Friday, December 18, 2009
Friday, December 11, 2009
Friday, December 4, 2009
Tuesday, December 1, 2009
Friday, November 20, 2009
Thursday, November 19, 2009
- Gary Bryant: President/Restaurant Guy of Empire Eats | Empire Properties
- Candace Covington Olander: Community Philanthropist
- Joanne Fruth: Physician and Producer at Granville Little Theatre
- Lauren Kennedy: Broadway Star and NCT Alum
- Mary Marcantonio (Curtain Caller President): PR/Marketing Consultant
- Virginia Parker: VP/Business Development Officer at Paragon Commercial Bank
- Bill Roberts: Chairman of Belk Inc. Northern Division
Tuesday, November 3, 2009
Friday, October 30, 2009
Friday, October 23, 2009
Wednesday, October 21, 2009
Monday, October 19, 2009
Friday, October 16, 2009
Photo Credit: Curtis Brown Photography
Thursday, October 15, 2009
ACTION: Joey Calveri*
A-RAB: Eric Mann
Wednesday, October 14, 2009
Tuesday, October 13, 2009
West Side Story director Joshua Bergasse was interviewed by Robert McDowell of Classical Voice of North Carolina. Read below to see his take on the show!
1. When did you first see or read or hear about this show? Have you ever worked on a previous production of this show? If so, when and where?
The movie WEST SIDE STORY was one of my favorites growing up. My first experience with the stage version was performing in a community theatre production as a teenager. Since then I have worked on eight productions of WSS, either as actor, associate director/choreographer, or choreographer.
2. What do you like BEST about this show? What made you WANT to direct it?
I love the perfect marriage of the score, libretto and the choreography in WSS. These three mediums are interwoven masterfully throughout the show to tell the story.
3. Briefly summarize the PLOT of this show in your own words. Please explain the SITUATION at the start of the show and how the various CHARACTERS fit in. (In your summary, please indicate the ACTOR’S NAME in parentheses following the character’s name.)
It is Shakespeare’s ROMEO AND JULIET set in 1950‘s New York City. At the start of the show we see two street gangs fighting for “turf”; The ‘white’ Jets led by Riff (Leo Ash Evens), and the Puerto Rican Sharks led by Bernardo (Freddy Ramirez). Tony (Josh Young), one of the Jets, falls in love with Maria (Catherine Cheng Jones), Bernardo’s sister. Maria is able to conceal the affair for a short time with the help of Bernardo’s girl, Anita (Asmeret Ghebremicheal), but ultimately the gang rivalry sets a series of tragic events in motion.
4. What MAJOR CHALLENGES does staging this show present to you as a director -- and to your cast and creative team?
One of the main challenges of staging WSS is the size of some of the dance sequences such as the ‘Prologue,’ ‘The Dance at the Gym’ and the 2nd Act ‘Ballet.’ Another challenge for the cast is the extrememly small “book” of the piece. The cast must search within aspects of the piece other than the script to help develop their characters.
5. Please describe the SET:
The set is based on the original 1957 Tony award winning production designs by Oliver Smith. It is inspired by New York City architecture of the 1950’s and in some cases is used in an abstract way and in other cases quite literally.
6. Please describe the LIGHTING:
The lighting for WSS ranges from stark and moody with shadows and texture in the ‘Rumble’ - to bright, sunny and warm in the ‘Ballet.’ The dance sequences are saturated with color from angles other than the front.
7. Please describe the COSTUMES:
The costumes are based on the original 1957 Tony award nominated production designs by Irene Sharaff. The inspiration comes from the styles of the 1950’s lower class New York City streets and with a good amount of Latino influence for the Sharks. The costumes are also designed to help us differentiate the Jets who are in blues, yellow and oranges - from the Sharks who are in reds, lavenders and Black.
8. Is there ANYTHING ELSE about this show -- or your production -- that it is important for the audience to know ahead of time? If so, what?
I think the most important thing about WSS is that it is still relevant today, 52 yrs after it originally open on Broadway. We’re still dealing with teen violence, we’re still dealing with street gangs terrorizing not only our inner cities, but our suburbs as well, and we’re still dealing with racism and bigotry. It’s a story that still needs to be told with lessons that still need to be learned.
Monday, October 12, 2009
(Note: some content may be inappropriate).
Friday, October 2, 2009
Thanks to our wonderful board member, Mimi Stapleton, we now have our Target Student Preview Night study guide in Spanish for West Side Story! We will distribute both the English and Spanish versions the night of the show, but if you would like to take a look before hand, see below...enjoy!
2009 Noche de avance para estudiantes presentado por Target
October 16, 2009
Sessión de preguntas con los actores después del ensayo.
Notado por los críticos de Nueva York y Londres como uno de los logros principales en la historia del teatro de la media centuria, West Side Story es una adaptación moderna de la obra Romeo Y Julieta de Shakespeare. El contexto de la historia es Manhattan, Tony Y María son Romeo y Julieta. Los novios luchan por estar juntos en medio de tensiones raciales y violencia.
Libro por Arthur Laurents
Música por Leonard Bernstein
Lírica por Stephen Sondheim
Musical basada en Romeo Y Julieta por William Shakespeare
Aviso sobre el contenido
Por favor fíjese que cierto tema no se conviene para algunas audiencias. La discreción parental se aconseja.
· West Side Story abrió en Broadway en 1957.
· En 1961 la película ganó diez premios de los Academy Awards, incluyendo mejor película.
· La revista Time encontró la danza y la guerra entre bandas más apasionante que la historia de amor
· West Side Story lanzó la carrera de Stephen Sondheim, quien se hizo uno de los artistas más notables del teatro musical en América.
Preguntas de Estudio
Preguntas de Estudio
1. West Side Story se basa en la obra de William Shakespeare, La Tragedia de Romeo Y Julieta. ¿Considera West Side Story como una tragedia? ¿Defina la palabra “tragedia” y discute por qué o por qué no sea tragedia.
2. El conflicto principal en West Side Story está entre el étnico y las diferencias culturales de la banda de puertorriqueños, los Sharks, y los caucásicos, los Jets. Las tensiones raciales eran extremas en los años 50 en América. ¿Cómo se compara al siglo XXI? ¿Cómo son las tensiones raciales evidentes en nuestra sociedad moderna?
3. Jerome Robbins adquirió los papeles de director y coreógrafo para la producción original de West Side Story; pocos han alcanzado una grandeza artística en estas dos posiciones. La coreografía de Robbins ayudó cambiar la cara del teatro musical por acentuar la danza para mover la acción del cuento. Da ejemplos de cómo los movimientos en los bailes ayuda narrar el cuento. ¿Qué diferente tipo de danza observa?
Tuesday, September 29, 2009
Calling ALL students & teachers of ANY age - come to Target Student Preview Night on Friday, October 16th at 7 PM and see the show for only $10! After the show, there will be a Q&A with the cast and crew with a translation in Spanish. We will also provide a study guide as well.
Monday, September 28, 2009
First, they learned a new dance routine taught by Tito Hernandez. Then, they were given group feedback and changed to prepare for their individual audition. They sang one song and performed one monologue for the panel and were then critiqued individually. All of the professors had great criticism and the students each went away knowing what they needed to work on. While the overall mood was anxious and nervous, they all received priceless advice that will help them when they start auditioning for colleges.
This was the second year that the NCT Conservatory has provided a BFA Showcase and all the parents, students, and professors had nothing but positive things to say about the program!
If you are interested in learning more about this program, please click here for more details or call NCTC program director, Heather Patterson King, at 919-855-0015.
Thursday, September 24, 2009
Tuesday, September 22, 2009
Friday, September 11, 2009
Monday, August 24, 2009
Friday, August 21, 2009
Monday, August 3, 2009
Our next production is BAT BOY, August 6-9, in Meymandi Theatre at the Murphey School. This is our youth production and is a part of the Master Summer Theatre Arts School program, which is a continuation of our Kids on Broadway program.
Rachel Akin (Ensemble)
Thursday, July 30, 2009
Tuesday, July 28, 2009
Thursday, July 23, 2009
This summer I have the joy of working not only as a teacher with the North Carolina Theatre’s Education Department but also as Sister Margaretta, a nun in the theatre’s production of The Sound of Music. And that is just what it is: “a joy.” I say this because not many words can describe the feeling of watching your own students grow as performers and individuals in the rehearsal and performance process of a full musical theatre production, and having the opportunity to work along side them – being then a part of that growth.
Part of this joy comes from watching the students take the ideas, philosophies and skills you have developed with them and use the skill on the stage in a major regional theatre production. Now we can reference actual moments in the classroom as well as allow the onstage experiences to reciprocate. For me, the best part of this production is seeing the students grow as individual performers – taking information and creating their own way of approaching material and creating as actors.
It is also a joy for me to experience the themes and material of The Sound of Music with the students. I see, and hopefully the students see, how theatre and music can transcend the everyday and help young artists as well as the community as a whole to touch on the artistic side of each of us. Experiencing a production such as this that focuses so much on the joy of creating art can encourage all those involved, from artist to audience, to become more creative and live their lives more fully and completely. And if all goes well we see how this translates to all those around us, fills our lives and everyone we come in contact with, with a more complete sense of self, a new way of approaching life, a fuller sense of living.
As a teacher, doing a production always teaches me. It makes me a better teacher by recharging the artistic battery and teaching me new ways of approaching material with my students. It may be new methodology of directing, working with others, and creating as a group. For the joy of teaching always is the give and take of ideas.
~Heather Patterson King, Sister Margaretta in The Sound of Music AND Program Director/Acting Department Head at the NC Theatre Conservatory