education Director of Phoenix Theatre for Children immediately sprung to mind as the anti-Jair.  He is really busy with his current job at the Cultural Arts Center and has two adorable kids.  Could he spare the time to join our merry band of deadites?  Turns out he was happy to audition.

Now for a Cheryl.  We had general auditions for our full season in August.  Surely someone would appear to fill the bill.  Turns out there were a couple of possibilities but scheduling conflicts were a problem.  There is a mantra at such times that I repeated over and over: “Someone will play the part.”  But who?  The clock was ticking.  First rehearsal was coming at me like a speeding train.  This is the sort of time when one is grateful for theatre friends.  We put out the underground call and there was a steady drumbeat of communication between the various musical comedy tribes.  “CATCO needs a Cheryl.”  “CATCO needs a Cheryl.”  Carmen Keels, an old pal and performer recently had a baby and lives in New York.  She was not available but she knew someone was perfect.  “Take a look at her Youtube video,” she advised.  Once again modern technology coming to the rescue.  Amy Wolk was perfect.  Just what we needed to round out the cast.  I sat for quite a while going from video to video laughing my proverbial posterior off.  You can see for yourself at this link

http://www.youtube.com/watch?v=3WT8B7EmcbQ

All of this work is done in a casting team’s head.  You have to imagine what the chemistry of a company will be without actually seeing them together.  Last night was our first night of rehearsal putting this diverse array of talent together.  Did they gel?  Did they have that certain something that has a product larger than the sum of its parts?  Lets just say two things:

  • Come see for yourself
  • I slept like a baby for the first time in three months after rehearsal

I think we did okay.

 

The Deadites Refuse to Die

August 16th, 2011

Yes it is true. Though Ash decimated the last Deadite in a show-down at S Mart, somehow that channel to another world has been reopened and they once again will terrorize the five college students in a cabin in the woods—just in time for Halloween.

Some of our college students have taken safety in other locales so there will be new cast members. Peter Matthew Smith (Scott) has taken a role in the Broadway Across America production of Memphis, which will open in Memphis, TN in October. As we speak, Liam Cronin (Evil Eddie) is wending his way to fame and fortune in LA. Jair Torres (Good Old Reliable Jake) has taken permanent residence in northeastern Ohio where he and his wife are expecting a baby this fall. Lis Tate (Cheryl) will be focusing her attentions on teaching. There is no truth whatsoever to the rumor that she was actually annihilated in the Necronomicon.

Peter Matthew Smith & Nicolette Montana do the "Necronomicon"

 

Back for another debacle against evil will be Joe Bishara (Ash), Whitney Thomas Eads (Shelly), Nikki Montana (Linda) and Liz Wheeler (Annie).

Joining us will be Jeff Horst (Scott), Geoff Martin (Jake) and James Sargent (Evil Eddie). The search is on for a new “Cheryl.”

Currently we are dusting off the blood pumps, cleaning the bloody seats and devising new ways to deliver twice as much blood to the splatter zone. If recent history is borne out, those seats will go first so if you have a hankering to get bloody, you should act now.

See you at the cabin in the woods.

Next Fall, Next Spring?

July 14th, 2011

As New York Times Critic, Ben Brantley, said in his review of Next Fall, “You can imagine its concept being pitched to a television producer as a sort of “Will & Grace” with an ontological conscience: He’s a committed Christian, while he’s a committed atheist, and it’s driving their crazy friends even crazier!”

True enough, there are touches of Woody Allen and Neil Simon in the plays humor, but this is a play that is about something.  That is a dangerous thing in the world of the theatre.  Plays that are “about something” can be dreary polemics that browbeat their audiences.   When I saw the play in New York, I was wary of its message.

Adam, a nebbish-y atheist, falls for Luke, a fundamentalist Christian hotty.  Throw in the difference in their ages and you might expect a hybrid of Cactus Flower and Woody Allen’s film Manhattan.  The danger of stereotyping and “bulldozing your point across” is palpable.  Luke’s creationist, fundamentalist, Floridian father is named “Butch” for goodness sake.  That was a warning sign to me that the playwright intended to do some good old fashioned, axe-grinding, Christian bashing.

The beauty of this play is that the playwright is not interested in creating villains.  He isn’t even interested in writing a “gay play.”  His goal is to explore what we believe, why we believe it and how it effects the decisions we make in our daily lives.

Yes, it is heart breaking—but it is also heart warming.  Yes, it is potentially tragic—but it is also fundamentally comic.  It is a play about contradictions, conundrums and contradictions.

A part of CATCO’s unstated mission is to provide theatrical experiences that linger in the audience’s mind long after the lights come down.  This play certainly fills that bill.

–Steven C. Anderson, Artistic Director, CATCO-Phoenix