Jacob Wadenpfuhl as The Balladeer/Lee Harvey Oswald
Friday, September 26, 2008
Sunday, September 21, 2008
My CD Review - In the Heights
Just downloaded this CD from iTunes and in My humble opinion....This original cast album represents exactly the kind of breath of fresh air that musical theatre needs. Scores like this one - along with shows like Passing Strange, Spring Awakening and [title of show]) - are redefining what a musical score can be. In the Heights is a thrilling CD and the composers manage to make a predominantly Latin-flavored score universal to anyone who has an ear for exciting percussion, some great vocals, hip-hop and contemporary show tunes. I haven't been able to put my iPod down and in my opinion, In the Heights is a must buy for any progressive musical theatre fan!
Thursday, September 18, 2008
Friday, August 29, 2008
First Look at Assassins Set
With Our first Read-thru scheduled for next week...plans are well under way for Assassins. For more information visit the Assassins Website! More to come!
Friday, August 22, 2008
I'm listening to my Broadway Bullet podcast while driving home from an industrial video shoot and heard about two cool sites from an interview with Producer Ken Davenport...theproducersperspective.com and a new social networking site for Broadway geeks (know any of those?) called broadwayspace.com.. Let me know what you think.
Have a Great Day! Geoff
Thursday, August 21, 2008
The People of Spruce Pine are Stupid?
I've never been to Spruce Pine, North Carolina, but for the record, I'm sure it's a beautiful place full of caring, intelligent citizens. Whether or not they are musical theatre fans remains to be seen if the spate of video comments in response to the "VioletBlog" video episodes (which would later become the basis for "Call-Back") documenting my production of "Violet" is any indication. Despite the fact that I directed this intimate and touching Jeanine Tesori musical well over a year ago, and posted the "VioletBlog" videos then as well, I recently have been contacted by a couple caring, if not downright vexed Spruce Pine natives.
Seems as though Episode #2 titled "The People of Spruce Pine" which opens with a line from the opening song of the show about Spruce Pinians being less than enlightened ("Stupid...the people of Spruce Pine are stupid...") has said citizenry madder'n' a stick-poked hornets nest! (sorry...couldn't resist!) In fact I was even contacted by a local Spruce Pine newspaper today asking for my input for a story about the show and its connection to Spruce Pine!! I'll let you know if and when the story comes out, but in the meantime here is one exchange between a concerned S.P. native and me about the show:
(From mackenzieb97:)
What's the deal with saying that the people of Spruce Pine are stupid?!? That's like saying that everyone in Kentucky are inbreds and barefoot hillbillies. I got news for you. There are as many ignorant people where you're at than where I'm at. Not many "hicks" have 8+ years of college. So stick that in your pipe and smoke it.
Not sure why it's taken mackenzieb97 8 years to get through college, but here was my response:
Hi! I completely agree with you and understand your frustration. Being born and raised here in Cleveland, which has been the butt of jokes ever since I can remember, I sympathize. I'm sure Spruce Pine is a beautiful place with brilliant citizens. In fact, I just was contacted by a local paper there to talk about "Violet" since it talks about Spruce Pine so I look forward to explaining this to them as well.
The sentiments about the people of Spruce Pine are certainly not mine - I don't know if you're familiar with the show or not, but in terms of the "the people of Spruce Pine are stupid" line...you'd really have to ask the author of the book the musical is based on "The Ugliest Pilgrim" by Doris Betts. The Musical's composer - Jeanine Tesori used the author's words in her songs. That line is simply one line in the opening song sung by the main character who is a native of Spruce Pine and is complaining about her neighbors who have basically made her an outcast ever since she was accidentally scarred as a young girl. Anyone who has ever had dreams of escaping their home town in pursuit of a dream (no matter how crazy that dream may seem) can sympathize with Violet's thoughts.
Thanks for getting in touch. - Geoff
There is no doubt that "Violet" is a very provocative piece of theatre as it deals with issues of faith, racism, physical beauty vs. inner beauty and more. In fact I did receive one downright hateful letter from a very unenlightened audience member who in his rant came just short of screaming that his main problem with the show was the fact that the couple who falls in love in the end is an interracial one. Strangely enough, this guy also managed to stay through the entire show! I say, if people are talking about this wonderful piece of theatre and are becoming aware of it (which indeed was the whole point of "VioletBlog" and "Call-Back" in the first place), then the People of Spruce Pine are probably a whole lot smarter than any of us thought!
Seems as though Episode #2 titled "The People of Spruce Pine" which opens with a line from the opening song of the show about Spruce Pinians being less than enlightened ("Stupid...the people of Spruce Pine are stupid...") has said citizenry madder'n' a stick-poked hornets nest! (sorry...couldn't resist!) In fact I was even contacted by a local Spruce Pine newspaper today asking for my input for a story about the show and its connection to Spruce Pine!! I'll let you know if and when the story comes out, but in the meantime here is one exchange between a concerned S.P. native and me about the show:
(From mackenzieb97:)
What's the deal with saying that the people of Spruce Pine are stupid?!? That's like saying that everyone in Kentucky are inbreds and barefoot hillbillies. I got news for you. There are as many ignorant people where you're at than where I'm at. Not many "hicks" have 8+ years of college. So stick that in your pipe and smoke it.
Not sure why it's taken mackenzieb97 8 years to get through college, but here was my response:
Hi! I completely agree with you and understand your frustration. Being born and raised here in Cleveland, which has been the butt of jokes ever since I can remember, I sympathize. I'm sure Spruce Pine is a beautiful place with brilliant citizens. In fact, I just was contacted by a local paper there to talk about "Violet" since it talks about Spruce Pine so I look forward to explaining this to them as well.
The sentiments about the people of Spruce Pine are certainly not mine - I don't know if you're familiar with the show or not, but in terms of the "the people of Spruce Pine are stupid" line...you'd really have to ask the author of the book the musical is based on "The Ugliest Pilgrim" by Doris Betts. The Musical's composer - Jeanine Tesori used the author's words in her songs. That line is simply one line in the opening song sung by the main character who is a native of Spruce Pine and is complaining about her neighbors who have basically made her an outcast ever since she was accidentally scarred as a young girl. Anyone who has ever had dreams of escaping their home town in pursuit of a dream (no matter how crazy that dream may seem) can sympathize with Violet's thoughts.
Thanks for getting in touch. - Geoff
There is no doubt that "Violet" is a very provocative piece of theatre as it deals with issues of faith, racism, physical beauty vs. inner beauty and more. In fact I did receive one downright hateful letter from a very unenlightened audience member who in his rant came just short of screaming that his main problem with the show was the fact that the couple who falls in love in the end is an interracial one. Strangely enough, this guy also managed to stay through the entire show! I say, if people are talking about this wonderful piece of theatre and are becoming aware of it (which indeed was the whole point of "VioletBlog" and "Call-Back" in the first place), then the People of Spruce Pine are probably a whole lot smarter than any of us thought!
Friday, August 15, 2008
SOME ENCHANTED EVENING IS OPEN!!!
The show is finally up and running!!! Be sure and check out the Some Enchanted Evening Blog for cool production pix and more or the website at www.someenchantedevening.8k.com.
Thursday, August 14, 2008
Call-Back: Some Enchanted Evening - Pt. 3
Check out the latest episode of "Call-Back" featuring Some Enchanted Evening!
Monday, August 11, 2008
Call-Back: The Best of Broadway
Check out this video preview of the musical fundraiser for the Cassidy Theatre - The Best of Broadway!
Thursday, July 31, 2008
Call-Back: Some Enchanted Evening - Pt. 2
The latest episode of Call-Back featuring the show I'm currently directing "Some Enchanted Evening" at Huntington Playhouse. Also check out the Some Enchanted Blog!
Call-Back: Singin' in the Rain -Pt. 4
The Latest episode of Call-Back featuring the making of the Olmsted Performing Arts production of Singing in the Rain (www.olmstedperformingarts.com). In this episode, rehearsals are heating up and we talk to Music Director Jason Falkofsky! Enjoy!
Wednesday, July 30, 2008
ASSASSINS HAS BEEN CAST!
THEN GO TO THE PHOTOS PAGE TO MEET THE CAST!
WE ARE PLEASED TO ANNOUNCE THE INCREDIBLE CAST OF ASSASSINS!
John Wilkes Booth - Michael Snider
Balladeer/Oswald - Jacob Wadenpfuhl
Charles Guiteau - Kevin Joseph Kelly
Sarah Jane Moore - Kim Bush
Squeaky Fromme - Holly Facer
Sam Byck - Chris Bizub
Giuseppe Zangara - Trey Gilpin
John Hinckley - Joshua Brown
John Wilkes Booth - Michael Snider
Balladeer/Oswald - Jacob Wadenpfuhl
Charles Guiteau - Kevin Joseph Kelly
Sarah Jane Moore - Kim Bush
Squeaky Fromme - Holly Facer
Sam Byck - Chris Bizub
Giuseppe Zangara - Trey Gilpin
John Hinckley - Joshua Brown
The Proprietor - Michael Andrews-Hinders
Emma Goldman/Ensemble - Jennifer Nageotte
Ensemble - Lissa Pavluk
Ensemble - David Turner
Gerald Ford/Ensemble - Michael Strama
Emma Goldman/Ensemble - Jennifer Nageotte
Ensemble - Lissa Pavluk
Ensemble - David Turner
Gerald Ford/Ensemble - Michael Strama
James Garfield/Ensemble - David Williams
Billy/Ensemble - Joey Stefanko
Thanks to everyone who auditioned! You were all amazing
THE ROLE OF LEON CZOLGOSZ IS STILL AVAILABLE!
Contact Geoff Short @ (440) 263-1156 or geoffshort@sbcglobal.net
Rehearsals and performances will take place at The Cassidy Theatre - 6200 Pearl Rd., Parma Heights
Wednesday, July 9, 2008
Assassin Auditions!
Hey! Check out the little vid clip here with info on upcoming auditions for Assassins that I'm directing opening in October! Then go to the website at www.assassinsshow.8k.com!
Tuesday, June 24, 2008
Call-Back: CAMEO's Thoroughly Modern Millie - Pt. 2
Welcome to Call-Back as we go behind the scenes of another great Northeast Ohio Theatre production! This time the show is Thoroughly Modern Millie at CAMEO (Cooperative Alliance of Medina Entertainment Organizations). This smash hit musical is CAMEO's big Summer show taking place July 25, 26, 31, August 1, 2 at 7:30pm and July 27, August 3 at 2:00pm. All shows are at the state-of-the-art Medina Performing Arts Center in Medina Ohio...You've got to see it to believe it...and you will with Call-Back! In this episode we meet Millie herself and look in on rehearsals. Thanks for watching!
Call-Back: Dog Sees God - Pt. 1
Thanks for checking out the latest episode of Call-Back! This episode kicks off another new theatre series..this time the show is "Dog Sees God: Confessions of a Teenage Blockhead" at Fourth Wall Productions in Cleveland. This is a challenging play that deals with important issues like sexual identity, friendship and life and death. The show runs from July 17 through 27th and tickets are available by emailing tickets@fourthwallproductions.com or by calling (330)283-2442. Enjoy!
Wednesday, June 18, 2008
To Video or Not to Video...That is the Question!
Listen carefully..that crackling sound you hear coming from the North Coast of your map of the United States is the sound of another fervent Cleveland theatre discussion. Hey...at least we care! This time the topic is videotaping in the theatre for promotional purposes. The spark was lit when Cleveland Plain Dealer Theatre Critic Tony Brown was nice enough send out a call this week to area theatre folk to send him links to videos promoting upcoming shows to include in his blog, one with a much larger audience than any of ours individually.
One area theatre marketer responded:
This actually brings up an interesting question. Most show licenses state that you're not allowed to record your productions, and yet many grant committees request them, and promotional guides recommend them. Our theatre recently made it 'official policy' not to record performances because the possibility of having a show shut down was too risky. I'm curious as to how other local performance groups have reconciled their desire or need for videos with the licensing restrictions placed on the shows by their owners.
Of course, you know I had to chime in...I mean, the whole idea of Call-Back is based on the video medium - albeit, not for the purposes of flying in the face of copyright and licensing laws or anything, but obviously I'm a big believer in the use of all sorts of multi-media for theatre production marketing. So I crawled up on my soap box and preached:
In terms of promoting a show, I don't think the issue is so much one of using extended footage of an actual performance during it's run (which can be a sticky legal issue). Linda is right, very few people beyond the cast and their immediate acquaintances might care to watch that anyway. The more interesting story of any particular show is what happens back stage and behind the scenes. What went into the making of this show. This is what I've based the Call-Back cable and on-line theatre documentary series on - reality TV based on community theatre productions! I've been fortunate to be invited to document productions at a number of different theatres for Call-Back. I've found that interviews with different theatre artists, cast members, snippets of numbers or scenes from rehearsals, etc. can really be interesting to larger audiences. I've tried to make viewers feel like a part of these shows themselves by putting together series of episodes they can follow throughout the rehearsal process. This can be really effective in generating buzz and interest in shows if the episodes are edited in interesting ways and as professionally as possible. And there are no legal restrictions on talking to (non-equity) cast and crew, etc.
Of course, there were other comments (some even got a little snarky to make the read ever so much more interesting!) that can be read by clicking on this blog title link.
One area theatre marketer responded:
This actually brings up an interesting question. Most show licenses state that you're not allowed to record your productions, and yet many grant committees request them, and promotional guides recommend them. Our theatre recently made it 'official policy' not to record performances because the possibility of having a show shut down was too risky. I'm curious as to how other local performance groups have reconciled their desire or need for videos with the licensing restrictions placed on the shows by their owners.
Of course, you know I had to chime in...I mean, the whole idea of Call-Back is based on the video medium - albeit, not for the purposes of flying in the face of copyright and licensing laws or anything, but obviously I'm a big believer in the use of all sorts of multi-media for theatre production marketing. So I crawled up on my soap box and preached:
In terms of promoting a show, I don't think the issue is so much one of using extended footage of an actual performance during it's run (which can be a sticky legal issue). Linda is right, very few people beyond the cast and their immediate acquaintances might care to watch that anyway. The more interesting story of any particular show is what happens back stage and behind the scenes. What went into the making of this show. This is what I've based the Call-Back cable and on-line theatre documentary series on - reality TV based on community theatre productions! I've been fortunate to be invited to document productions at a number of different theatres for Call-Back. I've found that interviews with different theatre artists, cast members, snippets of numbers or scenes from rehearsals, etc. can really be interesting to larger audiences. I've tried to make viewers feel like a part of these shows themselves by putting together series of episodes they can follow throughout the rehearsal process. This can be really effective in generating buzz and interest in shows if the episodes are edited in interesting ways and as professionally as possible. And there are no legal restrictions on talking to (non-equity) cast and crew, etc.
Of course, there were other comments (some even got a little snarky to make the read ever so much more interesting!) that can be read by clicking on this blog title link.
Saturday, June 14, 2008
Are Digital Orchestras a Sign of the Times?
Found a fantastic discussion about the possible effects of using digital orchestras in theatre productions. Check it out at the link above.
Here was my comment:
Great discussion! I am a community theatre director/performer here in the Cleveland area and musicals are my focus so this really hits home - especially as an upcoming directing project looms on the horizon the score of which will require a lot in terms of the orchestra. And as is common in community theatre, the physical space is limited to say the least.
At the community theatre level, I think we're talking about two different things: teaching young musicians while encouraging performance opportunities for them to learn versus creating the greatest possible theatre experience for ticket-buying audiences.
I agree that we should always encourage learning experiences for young musicians - kids need these experiences. No one would argue that these performance experiences are essential to their development even though they may not have advanced skills right now. But most of the pits in the community theatre shows I have directed, been in or even just seen are not made up of middle or high schoolers. A few are, but not many. So I can't say we would be taking away kids performing opportunities with digital augmentation.
On the other hand, many of the performers actually on stage are high schoolers - many of which are still only developing their skills as well. I wonder if, when we develop technology (and you know we will) that can replace live actors with 3D hologram performers that can sing and dance flawlessly, we will replace the high schoolers who fill so many of our community theatre roles, but who may still be squeaking through a Sondheim score while their voices are still changing?
But while part of any community theatre's mission is to improve the community through the arts - which means fostering and educating young talent - a larger part of that mission is the obligation to their ticket buying subscribers and audiences in general. A main stage theatre production is not intended to be a "class". While there are plenty of supportive parents and grandparents in any given community theatre audience who will forgive squeaky notes or awkward dance steps, the walk-up patron expecting to see a decent production doesn't want to pay for a music class recital. There are other venues for those learning performance opportunities. Indeed, if we are lucky enough to get someone to walk-up and buy a ticket who maybe hasn'tbeen there before, we need to out our absolute best foot forward and impress them so that they come back again and bring friends! We only get one chance to make that impression and we cannot afford to reinforce the negative stereotypes that community theatre means sub-par theatre.
Could this technology also help improve the perfomances on stage? A singer or dancer likes the confidence of knowing the pitch and tempo or accompaniment will be consistent and sound great.
As a singer myself, I am also a member of a musical community outside of the theatre as a part of a working special event band. While event coordinators certzinly have the option to hire digital DJ's, many live bands are still very busy. Most of the musicians I know in this world won't even work in the theatre because they won't work for the money most community theatres can afford. So I don't think at this level digital augmentation in community theatres would be taking away most money making opportunities for working musicians.
I'm still hesitant about taking the leap completely, but I come from the "if you can't beat'em, join 'em" school of thought...technology is here, it's coming and we need to learn about it and embrace some of it. Anything we can do to improve the theatre going experience should be talked about and I appreciate this forum.
www.geoff-callback.blogspot.com
Here was my comment:
Great discussion! I am a community theatre director/performer here in the Cleveland area and musicals are my focus so this really hits home - especially as an upcoming directing project looms on the horizon the score of which will require a lot in terms of the orchestra. And as is common in community theatre, the physical space is limited to say the least.
At the community theatre level, I think we're talking about two different things: teaching young musicians while encouraging performance opportunities for them to learn versus creating the greatest possible theatre experience for ticket-buying audiences.
I agree that we should always encourage learning experiences for young musicians - kids need these experiences. No one would argue that these performance experiences are essential to their development even though they may not have advanced skills right now. But most of the pits in the community theatre shows I have directed, been in or even just seen are not made up of middle or high schoolers. A few are, but not many. So I can't say we would be taking away kids performing opportunities with digital augmentation.
On the other hand, many of the performers actually on stage are high schoolers - many of which are still only developing their skills as well. I wonder if, when we develop technology (and you know we will) that can replace live actors with 3D hologram performers that can sing and dance flawlessly, we will replace the high schoolers who fill so many of our community theatre roles, but who may still be squeaking through a Sondheim score while their voices are still changing?
But while part of any community theatre's mission is to improve the community through the arts - which means fostering and educating young talent - a larger part of that mission is the obligation to their ticket buying subscribers and audiences in general. A main stage theatre production is not intended to be a "class". While there are plenty of supportive parents and grandparents in any given community theatre audience who will forgive squeaky notes or awkward dance steps, the walk-up patron expecting to see a decent production doesn't want to pay for a music class recital. There are other venues for those learning performance opportunities. Indeed, if we are lucky enough to get someone to walk-up and buy a ticket who maybe hasn'tbeen there before, we need to out our absolute best foot forward and impress them so that they come back again and bring friends! We only get one chance to make that impression and we cannot afford to reinforce the negative stereotypes that community theatre means sub-par theatre.
Could this technology also help improve the perfomances on stage? A singer or dancer likes the confidence of knowing the pitch and tempo or accompaniment will be consistent and sound great.
As a singer myself, I am also a member of a musical community outside of the theatre as a part of a working special event band. While event coordinators certzinly have the option to hire digital DJ's, many live bands are still very busy. Most of the musicians I know in this world won't even work in the theatre because they won't work for the money most community theatres can afford. So I don't think at this level digital augmentation in community theatres would be taking away most money making opportunities for working musicians.
I'm still hesitant about taking the leap completely, but I come from the "if you can't beat'em, join 'em" school of thought...technology is here, it's coming and we need to learn about it and embrace some of it. Anything we can do to improve the theatre going experience should be talked about and I appreciate this forum.
www.geoff-callback.blogspot.com
Sunday, June 1, 2008
Call-Back #102
Welcome to Call-Back! Thanks for watching! Call-Back is the Cleveland Community Theatre Connection seen locally on Cleveland area cable station Cox channel 45, Mondays at 10:30p. Also check out the Call-Back podcast at www.geoffshort.libsyn.com and the blog at www.geoff-callback.blogspot.com.
In this episode Call-Back goes behind the scenes of auditions for The Olmsted Performing Arts production of Singing in the Rain as well as Geoff's latest directing project "Some Enchanted Evening" (www.someenchantedevening.8k.com). We also preview The Cassidy Theatre's madcap production of "The Complete Works of William Shakespeare Abridged" and much more!
In this episode Call-Back goes behind the scenes of auditions for The Olmsted Performing Arts production of Singing in the Rain as well as Geoff's latest directing project "Some Enchanted Evening" (www.someenchantedevening.8k.com). We also preview The Cassidy Theatre's madcap production of "The Complete Works of William Shakespeare Abridged" and much more!
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