H-T Preview: IU Theatre announces summer 2017 season

By Joel Pierson H-T Theater columnist

It’s just barely spring, and already we’re thinking about summer — for today, anyway, because Indiana University has announced their summer theater season, and once again, we have four plays to enliven Bloomington’s off season. Details are still being finalized, but I’ll provide more information before each show opens. Today, I can share an overview what’s in store.

Season

From the department of “titles that would never fly in today’s society,” we have George Haimsohn and Jim Wise’s “Dames at Sea” (June 2-18). Premiering back in the 1960s, it’s a parody of big 1930s musicals, where the chorus girl comes to New York for her big break and gets a shot at stardom in the show of her dreams. Very self-aware as it tells its tale, “Dames at Sea” is having a good time, inviting the audience to do so as well. Beyond mere parody, it’s become a popular franchise that’s revived for national tours every few years.

Next up is another Jane Austen adaptation (following in the tradition of last summer’s “Sense and Sensibility.)” This season offers us Jennifer LeBlanc’s stage version of Austen’s “Persuasion” (July 8-23). It’s the story of Anne Elliot, a 19th-century woman in her late twenties. Her family decides to cut expenses by moving, and they rent out their home to a military man who’s just come back from war. By coincidence, this man is related to Anne’s former fiance, opening up the second chance for a relationship for the pair.

What would summer be without Shakespeare? OK, true, it would still be summer, but a bit less Shakespearean. Filling your Elizabethan needs this time is Jonathan Michaelsen’s production of “Love’s Labour’s Lost” (July 7-22), featuring three Ls, an extra u, and an apostrophe I always forget to put in. One of Will’s first comedies, it is the story of a king and three of his male friends who decide to avoid women for three years, in favor of studying and taking care of their health. What are the odds that they’ll meet four women who totally turn their heads and throw their plans off the rails?

Finishing up the season, we have another musical, a bit more contemporary than the first: Brett Ryback’s “Joe Schmoe Saves the World” (Aug. 16-19). Set in 2011, it’s the story of an American indie rock band and also the story of two Iranian students living in Tehran. It uses actual people and events to tell a fictionalized story about the similarities and differences between life in America and life in Iran. This musical, with its rock-and-roll score, pushes the envelope a bit and explores important themes of national and international significance. I’m calling it my one to watch for this summer season.

As I said, I’ll have more details on each individual show about a week before it opens, so keep watching this space. I’ll also be back with details on Shawnee Theater’s summer season.

Contact Joel by sending an email to features@heraldt.com with “Pierson” in the subject line.

If you go

Tickets to IU Summer Theatre shows are $10-$20 at the IU Auditorium Box Office, 1211 E. 7th St., Bloomington. You can also visit theatre.indiana.edu or call 812-855-1103.

• “Dames at Sea”: 7:30 p.m. June 2, 3, 6, 7, 8, 9, 10, 13, 14, 15, 16 and 17; 2 p.m. June 3, 4, 10, 11, 17 and 18 at Wells-Metz Theatre, 275 N. Jordan Ave.

• “Love’s Labour’s Lost”: 7:30 p.m. July 7, 9, 11, 13, 15, 19 and 21; 2 p.m. July 16 and 22 at Wells-Metz Theatre.

• “Persuasion”: 7:30 p.m. July 8, 12, 14, 16, 18, 20 and 22; 2 p.m. July 9, 15 and 23 at Wells-Metz Theatre.

• “Joe Schmoe Saves the World”: 7:30 p.m. Aug. 16-19 at Wells-Metz Theatre.

Reprinted with permission from The Herald Times. For more Bloomington arts news, visit heraldtimesonline.com.
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Musical Theatre: A success story

By Rinjisha Roy

Every year IU Theatre stages musicals as part of its regular season and summer theatre repertoires. Chronologically, this season we had Jesus Christ Superstar and The Drowsy Chaperone at the Ruth N. Halls Theatre, and we can’t wait to present Dames at Sea in the Wells-Metz as the first production of IU Summer Theatre 2017!

As someone who has grown up watching musicals back in my hometown, I was curious to know more about the origins of this art form and how it achieved eminence. Through a quick research, I found that Broadway’s first long-running musical was The Elves, staged in 1857. Gradually, the first Broadway theatres consolidated in New York in the 1920s, a period associated with rise of live theatre when people needed escapist entertainment to survive World War 1 and its aftermath.

Michael Wilkerson, Director of Arts Administration Programs, IU School of Public and Environmental Affairs

Although live theatre grew popular around this time, it was challenged by a newly emerging art form- the motion picture. Professor Michael Wilkerson, Director of the Arts Administration program at the School of Public and Environmental Affairs (SPEA), talks in-depth about the circumstances that happened during this time. “Live theatre in its various incarnations has always changed depending on various changes in culture. In the middle ages, the theme was religion, and after the decline of religion as a centre of culture, you had a more secular approach to drama. Music became an adornment and theatre more lively and fun.”

Musical theatre, he says, was a way to make the entire art form cohere; however, ‘talkie’ films, as they were called, killed Vaudeville by the early 1930s. “Movie companies in Hollywood reached out to local theatres and said that if theatres chose to show movies that everyone was talking about, they would have to show them six nights every week. From the theatres’ standpoint, renting a film from Hollywood and staging it was vastly cheaper than hiring local artists to perform each night. And so began the decline of musicals. Almost immediately, with the exception of a handful, all regional theatres converted to full-time movie theatres. Due to an absence of government policy, there was no one to champion for the rights of local artists consequently laid out of work,” observes Wilkerson.

It was only with government intervention through the New Deal programs in the early 1930s that the live arts regained their lost importance. “When Roosevelt was elected President in 1932, he realized that unlike the strategy used by his predecessors, massive intervention on part of the government was now needed to curb the rising economic crisis.” Under Roosevelt’s initiative, the Works Progress Administration was the most influential New Deal agency that employed millions of people to perform public service projects, including about 6000 artists hired by the year 1936. Wilkerson feels that there were two reasons for inclusion of the arts into this project. “First, before the stock market crashed in 1929, Vaudeville had collapsed and there was a known crisis that local artists who were out of work needed support. Secondly, Roosevelt’s right-hand man, Harry Hopkins, championed for the arts.” Under the influence of Hopkins and Roosevelt’s wife Eleanor, the Federal Project Number One was created to extend New Deal relief to artists, a project that was beneficial for the arts for quite a few years.

At this time, musical theatre also became prominent. It came about as a response to usurpation by the movies, feels Wilkerson. “Artists collaborated to create a parallel to stories shown in movies, coupled with music set in a coherent plot but in a live setting. The only trouble was that there were not many theatres available then to showcase such art, which is part of why musical theatre is so New York centred even today,” he adds.

As the economy rebounded, the period between 1940s and 1960s saw a number of successes in musical theatre including ones like Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music. The flourish can be largely attributed to the content of these shows that was largely detached from politics. “Earlier there was controversy surrounding the Federal Theatre Project, especially after a show called The Cradle Will Rock that was about labour unions and strikes. As the WPA got closed down, artists sensed that since it was expensive to create and stage musical theatre, it was wiser to show things that do not offend anyone,” explains Wilkerson. Hence the idea of lively and escapist entertainment took better shape in the form of musicals. In the 21st century, musicals have grown to be sophisticated, imaginative, and subtle, while at the same time retaining earlier traits of escapism and vibrant entertainment that still draw significant crowds.

And now, if you would like to escape this summer, A Year With Frog and Toad is in it’s final week at Cardinal Stage, followed by Cardinal’s final show, West Side Story, both featuring IU Musical Theatre BFA’s! And of course, don’t forget to check out IU Summer Theatre’s production of Dames At Sea, opening June 2nd in the Wells-Metz Theatre. Hope to see you all there!

We’d like to thank SPEA Arts Administration graduate student Rinjisha Roy for her numerous contributions to the 7th & Jordan blog and behind the scenes at IU Theatre this semester! She will be doing an internship with the IU Archives this summer.

Rinjisha  is from Calcutta, India and was a literature major as an undergraduate at St. Xaviers College in Calcutta. Her interests include writing, poetry, Shakespearean theatre and classical music.

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Year One, in the books

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By James Nelson

Just like that, my first year of grad school is over. It seems to have flown by, but I can’t even wrap my head around everything that I’ve done this year.

Actually, scratch that. I’m going to make myself wrap my head around it. Because before I came to grad school, I didn’t have a clear idea about what I’d actually be doing here, and for anyone looking into doing a similar program, it might be cool to see an example of how you’d spend your time.

So, here’s a recap of the first year of my MFA program:

-My big first-year project was a full studio production of a play I adore, Annie Baker’s Circle Mirror Transformation. It let me work with some incredible undergraduate actors, conceptualize a play for a unique theatre space with few resources, and engage with a challenging text that reveals its complexity the deeper you delve into it.

-I collaborated with 1st-year playwright Aaron Ricciardi on three projects: staged readings of his full-length plays Can I See Your Face? and Nice Nails, and a fully-produced production of his one-act play Resting Bitch Face. Working with Aaron was great experience in new play development and rehearsing with a playwright in the room.

-As a bonus project, I directed a production of a one-act play (Richard Greenberg’s The Author’s Voice) with several of my MFA actor colleagues.

-I took two directing courses: an intensive project-based course and a directing lab in which I received feedback in the rehearsal room while I worked with actors and produced two plays.

-I got to teach my first college theatre course, a section of Acting I. It made me realize the deep layers of technique that help new actors approach the work as a trainable craft, and helped me practice these fundamentals in a variety of ways.

-I took 8 weeks of period dance training, a couple specialty acting courses, a seminar on Harold Pinter and Caryl Churchill, and an ensemble creation course with devised theatre elements.

-I took a Shakespeare course with Henry Woronicz, who is just a gem, and it helped me feel way more confident approaching and breaking down classical text.

-I had extensive training in stage combat and got to take a certification test in rapier/dagger and unarmed combat.

-I assistant-directed Dancing at Lughnasa, which oriented me to the casting, rehearsal, and production process of the main stage productions here.

-I worked in the marketing office, writing press releases and marketing materials for the shows.

-I took an oral exam over my 30 book/play reading list and a written exam covering 10 directing theory books.

Whew! There was a lot packed in to these nine months! And it only gets crazier from here on out: I’m directing for the main stage next season, and the reading lists and courses get more difficult from here on out.

Let’s go, Year Two: I’m ready for you! Uh, well, I mean, let me have a couple months off first?

See you in the fall, IU!

 

 

 

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So Long, Farewell

By Ashley Dillard

Hello internet land! I am writing to you today with my last blog post (cue Semisonic’s ‘Closing Time’ as I drown my sorrows in a bowl of dairy free ice cream) because as of May 5th, I will officially be finished my MFA! Let’s face it– change is tough. Huge life changes are especially tough. But these big life changes, while scary, can also be exciting because it opens up your entire world to new possibilities! With graduation a mere week away, I wanted to chat with some of our 2017 Department of Theatre, Drama, and Contemporary Dance graduates and see how they were feeling about entering the real world.

Kevin Nelson’s professional headshot.

3rd year Scenic Design MFA Kevin Nelson has been hard at work trying to secure employment for post-grad school life. “When I think about graduation, I feel that it has come upon us far too quickly. This year seemed to fly by. I feel that I have missed opportunities to push myself this semester especially because my focus has been on finding work for post-graduation. However, I am ready to go out and do what I love doing away from an academic institution and the “safety net” that has been so wonderful these past three years.”

 

 

Josiah loves to stage manage!

Senior Josiah Brown echoes that sentiment of time flying by, “I’m feeling antsy. It’s like this big event that I’ve been planning and working towards for four years now and now that it is finally here, I’m not sure what to do about it. However, I do feel prepared and ready to tackle the day. I’ve met so many different people and been through so many different experiences that would have normally been out of my comfort zone before college. Between all of the bonfires at Lake Monroe, easy going summer days during IU Summer Theatre, countless unforgettable productions, late nights on campus, radio shows at WIUX, and so much more its hard to pick out just one as my favorite moment at IU. ”

Bailey during rehearsals for Antigone.

Senior Contemporary Dance major Bailey Prager finds the unknown aspect of the future part of the thrill, “I’ve just been focused on what’s next–where and how can I find work to keep me in the business. It’s really exciting! You never know where you’ll be in a few months!”

 

 

 

Courtney’s professional headshot.

Some of our graduates have made 1, 5, and 10 year plans to help them figure out what the right next step is for them. Senior Courtney Relyea-Spivak has thought out her options, “Paulina Makowska (Movement and Silks Choreographer for The Tempest, in which Courtney played one of the three Ariels) has offered me a job at a Pilates studio that she is opening in town. She will be helping me get the rest of my certifications so that I can be a fully trained Pilates instructor. She’s very flexible and will schedule my clients around whatever rehearsal schedule I have going on because she understands that it’s a day job and not my primary job. I don’t think I’d be able to find that flexibility any where else. I figured ‘better Bloomington than New York’ because it’s either go home and live with my parents for free (Courtney is originally from New Jersey) and then try to break into a bigger pond where I’m a much smaller fish or stay in Bloomington where I’ve spent four years creating a name for myself and there’s still ample opportunity.”

Matt’s professional headshot.

Like Courtney, 3rd year MFA actor Matthew Murry, already has solid plans for his post-graduation life. He has accepted an adjunct teaching position at University of North Dakota where he will be teaching acting. “Graduation is bitter sweet. I’m going to really miss my friends. We’ve worked really hard towards this culmination– to release ourselves back into the world is scary but exciting. Moving forward feels good, knowing that I have a job at the same university as my wife and being able to both direct and teach–the future looks bright. ”

Adam in dress rehearsal for Macbeth.

 

 

Senior Adam Decker is less sure about his plan, but knows the general direction he wants to go. “Graduation is exciting and scary, honestly. Any time you are going through a huge change in your life it’s going to be scary. Not only am I leaving college, but having been in school for my entire life, now I’m going into the real world and figuring out how to manage my time without a hard school schedule. It’s a big step, but I feel ready! I kind of have a plan. I will ideally be in Chicago. Over the summer I will be searching for a job. It’s close to home and I have a great support base there. Plus it offers a lot of opportunity for things like theatre and media without having to jump into a giant city like LA or New York. Ideally that is where I’ll end up–let’s hope it all works out!”

Lani and her colorful headshot.

3rd year Costume Technology MFA Lani Tortoriello can’t wait to put her education to good use! “I am really excited about graduation. I am less excited about not having a full-time job yet, but I am still excited. I think anyone who was working before they came to grad school may be more excited about entering the workforce than someone who is coming straight out of undergrad. I am excited to have things like time in the evening, real paychecks, and being able to go back out with a new, well improved set of skills. Right now I’m in the final round of interviews for a position at Florida State University in their costume shop.  It would be exciting if I get this job and I hope I do!”

As for me, I will be sticking around Bloomington for the next year, *hopefully* working in the area (I will be acting in IUST’s repertory productions this summer) and getting married here in October! I love this town so much. I met my soon to be husband here, I learned more than I could’ve ever imagined, I made the best friends in the entire world, and I got to meet all of you amazing IU theatre community members.

Thank you from the bottom of my heart for everything IU!

Ashley Dillard is a 3rd year MFA actor at Indiana University. She has been seen most recently as Kate in Dancing at Lughnasa at IU, Katherine in Home at the BPP, Marianne in Sense and Sensibility and Hermia in A Midsummer Night’s Dream both for IU Summer Theater. Though she calls beautiful Bloomington home now, she originally hails from Highland, IN.

 

 

 

 

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H-T Review: ‘The Drowsy Chaperone’ delivers a lively combination

By Matthew Waterman | H-T Reviewer

Janet (Claire Logan) and company lay it down in the opening number of The Drowsy Chaperone.

It’s probably a good thing that today’s musicals have (mostly) progressed beyond the stock characters and crude stereotypes that dominated Broadway in the 1920s. But who doesn’t occasionally lament that modern Broadway composers don’t churn out catchy hits the way George Gershwin, Irving Berlin and Richard Rodgers did in their era?

The musicals of the Jazz Age still have their allure for many theatergoers, one of them being the main character of this season’s final mainstage production for the Indiana University Department of Theatre, Drama and Contemporary Dance. We never discover his name; he’s simply billed as “Man in Chair.”

The production, directed by Kenneth L. Roberson, is called “The Drowsy Chaperone.” It’s a show-within-a-show; specifically, a glitzy, old-fashioned musical within a one-man play.

It works like this: Man in Chair, at home in his lonely apartment, gives the audience a guided tour through one of his most cherished records: the cast recording of a fictional classic musical called “The Drowsy Chaperone.” Although the visual aspects are all in Man in Chair’s head, a cast of several dozen actors emerges and brings the musical to life.

The show-within-the-show is a perfect blend of an homage to 1920s Broadway and a satire of it. All the familiar stock characters are there: a greedy producer, a ditzy showgirl, a “Latin” (yet European) lover, an English butler and (this one might be unique) a pair of New York gangsters disguised as pastry chefs.

At the center of it all is the wedding of Robert Martin and Janet Van De Graaff. Janet is Broadway starlet planning to give up her stage career for married life. Feldzieg is a moneygrubbing producer determined to stop the wedding so he can continue to profit off of Janet’s talent. The wedding is also jeopardized by Robert’s actions, taken with the ill advice of his best man, George.

Man in Chair peppers the show with snarky quips and short monologues, sometimes offering a bit of insight into his own life. He’s a reclusive, perhaps agoraphobic man who takes pleasure in little besides his records. Since the characters of the show-within-the-show are so vapid, it helps that Man in Chair has something of a backstory to his character, albeit a slightly underwritten one.

George Pinney plays Man in Chair. He’s a recently retired professor of musical theater at IU, but this is his first time acting, rather than directing or choreographing, in decades. There are moments when Pinney searches for a line or flubs a joke, but he certainly captures the essence of the role.

The actors of the show-within-the-show embrace the overstated corniness of their roles. Julia Thorn is Kitty, the extraordinarily stupid chorus girl vying to replace Janet as Feldzieg’s starlet. Courtney Reid Harris plays a senile and ultra-posh Mrs. Tottendale. Miles Tillman makes for an amusing Aldolpho, the dim-witted foreign womanizer. (The character is a stereotype meant to poke fun at the racism of the era.)

The leading couple, Robert and Janet, is portrayed by Matthew Weidenbener and Claire Logan. Logan’s rendition of “Show Off” is a highlight, as is her Act II opener, “Bride’s Lament.” Weidenbener shines along with Colin LeMoine in a tap-dancing duo, “Cold Feets.”

The ensemble singing, padded by 10 orchestra pit singers, really packs a punch. The dancing, choreographed by Liza Gennaro, is similarly impressive.

Scenic designer Ryan P. Miller rose to the challenge of creating a set that doubles as an old man’s apartment and a stage for a flashy Broadway musical. Chen Chen’s costumes and Bridget Williams’ lighting also help transport the audience from a dingy modern apartment to the Roaring ’20s.

To appreciate “The Drowsy Chaperone,” one should probably have a taste for cheesy musicals, but also a willingness to make fun of them. The show-within-the-show is no work of literary genius, and the one-man play framing it would be a bit depressing in isolation, but all put together, “The Drowsy Chaperone” is a funny and entertaining outing.

If You Go

WHO: IU Department of Theatre, Drama and Contemporary Dance.

WHAT: “The Drowsy Chaperone” by Bob Martin, Don McKellar, Lisa Lambert and Greg Morrison.

WHEN: 7:30 p.m. Tuesday-Saturday; 2 p.m. Saturday.

WHERE: Ruth N. Halls Theatre in the Norvelle Center, 275 N. Jordan Ave., Bloomington.

TICKETS: $15-$25. Call 812-855-1103 or visit theatre.indiana.edu.

Reprinted with permission from The Herald Times. For more local arts news, visit http://www.heraldtimesonline.com.

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Cut it out, drape it, and reverse it. An insider’s view into The Drowsy Chaperone’s costumes!!

By Ashley Dillard

A costume shop selfie with Christina HadleyDike and Cory John

Hello IU Theatre community! It’s a very busy time over here in the Department of Theatre, Drama and Contemporary Dance. It’s warm and sunny, the birds are chirping and we are halfway through the run of The Drowsy Chaperone. Actors and directors tend to get a lot of attention when it comes to show recognition, but there are so many people behind the scenes who help make our beautiful shows possible. Today I want to introduce you to two people who bring our costumes to life!

Cory John is a third year costume technology graduate student and Christina HadleyDike is a second year costume technology graduate student. Both were cutter/drapers for The Drowsy Chaperone. So what is a cutter/draper? I wasn’t exactly clear either! “A cutter/draper takes a two-dimensional drawing that the costume designer give us and makes it a three-dimensional garment by draping muslin fabric onto a form that is roughly the size of our actor. Then we put it onto paper, cut it out of muslin and do a first fitting (called a mock-up fitting) with the actor to make sure it fits well and has the design lines that the designer is looking for. It’s a practice run before getting into the final fabric,” Christina told me.

It sounds like a lot of work went into building costumes for The Drowsy Chaperone (I mean have you seen them?!), but thankfully there is great sense of teamwork in the costume shop. “Typically a cutter/draper gets a first hand, who is basically their assistant, and then stitchers underneath them as well. In our shop it kind of depends on the work load and who is available. For this show I tag-teamed with Aaron Wardwell (a third year costume design graduate student) to build Caroline Huerta’s (The Drowsy Chaperone herself!) wedding dress. I did the draping and the fitting and then once I cut the design out of fashion fabric, I handed it off to Aaron. He build part of it and I then I came back in attached all of the ruffles on the dress.” Cory said.

The Chaperone, played by Caroline Huerta, in her hand made wedding dress built by Cory John.

Building these costumes was definitely a labor of love for these two. Cory hemmed over 500 feet of fabric and cut out 119 circles of fabric to make up the ruffles on the The Chaperone’s dress. “It was fun and challenging for me. The particular design I was working on, The Chaperone’s wedding dress, was extremely form fitting. When you have something extremely form fitting you want the fabric to be stretchy and the fabric that was chosen was actually wedding satin, which has no stretch. So it was a bit of a challenge to create a dress that would have the look that the designer wanted but also allowed movement. It’s a musical, people have to be able to move! It was a fun, unique challenge,” Cory explained.

Christina was able to show off new tailoring skills with her work. “The first show I did here was Bloody Bloody Andrew Jackson. I had to do a whole bunch of tailoring on that show and I had only ever learned ‘fake tailoring’ up to that point. I had to rely a lot on my first hand, who was actually Cory, to make sure I was putting in the canvases right. This past fall I took a tailoring class where I learned a lot. So with this show, I felt pretty confident just diving in.” Cory agreed, “The knowledge gained over my three years really made a huge difference.”

Mrs. Tottendale, played by Courtney Reid Harris, in her beautiful crinoline dress made by Christina HadleyDike.

Despite the long work hours and miles of fabric, both Cory and Christina had a great time building this show. “I enjoyed the experience. I got to build a crinoline dress, which I wanted to put in my portfolio and another very full dress. I had a lot of fun,” said Christina.

Their favorite costume pieces in the show? That was a no-brainer for Christina, “Tottendale’s first dress–the crinoline—for sure!” Cory couldn’t decide, “The Chaperone’s wedding dress and the gangsters. I liked them both!”

Check out Cory and Christina’s handiwork in The Drowsy Chaperone running now until April 22nd at the Ruth N. Hall’s theatre.

Ashley Dillard is a 3rd year MFA actor at Indiana University. She has been seen most recently as Kate in Dancing at Lughnasa at IU, Katherine in Home at the BPP, Marianne in Sense and Sensibility and Hermia in A Midsummer Night’s Dream both for IU Summer Theater. Though she calls beautiful Bloomington home now, she originally hails from Highland, IN.

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H-T Preview: “Theater stages busy this week at Indiana University”

By Joel Pierson

DrowsyGeorge

Musical Theatre Professor George Pinney as “Man in Chair”

It’s all going on at IU this week. They have two new shows to choose from, one homespun, the other just visiting.

For the local talent, we turn to the Department of Theatre, Drama and Contemporary Dance for a production of the Broadway show “The Drowsy Chaperone.” Twenty-nine musical theater majors and two ballet majors are part of the cast, for this comedic tribute to the musicals of the 1920s.

“The Drowsy Chaperone” is the story of a fictitious musical called “The Drowsy Chaperone.” We meet its biggest fan, identified as “Man in Chair.” As he listens to his old vinyl record of the faux musical’s original cast recording, his apartment is transformed into a fabulous Broadway showpiece of the Jazz Age. While each scene is performed, Man in Chair offers the audience commentary.

Making it more magical is that Man in Chair will be none other than retiring professor George Pinney, who is making this the last IU performance of his illustrious career. You’re familiar with the phrase “worth the price of admission right there”? Boom. And how many times has he taken a role on the IU stage, rather than behind the scenes? This is the first. I repeat: boom. Of the experience, Pinney says, “The last time I acted on stage in a role with lines was in 1979! (I’m) having the time of my life with such a talented cast and creative team.”

Choreographing the show is Professor Liza Gennaro, who will be taking Pinney’s position as head of the BFA program next year. Whether you’re a fan of musical theater or not, this show promises to be very special, and one not to be missed for friends and fans of that fine gentleman, Professor George Pinney.

‘The Drowsy Chaperone’

WHO: Indiana University Department of Theatre, Drama, and Contemporary Dance

WHAT: “The Drowsy Chaperone” by Bob Martin, Dan McKellar, Lisa Lambert and Greg Morrison

WHEN: 7:30 p.m. April 14, 15, 18-22; 2 p.m. April 22

WHERE: Ruth N. Halls Theatre, 275 N. Jordan Ave., Bloomington

TICKETS: $15-$25. Call 812-855-1103 or visit theatre.indiana.edu.

Contact Joel by sending an email to features@heraldt.com with “Pierson” in the subject line.

Reprinted with permission from The Herald Times. For more arts news, visit heraldtimesonline.com
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