Fringe Festival of New Student Work presented this week by UA Little Rock Theatre Arts and Dance

Image may contain: 1 person, textFringe Festival of New Student Work, Presented by the Department of Theatre Arts and Dance. The festival (Fringe V), includes 12 new plays, monologues, and choreographic work from 11 playwrights and one senior capstone.

The festival is divided into two events: PG to OMG night and Women’s Voices night. The events will run in rotating repertory (PG/OMG April 2 – 4) and Women’s Voices (April 3 & 5). Much of the work was created in a Special Topics course: Page to Stage taught in the fall.

This semester student playwrights and directors have revised the written work and brought the pieces to life onstage. Other works on the festival include a Senior Capstone, by Jessi Ley and work generated from Dr. Lawrence Smith’s Intro to Theatre & Dance course. The plays offer a range of content and theatrical styles. Students have been free to explore subject matter that inspires and challenges their ideas of theatre-making.

Fringe V is directed by students and alumni, and for the first time, the Fringe has a design component. Theatre major, Thomas Jackson’s scenic design serves as his senior capstone. In addition, Conor Van Lierop serves as lighting designer and Blake Morris serves as Sound Designer. Mykenzie Gordon, Jessi Ley, Thomas Jackson, and Conor Van Lierop’s work is supported by Signature Experience grants. Stacy Pendergraft, Associate Professor, is the Artistic Director for the event.

WHEN: April 2 & 4 (PG to OMG Theatre), April 3 & 5 (Women’s Voices); All performances are at 7:30pm

WHERE: Haislip Theatre in the Center for the Performing Arts on the UA Little Rock campus + Google Map >

BOX OFFICE & TICKETS: As a grassroots, a student-driven theatre event, the performances are FREE. Tickets are distributed on a first come first seated basis. The theatre doors will open at 7pm.

CONTENT ADVISORY: All viewers should be advised that both nights of theatre contain Adult Themes, Strong Language, Sexual Content & Graphic Violent Situations. The event is suitable for ages 18 and up.

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DETROIT ’67 is next play for UA Little Rock Theatre and Dance Department

UA Little Rock theater students, from left, Taylor Green, Tre Whitley, Keith Harper and Char Dupins, rehearse scenes from the upcoming production of Detroit 67, which opens Feb. 27, 2019. Photo by Benjamin Krain.The University of Arkansas at Little Rock Department of Theatre Arts and Dance will present a production of “Detroit ’67” Feb. 27 to March 3. The play is winner of the Edward M. Kennedy Prize for Drama Inspired by American History

Detroit ‘67” is a powerful play, written by Dominique Morisseau, that unfolds an explosive moment in American history – the race riots that ravaged the city of Detroit in 1967, all set to a vibrant soundtrack of the day’s Motown music.

In 1967 Detroit, Motown music is getting the party started, and Chelle and her brother Lank are making ends meet by turning their basement into an after-hours joint. But when a mysterious woman finds her way into their lives, the siblings clash over much more than the family business. As their pent-up feelings erupt, so does their city, and they find themselves caught in the middle of the ’67 riots.

Lawrence Smith, assistant professor of theatre history, directs the play featuring Taylor Green, Char Kendall Dupins, Tre’ Vaughn Whitley, Keith Harper, and Abby Jo Windsor. Additional crew members include Stage Manager Crystal Briner, Scenic and Lighting Director William Marshall, and Costume Designer Yslan Hicks.

The play will be held in the Haislip Theatre in the UA Little Rock Center for Performing Arts on the following days and times:

  •      Wednesday, Feb. 27: 7:30 p.m.
  •      Thursday, Feb. 28: 7:30 p.m.
  •      Friday, March 1: 7:30 p.m.
  •      Saturday, March 2: 7:30 p.m.
  •      Sunday, March 3: 2:30 p.m.

General admission tickets are $10 each, while tickets for UA Little Rock employees, students, seniors, and members of the military are $5. Tickets can be purchased online.

Little Rock Look Back: HAIR brings Age of Aquarius to Robinson Center

Ad for the original production of HAIR in Little Rock. Note the ticket prices. And that they could be purchased at Moses Music Shops.

Forty-seven years ago today, on January 18, 1972, the musical Hair settled in for a week-long run at Robinson Auditorium.  The saga to bring the national tour to Little Rock had actually begun eleven months earlier.

In February 1971, a young Little Rock attorney named Phil Kaplan petitioned the Little Rock Board of Censors to see if it would allow a production of Hair to play in the city. He was asking on behalf of a client who was interested in bringing a national tour to Arkansas’ capital city. The show, which had opened on Broadway to great acclaim in April 1968 after an Off Broadway run in 1967, was known for containing a nude scene as well for a script which was fairly liberally sprinkled with four-letter words. The Censors stated they could not offer an opinion without having seen a production.

By July 1971, Kaplan and his client (who by then had been identified as Southwest Productions) were seeking permission for a January 1972 booking of Hair from the City’s Auditorium Commission which was charged with overseeing operations at Robinson Auditorium. At its July meeting, the Commissioners voted against allowing Hair because of its “brief nude scene” and “bawdy language.”

Kaplan decried the decision. He stated that the body couldn’t “sit in censorship of legitimate theatrical productions.” He noted courts had held that Hair  could be produced and that the Auditorium Commission, as an agent for the State, “clearly can’t exercise prior censorship.” He proffered that if the production was obscene it would be a matter for law enforcement not the Auditorium Commission.

The Commission countered that they had an opinion from City Attorney Joseph Kemp stating they had the authority. One of the Commissioners, Mrs. Grady Miller (sister-in-law of the building’s namesake the late Senator Robinson, she had served on the Commission since 1940), expressed her concern that allowing Hair would open the door to other productions such as Oh! Calcutta!

On July 26, 1971, Southwest Productions filed suit against the Auditorium Commission. Four days later there was a hearing before federal Judge G. Thomas Eisele. Judge Eisele offered a ruling on August 11 which compelled the Auditorium Commission to allow Hair to be performed. Prior to the ruling, some of the Auditorium Commissioners had publicly stated that if they had to allow Hair, they would close it after the first performance on the grounds of obscenity. To combat this, Judge Eisele stated that the Commission had to allow Hair to perform the entire six day engagement it sought.

Upon hearing of the Judge’s ruling, Commissioner Emily Miller offered a succinct, two word response. “Oh, Dear!”

In the end, the production of Hair at Robinson would not be the first performance in the state.  The tour came through Fayetteville for two performances in October 1971 at Barnhill Arena.

On January 18, 1972, Hair played the first of its 8 performances over 6 days at Robinson Auditorium.  In his review the next day, the Arkansas Gazette’s Bill Lewis noted that Hair “threw out all it had to offer” and that Little Rock had survived.

The ads promoting the production carried the tagline “Arkansas will never be the same.”  Tickets (from $2 all the way up to $8.50–the equivalent of $12 to $51 in 2019 dollars) could be purchased at Moses Melody Shops both downtown and in “The Mall” (meaning Park Plaza). That business is gone from downtown, but the scion of that family, Jimmy Moses, is actively involved in building downtown through countless projects. His sons are carrying on the family tradition too.

Little Rock was by no means unique in trying to stop productions of Hair.  St. Louis, Birmingham, Los Angeles, Tallahassee, Boston, Atlanta, Charlotte NC, West Palm Beach, Oklahoma City, Mobile and Chattanooga all tried unsuccessfully to stop performances in their public auditoriums.  Despite Judge Eisele’s ruling against the City of Little Rock, members of the Fort Smith City Council also tried to stop a production later in 1972 in that city. This was despite warnings from City staff that there was not legal standing.

Within a few years, the Board of Censors of the City of Little Rock would be dissolved (as similar bodies also were disappearing across the US). Likewise, the Auditorium Commission was discontinued before Hair even opened with its duties being taken over by the Advertising and Promotion Commission and the Convention & Visitors Bureau staff.  This was not connected to the Hair decision; it was, instead, related to expanding convention facilities in Robinson and the new adjacent hotel.  Regardless of the reasons for their demise, both bygone bodies were vestiges of earlier, simpler and differently focused days in Little Rock.

LR Culture Vulture turns 7

The Little Rock Culture Vulture debuted on Saturday, October 1, 2011, to kick off Arts & Humanities Month.

The first feature was on the Arkansas Symphony Orchestra, which was kicking off its 2011-2012 season that evening.  The program consisted of Mendelssohn’s Symphony No. 4 in A, Op. 90, Rossini’s, Overture to The Italian Girl in Algiers, Puccini’s Chrysanthemums and Respighi’s Pines of Rome.  In addition to the orchestra musicians, there was an organ on stage for this concert.

Since then, there have been 10,107 persons/places/things “tagged” in the blog.  This is the 3,773rd entry. (The symmetry to the number is purely coincidental–or is it?)  It has been viewed over 288,600 times, and over 400 readers have made comments.  It is apparently also a reference on Wikipedia.

The most popular pieces have been about Little Rock history and about people in Little Rock.

Pulitzers Play Little Rock: A CHORUS LINE on the UALR stage

IMG_0274In April 1975 A Chorus Line premiered Off Broadway before transferring to Broadway in July 1975. In 1976, it became only the fifth musical to win the Pulitzer Prize for Drama.

Whereas the composer of the first musical to win the Pulitzer was not honored (apparently because he only wrote music, not actual words), with A Chorus Line’s citation, the Pulitzers recognized not only librettists James Kirkwood and Nicholas Dante, lyricist Edward Kleban, and composer Marvin Hamlisch, but also Michael Bennett who conceived the project and steered its development.

In October 1985, the University of Arkansas at Little Rock became one of the first non-professional organizations to ever perform  A Chorus Line.  The theatre department was planning on producing Chicago, but dropped that show when rights for A Chorus Line became available.  (Chicago was on Broadway at the same time as A Chorus Line and was often overshadowed by it.)

In preparation for the show, UALR (as it was then known) conducted a dance workshop in August 1985 conducted by alum Kerry Kennedy, who had appeared in the national and international tours of the show.  After the workshop, auditions were held and the rehearsal process started.

Many familiar names in the Little Rock theatre scene from the 1970s to the present were involved in A Chorus Line.  The production was directed by Carolyn Curry, choreographed by Dot Callanen, and music directed by Lori Loree.  Jay Jagim provided the scenic and lighting design, while Joy Breckenridge was costume designer.

The cast was led by Tom Crone as Zach, the director of the show within the show, and Janet Ford as Cassie.  Other performers included Lee Borchert, Sara Cole, Missy Cook, Greg Donaldson, Jo Bocage Few, Dennis Glasscock, Leslie Hall (who joined the cast two weeks before opening), John Hartman, William R Holloway, Shawn Lynnette Jackson, Traci Presley, Joey Stocks, Allison Streepey, Joe Terry, Kevin Trippe, and Scarlet White.

Rounding out the company were Paula A. Barr, Kelly Bascue, Melanie Cameron, Caran Curry, Leigh Anne Embrey, James Finch, Tijuana McKnight, Leah McSpadden, Rick Riley, Karissa Rushing, and Curtis B. Tate.

2018 marks the 100th anniversary of the first Pulitzer Prize for Drama being given. To pay tribute to 100 years of the Pulitzer for Drama, each day this month a different Little Rock production of a Pulitzer Prize winning play will be highlighted.  Many of these titles have been produced numerous times.  This look will veer from high school to national tours in an attempt to give a glimpse into Little Rock’s breadth and depth of theatrical history.

Pulitzers play Little Rock – UA Little Rock’s THE FLICK in 2017

In 2UA Little Rock Flick014, Annie Baker’s The Flick won the Pulitzer Prize for Drama. The play mixes dialogue with long moments of no spoken words as the characters perform tasks on stage.

It is set in a run-down Massachusetts movie theatre and focuses on three millennials as they endure modern-day situations of race, class, and economy, all while working as underpaid employees.  The three actors are tasked with performing the cleaning of the set, just as the characters would be doing in between showings.  The original production received mixed reviews and sharply divided the audiences who saw it.  Feelings that were expressed ranged from brilliant to boring.

In February 2017, UA Little Rock’s Theatre and Dance Department presented the play.  It may have been the first production of it in Arkansas, it was certainly the first in Little Rock.  Giving the students the chance to work on such a new and challenging play is an example of the value of educational theatre.

2018 marks the 100th anniversary of the first Pulitzer Prize for Drama being given. To pay tribute to 100 years of the Pulitzer for Drama, each day this month a different Little Rock production of a Pulitzer Prize winning play will be highlighted.  Many of these titles have been produced numerous times.  This look will veer from high school to national tours in an attempt to give a glimpse into Little Rock’s breadth and depth of theatrical history.

Little Rock Look Back: HAIR’s Sun Shines In to Robinson Auditorium

Ad for the original production of HAIR in Little Rock. Note the ticket prices. And that they could be purchased at Moses Music Shops.

Ad for the original production of HAIR in Little Rock. Note the ticket prices. And that they could be purchased at Moses Music Shops.

Forty-six years ago today, on January 18, 1972, the musical Hair settled in for a week-long run at Robinson Auditorium.  The saga to bring the national tour to Little Rock had actually begun eleven months earlier.

In February 1971, a young Little Rock attorney named Phil Kaplan petitioned the Little Rock Board of Censors to see if it would allow a production of Hair to play in the city. He was asking on behalf of a client who was interested in bringing a national tour to Arkansas’ capital city. The show, which had opened on Broadway to great acclaim in April 1968 after an Off Broadway run in 1967, was known for containing a nude scene as well for a script which was fairly liberally sprinkled with four-letter words. The Censors stated they could not offer an opinion without having seen a production.

By July 1971, Kaplan and his client (who by then had been identified as Southwest Productions) were seeking permission for a January 1972 booking of Hair from the City’s Auditorium Commission which was charged with overseeing operations at Robinson Auditorium. At its July meeting, the Commissioners voted against allowing Hair because of its “brief nude scene” and “bawdy language.”

Kaplan decried the decision. He stated that the body couldn’t “sit in censorship of legitimate theatrical productions.” He noted courts had held that Hair  could be produced and that the Auditorium Commission, as an agent for the State, “clearly can’t exercise prior censorship.” He proffered that if the production was obscene it would be a matter for law enforcement not the Auditorium Commission.

The Commission countered that they had an opinion from City Attorney Joseph Kemp stating they had the authority. One of the Commissioners, Mrs. Grady Miller (sister-in-law of the building’s namesake the late Senator Robinson, she had served on the Commission since 1940), expressed her concern that allowing Hair would open the door to other productions such as Oh! Calcutta!

On July 26, 1971, Southwest Productions filed suit against the Auditorium Commission. Four days later there was a hearing before federal Judge G. Thomas Eisele. At that hearing, Auditorium Commission member Lee Rogers read aloud excerpts from the script he found objectionable. Under questioning from Kaplan, a recent touring production of Neil Simon’s Plaza Suite was discussed. That play has adultery as a central theme of one of its acts. Rogers admitted he found the play funny, and that since the adultery did not take place on stage, he did not object to it. Among those testifying in favor of it was Robert Reddington, who was director of performing arts at the Arkansas Arts Center.

Judge Eisele offered a ruling on August 11 which compelled the Auditorium Commission to allow Hair to be performed. Prior to the ruling, some of the Auditorium Commissioners had publicly stated that if they had to allow Hair, they would close it after the first performance on the grounds of obscenity. To combat this, Judge Eisele stated that the Commission had to allow Hair to perform the entire six day engagement it sought.

Upon hearing of the Judge’s ruling, Commissioner Miller offered a succinct, two word response. “Oh, Dear!”

In the end, the production of Hair at Robinson would not be the first performance in the state.  The tour came through Fayetteville for two performances in October 1971 at Barnhill Arena.

On January 18, 1972, Hair played the first of its 8 performances over 6 days at Robinson Auditorium.  In his review the next day, the Arkansas Gazette’s Bill Lewis noted that Hair “threw out all it had to offer” and that Little Rock had survived.

The ads promoting the production carried the tagline “Arkansas will never be the same.”  Tickets (from $2 all the way up to $8.50) could be purchased at Moses Melody Shops both downtown and in “The Mall” (meaning Park Plaza). That business is gone from downtown, but the scion of that family, Jimmy Moses, is actively involved in building downtown through countless projects. His sons are carrying on the family tradition too.

Little Rock was by no means unique in trying to stop productions of Hair.  St. Louis, Birmingham, Los Angeles, Tallahassee, Boston, Atlanta, Charlotte NC, West Palm Beach, Oklahoma City, Mobile and Chattanooga all tried unsuccessfully to stop performances in their public auditoriums.  Despite Judge Eisele’s ruling against the City of Little Rock, members of the Fort Smith City Council also tried to stop a production later in 1972 in that city. This was despite warnings from City staff that there was not legal standing.

Within a few years, the Board of Censors of the City of Little Rock would be dissolved (as similar bodies also were disappearing across the US). Likewise, the Auditorium Commission was discontinued before Hair even opened with its duties being taken over by the Advertising and Promotion Commission and the Convention & Visitors Bureau staff.  This was not connected to the Hair decision; it was, instead, related to expanding convention facilities in Robinson and the new adjacent hotel.  Regardless of the reasons for their demise, both bygone bodies were vestiges of earlier, simpler and differently focused days in Little Rock.