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ITJA Reviews
Review: “After Ever Happily?”
By Alissa Cook
And they all lived… After Ever Happily? Between hating pecan pie and coming out to your homophobic father, this charming rom-com play runs at least a few laps around the full emotional spectrum.
We start with Danny, who is just beginning to accept his own gayness, and Lane, his out-and-proud nonbinary partner. After Danny’s parents walk in on them kissing, he is sent to stay with his sister, Kate. Kate, a single mother, is certainly not interested in her babysitter Collin, who is definitely interested in her, but when a date with Collin goes a bit sideways, she hits it off with his roommate, Leo, a hopeless romantic who loves the movie Titanic. As Danny and Lane resolve their tensions and decide to stand up against Danny’s father Clark, Kate and Leo, feeling guilty, devise a plan to introduce Collin to Autumn, Kate’s bright and quirky neighbor, and they, too, connect immediately, wrapping it all up with a fun, albeit chaotic, bow.
The set felt fantastically lived-in, and the transformations between three different apartments were smooth and effective. I was most impressed by the entire fridge rolling on and off stage repeatedly and somehow still lighting up inside. For most characters, the costumes were relatively plain, unassuming, and normal, but for certain characters, notably Lane and Autumn, the costumes were bright and unique, fitting with their more outspoken personalities. There were also very effective uses of projections both to establish setting and a few times to portray a conversation over text.
Of course, it is hard to talk about the play without talking about the LGBTQ+ elements of it. As an LGBTQ+ individual, I felt that the representation through Danny and Lane was executed very well. It was, however, a plot thread noticeably different from the rest of the story. While Kate dealt with babysitters and bad dates in a very lighthearted and funny tone, Danny’s father misgendering Lane and refusing to accept his son’s gayness was not even a little bit funny — not that it should have been funny, but the seriousness of their plot, done to handle it tastefully, was so different from the rest of the story that it was almost jarring. No other conflict present in the play matched that intensity. Of course, that didn’t mean there wasn’t anything enjoyable about Danny and Lane’s story, just that it was different.
Overall, it is a truly enjoyable and satisfying story that addresses the silly and the serious together. Anyone who enjoys a good rom-com, and even people who don’t, can have a wonderful time laughing along with this show. Even if it comes in backwards and upside-down ways, it still ends with a happily ever after.
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Review: “Thoughts of a Colored Man”
By Sophia Danielson
Listen.
Listen.
As I watched the actors on the Temple Theater’s intimate stage, brilliant community listening was evident in every moment. Whether it was uproarious applause, shouts of encouragement, snaps at lines of poetry too propulsive and profound to be ignored, or several heavy breaths of silence, I was challenged by those around me and onstage to listen in a way I never have before.
Perhaps this is because the University of Missouri’s production of Keenan Scott II’s Thoughts of a Colored Man cannot be quickly digested. This show grabs its audience and compels them to look and listen.
Scott’s beautiful web of interconnected stories, told through evocative dialogue and powerful slam poetry monologues, breathes truths and emotions too great to be conveyed in static performances—and not one is given. Each actor in Thoughts of a Colored Man delivered a moving, real performance that kept me on the edge of my seat.
Gabriel Levi plays Passion, a loving but uncertain new father, with tenderness and sincerity. Similarly, Brandon V. Riley’s Depression aches through every word. In a particularly powerful moment, he and Lust (Reginald Coleman II) discuss the grief they feel over the way their mothers have been abused sexually by a society that doesn’t value them. Wisdom, played thoughtfully by Joel Stancer, conveys similar emotions in his monologue about police brutality. And Anger’s wrenching monologue on the exploitation of Black boys in professional sports, specifically basketball, burns with rage at accepted injustice. It’s these moments and many more that deliver necessary gut punches to the audience. Similarly, slam poetry delivered by Love (Dana Alexander) and Happiness (Jeremiah Coleman) uplifts different aspects of the Black experience with clarity and beauty. The actors all interact with compelling authenticity and heart I have never truly seen onstage before.
The actors are aided by a spare set (coordinated by Mimi Hedges) and costumes (coordinated by Marc W. Vital II), as well as a shifting screen of art by Black artists (projections designed by Mary Kenny). Music adds even more depth to the story, including audio played during scenes and transitions and original songs composed by Chris Cole. The lighting design, done by Cedric Singleton, shifts to effectively highlight certain moods and characters, drawing the audience’s attention while maintaining a congruent whole.
As a white woman, the words of Dr. Les Gray, the show’s director, rightly challenged me: I can’t just congratulate myself for seeing a Black play. What am I going to do now? Will I applaud politely and say it was good and move on? This would be falling into what the actors cry out at the show’s close: “But you don’t hear us, though!” Or will I take a stand, listen instead of speaking, and amplify those whose thoughts are not deemed valuable? This production demands that I do the latter.
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Review: “Thoughts of a Colored Man”
By Skye Funke
Theatre is one of the most important art forms when it comes to storytelling and having access to other people’s stories and experiences. Often underrated against the classics and overtold favorite stories are more unique stories told by people who struggle to get their stories told. There are good parts and bad parts to every person’s story, but the way society plays an effect on those affects people to varying degrees. That’s why being exposed to these stories can shape the way people view the world and people around them.
The play Thoughts of a Colored Man, sharply written by Keenan Scott II and put on by the University of Missouri, features eight equally phenomenal Black male actors all telling stories of the joys and struggles of being Black men. The actors are credited in the program as the emotions such as Love, Anger, and Depression, all showing what diverse role they bring to the story. Messages of faith, fatherhood, intersectionality, and standing up for what you believe in all continue to prevail through the ongoing story pulling the audience in. These important messages are displayed through eighteen scenes which include a combination of traditional scene work showing the interactions of these characters, and monologues by each actor.
The scenes where the top-tier ensemble are engaging with each other and showing their differences as people but how they still form a community and share communal experiences is where the show shines the brightest. The well written but occasionally overlong monologues to the audience by each character share important insight into the varying emotions and experiences of each character, but the story and dynamics are best progressed when you see how these layers of their experience interact with each other. The relationships are intriguing to watch and the chemistry between the cast elevates the already stellar material.
All of these important messages and character dynamics come together throughout the course of the runtime in one of the most carefully crafted, sharply paced, important final scenes I’ve ever experienced in a production, followed by an epilogue leaving the experience on an upbeat note despite the serious tones of the scene proceeding it. The play leaves its audience with a lot to digest, making for a memorable and thought-provoking experience for all who witnessed it. This play is an absolute must-see as it’s not only meticulously crafted to a high standard but features important messages about the complexities of the Black male experience that people of all races and genders should listen to and learn from.
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Review: “‘Remember the Dance’: A Reflection of Life’s Love and Loss”
By Sara Gushue
On a cold January day in Des Moines, Iowa, the Stoner Theater hummed with the energy of over 120 theatre students from across the Midwest. As the house around the thrust stage filled, dim blue lights and upbeat music set the atmosphere for the upcoming performance of Remember the Dance presented by the University of Central Missouri. Chosen as one of the Invited Productions at the Kennedy Center American College Theatre Festival Region 5, “Remember the Dance” brought the audience on an emotional journey about love and loss.
Written and directed by Dr. Aaron Scully and Ashley Miller-Scully, Remember the Dance combines an original script, original music and original choreography. The story follows Betsy, who has early onset Alzheimer’s. After receiving a letter from an old friend, Betsy relives her freshman college experience through flashbacks. With the help of her two new friends, Betsy discovers self-confidence and meaningful relationships. The play explores themes of memory, loss and love, ultimately leaving the audience with a feeling of acceptance and closure.
A self-proclaimed “dance-play,” Remember the Dance pushes the boundaries of plays versus musicals. The use of dance to advance the story was effective at some points but reduced the plot’s momentum at others. Dance styles are used to establish different settings, and each dance sequence either mirrors dialogue or stands on its own. The strongest dance in the piece was the waiting room scene, where lights, sound, and movement combined to show Christina’s worry as she waited for Betsy’s diagnosis. This “dance-play” presented audiences with an uncommon form of theatre, introducing them to the possibilities of combining dialogue and dance.
The story itself was moving. The character’s syntax was realistic, accurately depicting the difficulty and courage it takes to be vulnerable. Alannah Trigg and Grace Clark complimented each other as Betsy and Young Betsy. Jen White’s disguisedly anxious Christina played well with Kayla Addison’s composed Lainie. The friendship between Clark’s Young Betsy, Shanna Sinow’s friendly Jillian, and TiJhana Hines’s vulnerable Ettie felt real and believable. The dance ensemble functioned nicely as memories, shadows, and whatever else they needed to be. The costume, scenic, and lighting design effectively pulled the audience into the world, creating a space in which the music and sound could create the atmosphere.
As the characters moved through this story, the audience responded well. They laughed at comedic lines, held their breath in suspense, and cried through catharsis at the end. I too felt my eyes clouding during the last dance. There were a few continuity issues within the script regarding the year the present-day takes place in, but the confusion is not enough to detract from the emotional impact of the show. The recurring themes of impending morality and finding joy and love in moments of sorrow resonate with audiences as they recognize their own fears in the characters. The lesson to take away from this dance is one Betsy herself learns: “Life is too short to be scared all the time.”
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Review: "The Lightning Thief: The Percy Jackson Musical"
By Cori Jobman
“Oh, things couldn’t be worse when your parents run the universe.”
This message was old news to fans of Rick Riordan’s book series “Percy Jackson and the Olympians,” but old fans and newcomers alike braved the cold to see The Lightning Thief: The Percy Jackson Musical on Friday night and were treated to much more than the “mid-college show” the production claimed to be.
Staged at Hoyt Sherman Place as a part of the Kennedy Center American College Theatre Festival on Jan. 19, the show was produced by Normandale Community College and was one of four shows and the only musical invited to the festival.
The Lightning Thief is an adaptation of Riordan’s first book, which follows title character Percy Jackson as he discovers the truth of his origin: He’s a half-blood, the child of a Greek god, in Percy’s case Poseidon, and a mortal, allowing him to cross between the mortal and divine realms, but also making him the target of monsters from across the mythological world. Percy is accused of stealing Zeus’s Master Bolt on behalf of his father, and is joined by his half-goat friend Grover and Annabeth, daughter of Athena, on a quest to retrieve the Bolt and find the true culprit, leading him from New York to the entrance to the modern underworld, a record store in L.A., a journey which forces Percy and his friends into conflict with gods and monsters alike in his bid to prevent a war between the gods and save his mother, Sally.
The actors take the rock score and run with it, putting in one jaw-dropping performance after another. Each of Percy’s songs was heartfelt and captured the classic “Broadway Rock” sound those familiar with the genre are used to. “Put You in Your Place” introduces standout side character and daughter of Ares Clarisse, who embraces her punk aesthetic as she powers through the highest-energy song of the show. Annabeth matches Clarisse blow-for-blow, both vocally and in the fight choreography, as the duo brought the crowd to its feet.
The cast navigates through genres effortlessly, from Grover’s pop-rock travel song “Drive” to the disco track “D.O.A.” sung by escort to the Underworld, Charon. Annabeth’s “My Grand Plan” and Grover’s “The Tree on the Hill” are sincere ballads that bring the audience in and allow them to connect with the core trio.
The cast’s clear chemistry allowed the comedic moments of the show to ring through, starting with Percy blurting out wildly awkward statements in a way that had the audience cackling to lines that, without the proper delivery, would have been cringe-inducing. Beasty boy Hades and surfer bro Poseidon come off as a pair of sketch characters who understand and deliver on their bits, each brother giving the audience a riot of a scene and leaving before he’s able to overstay his welcome.
Puppet Designer Bill Stevens and Costume Designer Annie Cady shine in the show’s monster designs. The reveal of Stevens’ Minotaur design created one of the strongest moments of the show, as the half-bull creature lurched onto the stage beneath a chorus of smoke and red LED lights before stepping downstage to fight Percy and his mother. The Furies, Medusa, and Cerberus also gave the audience memorable moments with some of the most iconic creatures from the original series.
If the show had a weakness, it was the choreography, especially in Act 1. The ensemble’s fight choreography in “Put You in Your Place” was a noticeable drop in energy from Annabeth and Clarisse, and some personal moments for Percy in “Good Kid” were upstaged by his fellow half-bloods distractingly running across stage behind him and coming on for choreography in a moment where Percy is supposedly alone with his thoughts.
With that being said, the cast found its stride in Act 2, as “D.O.A.” brought high-energy disco moves and “Tree on a Hill” had a truly touching dance by daughter of Zeus, Thalia. The fight choreography was taken up a step as well, as the final two fights of the show were filled with impactful blows and a stab that felt so real, even an audience well-versed in the world of Percy Jackson audibly gasped in terror.
The lighting within the set’s Greek pillars was also jarring at points, but that was most likely due to the show’s light setup being designed for a very different space than Hoyt Sherman Place.
Zeus’s Master Bolt may have been more than “a tinfoil zigzag from a mid-college show invited to perform in Des Moines, Iowa,” but that line also sells this production short. This high-energy, lovingly crafted rock musical about a bunch of demigods dealing with all the struggles their divine parents throw on them was anything but “mid.”
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Review: "Thoughts of a Colored Man"
By Kaylee Selin
In the darkness of blue light, seven African American men swagger out of the wings, laughing and clapping each other on the back. Another man enters through the same door the audience came in just a few minutes ago, confidently greeting some of the young men in the audience, then striding onstage to join the rest. And just like that, the audience is brought into the joyful community of Thoughts of a Colored Man.
Thoughts of a Colored Man was written by Keenan Scott II. The University of Missouri’s production, directed by Dr. Les Gray, was invited to perform at the Temple Theater during KCACTF Region 5’s Festival 56. But watching it at the festival, you would hardly guess that this production performed anywhere else. The actors owned the stage, and the room was full of their power.
Set in Brooklyn, it consists of scenes from each man’s day, interspersed with slam poetry. The play invites its audience into the lives of these men, taking them through the everyday journey of riding the subway, working, going to the barber shop, playing basketball, the miracle of life, and the injustice of death.
The ensemble work of this group of actors truly shone. They interacted with each other beautifully, embracing the subtleties of each interaction. Whenever actors weren’t in a scene, they would sit on the edge of the stage and react to what was going on, which made the audience engage more, too. But each character’s moments of slam poetry allowed them to be wonderfully developed and differentiated individuals.
However, there was one actor who didn’t seem quite as engaged in the story as the rest. His character was meant to be new in town and different from everyone around him, but he felt removed from the audience, too, especially in his monologues. It was as if he was reciting a speech rather than letting the words swell up from his heart, like he didn’t entirely believe what he was saying. Yet the heart of Scott’s words still came through, and this actor still had good emotion.
This story is partly one about generations. Actors Gabriel Levi and Joel Stancer, playing son and father-in-law, did especially beautiful work with this thread of the story. The quiet wisdom of the father-in-law and the tender love of the son-in-law for his own son made the crowd hush in wonder. The emotion of the relationship was wonderfully real.
This show ultimately exists to make its audience listen to the voices of African American men. It’s also about the individual and his relationship to his community because, as one of the characters expresses, they all have “a connection to community. You know exactly who you are.” But this play is more than just great characterization and ideas to chew on. The director emphasized that when she came onstage and spoke at the beginning. It’s an invitation to action. “Don’t go home feeling good because you saw a black play,” Dr. Gray said. “You got work to do in your own communities.”
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Review: The Lightning Thief: Percy Jackson Musical
A Musical Twist on the Beloved Novel
By: Olivia Harms
Jan. 20th, 2024
Whenever one hears the name “Percy Jackson” their minds tend to trail to the novel series that was released in early 2000’s, the movies that were released in 2010 and 2013, or more recently the brand-new series that has been swirling around the crowd of people who grew up with the Percy Jackson novels. Not many would connect the words “Percy Jackson” with the word “musical” yet there is in fact a musical based solely on the Son of Poseidon and all the half-bloods who wish their parents weren’t gods or goddesses.
When gathering a group of theater people who probably grew up on the Percy Jackson novels, movies, and now the series being so freshly released it wasn’t a surprise that the “Lightning Thief” stole the hearts of the audience immediately. The ensemble was charming, vocals were beautiful, costuming was clever, and the set was surprising but worked well for a college musical. And that’s what worked, knowing this was a college musical the cast, crew, and everyone involved sold it and made the audience believe they were watching Percy, Grover, and Annabeth going on their “Killer Quest!” while still knowing that this is a college production.
The musical started off with Percy Jackson and ensemble singing “The Day I Got Expelled” while they dance around on stage, the set looking almost like a construction site of sorts which only heightened the curiosity of the audience, how were they going to pull off these mythical creatures? The Gods? Goddesses? Turns out very elaborate, yet simple, costume pieces were used but the gasp from the audience was real. As the play progressed there were a few of the fight scenes between the mythical monsters and Percy that were anticlimactic and wish lasted longer, but working with the budget and material it was well done.
The main three characters: Percy Jackson played by Drew Bainbridge, Annabeth Chase played by Olivia Anselment, and Grover played by Bennett Klingman all nailed the characterization, acting, vocalization, and stayed true to their roles. Bennett Klingman played other characters besides Grover and was loved by the audience and never failed to make them laugh. Drew Bainbridge portrayed the cute, dorkiness that is Percy Jackson that has made our generation fall in love with the character. Olivia Anselment showed the vulnerability of Annabeth but also the strong, female empowerment of her character.
The whole ensemble was memorable and not one was left forgotten. No one can forget about Hades and Poseidon’s unique performance given by Joey Deegan. The musical was unforgettable as well with special guest appearances of Kurt Cobain, Janis Joplin, and other celebrities when Percy and his friends met Charon on their way to the Underworld during the song “D.O.A.”, who would forget seeing those iconic celebrities?
The whole cast and crew put a lot of effort and time into this production and were happy to share this work at a festival for those who know how hard it is to pull off a musical that involves Greek gods and goddesses, mythical creatures, and factors such as that. It was a production that stayed with the audience hours after the show ended and will be embedded into the minds of the people who saw it at the festival, and it was no question as to why this production was invited to KCACTF 56.
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Review: "Thoughts of a Colored Man"
By Lilly Julien
What does it really mean to be “black”? Keenan Scott II’s Thoughts of a Colored Man attempts to finally give an answer to this question that every person of color, including myself, has asked countless times. Through a series of constantly conflicting monologues and slam poetry style pieces, each character voices what they believe makes a colored man black. From Kobe Bryant vs. Michael Jordan and debates over beautiful women to gentrification and the debate over racial stereotypes, Scott truly leaves no stone left unturned.
As a new day begins in Brooklyn, we meet seven entirely unique black men. Right from the start conflicting descriptions begin. The man on the right of stage begins to describe his morning as being rough and dangerous. He describes familial issue and just overall neighborhood issues. His description alternates with another man to the left of the stage. This man has just moved into a condo on the nicer side of the neighborhood and sounds excited to begin his day. After the two go back and forth for a bit, the set changes to a classic barbershop. Here is when the theme of the play is directly discussed as the members of the barbershop start insulting the newcomer, launching him into a powerful monologue about his experience, “not being black enough.” He’s interrupted by another member making a joke ending in a homophobic slur. Here it is revealed that the character we’ve been listening too is actually gay. He explains how this also normally makes him feel less black and how he expects the rest of the barbershop to carry on as normal.
Except they don’t. At all.
Instead, the entire barbershop scolds the man and tells him that kind of hatred won’t be tolerated as they want everyone to feel welcome in there. This moment acts as a catalyst for the rest of the play’s conversations. From here we bounce around scenes but follow the stories of each character. It breaks off into the story of two best friends defusing modern dating. One who wants to take things slow with women and one who wants to get straight to the action with them. Surprisingly, later in the show it is revealed that the fast-paced man has actually been “messing with” a girl for a while. A white girl. Here the issues are discussed both from within the girl’s home and from within his own community.
Another duo we see is the man working as a grocery store clerk and the previously mentioned new rich guy in the neighborhood. Here the two fight a bit about not being able to understand one another, but ultimately end up connecting in the end over their love and sacrifices for family. The grocery store clerk reveals he passed up an opportunity to go to college on a full scholarship to stay home and help his family.
The last duo we see is the owner of the barbershop and his son-in-law in the hospital. They’re waiting together for the new baby to arrive. The husband of the mother gives a beautiful monologue about still dealing with the grief from their miscarriage and his guilt with how he handled it. His father-in-law gives him advice on how to deal with it and tells him to call upon the ancestors for protection over this one.
Finally, the last man we learn about is the coach of basketball team at their local youth center. He talks about the potential all of the kids have before revealing that he himself almost went pro before someone targeted him and injured his knee permanently. He vocalizes his pent-up anger about it and even lashes out at the kids a couple of times.
The group reunites in line for the new Jordans. They discuss the fact that the shoes are capitalizing off of black success, but then agree that they are just great shoes. After this an incredibly heartbreaking twist is thrown into the production. I won’t spoil it here in the review, but I will include that I don’t think there was any dry eyes left in the theater afterwards.
Due to the fact that the set in the production I saw by University of Missouri was a bunch of chairs rearranged to fit the scene, I can’t help but say that the actors are what made this production. Even though their characters didn’t have names until the twist at the end, every actor truly brought their characters to life in a way I would have never expected. The two that really caught my eye were Joel Stancer and Jojo Patton. Stancer, throughout the whole production has a protective feel about him. Even when he isn’t directly in the scene his facial expressions and body language show a deep care and consideration for those around him. Jojo Patton also has a way of making his presence known even when he isn’t directly involved in what’s going on. His character radiates anger and frustration in a way that you can’t help but be mesmerized by. In all of his monologues, he yanks at the audiences’ heartstrings and allows all of us to feel and understand his anger. Another honorable mention is Reginald Coleman II. His performance in the scene, “But I love her” had the entire audience choking back tears. He yelled and you could feel it vibrating through the room. It was only the first of many times in this production that the audience would be left feeling shattered by what they just heard.
All in all, this production is a heart-wrenching, anger-inducing, hilarious, must see for all people regardless of their skin color. It is a story of acceptance and finding what important things tie us all together. The director, Dr. Les Gray, does an amazing job at portraying the story in a way that people of all backgrounds can love and relate to. I feel there is no better way to describe this production than in the words of the author Keenan Scott II himself, “Thoughts of a Colored Man celebrates the hopes, ambitions, joys, and triumphs of black men in a world that often refuses to hear them.”
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By Alissa Cook
And they all lived… After Ever Happily? Between hating pecan pie and coming out to your homophobic father, this charming rom-com play runs at least a few laps around the full emotional spectrum.
We start with Danny, who is just beginning to accept his own gayness, and Lane, his out-and-proud nonbinary partner. After Danny’s parents walk in on them kissing, he is sent to stay with his sister, Kate. Kate, a single mother, is certainly not interested in her babysitter Collin, who is definitely interested in her, but when a date with Collin goes a bit sideways, she hits it off with his roommate, Leo, a hopeless romantic who loves the movie Titanic. As Danny and Lane resolve their tensions and decide to stand up against Danny’s father Clark, Kate and Leo, feeling guilty, devise a plan to introduce Collin to Autumn, Kate’s bright and quirky neighbor, and they, too, connect immediately, wrapping it all up with a fun, albeit chaotic, bow.
The set felt fantastically lived-in, and the transformations between three different apartments were smooth and effective. I was most impressed by the entire fridge rolling on and off stage repeatedly and somehow still lighting up inside. For most characters, the costumes were relatively plain, unassuming, and normal, but for certain characters, notably Lane and Autumn, the costumes were bright and unique, fitting with their more outspoken personalities. There were also very effective uses of projections both to establish setting and a few times to portray a conversation over text.
Of course, it is hard to talk about the play without talking about the LGBTQ+ elements of it. As an LGBTQ+ individual, I felt that the representation through Danny and Lane was executed very well. It was, however, a plot thread noticeably different from the rest of the story. While Kate dealt with babysitters and bad dates in a very lighthearted and funny tone, Danny’s father misgendering Lane and refusing to accept his son’s gayness was not even a little bit funny — not that it should have been funny, but the seriousness of their plot, done to handle it tastefully, was so different from the rest of the story that it was almost jarring. No other conflict present in the play matched that intensity. Of course, that didn’t mean there wasn’t anything enjoyable about Danny and Lane’s story, just that it was different.
Overall, it is a truly enjoyable and satisfying story that addresses the silly and the serious together. Anyone who enjoys a good rom-com, and even people who don’t, can have a wonderful time laughing along with this show. Even if it comes in backwards and upside-down ways, it still ends with a happily ever after.
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Review: “Thoughts of a Colored Man”
By Sophia Danielson
Listen.
Listen.
As I watched the actors on the Temple Theater’s intimate stage, brilliant community listening was evident in every moment. Whether it was uproarious applause, shouts of encouragement, snaps at lines of poetry too propulsive and profound to be ignored, or several heavy breaths of silence, I was challenged by those around me and onstage to listen in a way I never have before.
Perhaps this is because the University of Missouri’s production of Keenan Scott II’s Thoughts of a Colored Man cannot be quickly digested. This show grabs its audience and compels them to look and listen.
Scott’s beautiful web of interconnected stories, told through evocative dialogue and powerful slam poetry monologues, breathes truths and emotions too great to be conveyed in static performances—and not one is given. Each actor in Thoughts of a Colored Man delivered a moving, real performance that kept me on the edge of my seat.
Gabriel Levi plays Passion, a loving but uncertain new father, with tenderness and sincerity. Similarly, Brandon V. Riley’s Depression aches through every word. In a particularly powerful moment, he and Lust (Reginald Coleman II) discuss the grief they feel over the way their mothers have been abused sexually by a society that doesn’t value them. Wisdom, played thoughtfully by Joel Stancer, conveys similar emotions in his monologue about police brutality. And Anger’s wrenching monologue on the exploitation of Black boys in professional sports, specifically basketball, burns with rage at accepted injustice. It’s these moments and many more that deliver necessary gut punches to the audience. Similarly, slam poetry delivered by Love (Dana Alexander) and Happiness (Jeremiah Coleman) uplifts different aspects of the Black experience with clarity and beauty. The actors all interact with compelling authenticity and heart I have never truly seen onstage before.
The actors are aided by a spare set (coordinated by Mimi Hedges) and costumes (coordinated by Marc W. Vital II), as well as a shifting screen of art by Black artists (projections designed by Mary Kenny). Music adds even more depth to the story, including audio played during scenes and transitions and original songs composed by Chris Cole. The lighting design, done by Cedric Singleton, shifts to effectively highlight certain moods and characters, drawing the audience’s attention while maintaining a congruent whole.
As a white woman, the words of Dr. Les Gray, the show’s director, rightly challenged me: I can’t just congratulate myself for seeing a Black play. What am I going to do now? Will I applaud politely and say it was good and move on? This would be falling into what the actors cry out at the show’s close: “But you don’t hear us, though!” Or will I take a stand, listen instead of speaking, and amplify those whose thoughts are not deemed valuable? This production demands that I do the latter.
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Review: “Thoughts of a Colored Man”
By Skye Funke
Theatre is one of the most important art forms when it comes to storytelling and having access to other people’s stories and experiences. Often underrated against the classics and overtold favorite stories are more unique stories told by people who struggle to get their stories told. There are good parts and bad parts to every person’s story, but the way society plays an effect on those affects people to varying degrees. That’s why being exposed to these stories can shape the way people view the world and people around them.
The play Thoughts of a Colored Man, sharply written by Keenan Scott II and put on by the University of Missouri, features eight equally phenomenal Black male actors all telling stories of the joys and struggles of being Black men. The actors are credited in the program as the emotions such as Love, Anger, and Depression, all showing what diverse role they bring to the story. Messages of faith, fatherhood, intersectionality, and standing up for what you believe in all continue to prevail through the ongoing story pulling the audience in. These important messages are displayed through eighteen scenes which include a combination of traditional scene work showing the interactions of these characters, and monologues by each actor.
The scenes where the top-tier ensemble are engaging with each other and showing their differences as people but how they still form a community and share communal experiences is where the show shines the brightest. The well written but occasionally overlong monologues to the audience by each character share important insight into the varying emotions and experiences of each character, but the story and dynamics are best progressed when you see how these layers of their experience interact with each other. The relationships are intriguing to watch and the chemistry between the cast elevates the already stellar material.
All of these important messages and character dynamics come together throughout the course of the runtime in one of the most carefully crafted, sharply paced, important final scenes I’ve ever experienced in a production, followed by an epilogue leaving the experience on an upbeat note despite the serious tones of the scene proceeding it. The play leaves its audience with a lot to digest, making for a memorable and thought-provoking experience for all who witnessed it. This play is an absolute must-see as it’s not only meticulously crafted to a high standard but features important messages about the complexities of the Black male experience that people of all races and genders should listen to and learn from.
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Review: “‘Remember the Dance’: A Reflection of Life’s Love and Loss”
By Sara Gushue
On a cold January day in Des Moines, Iowa, the Stoner Theater hummed with the energy of over 120 theatre students from across the Midwest. As the house around the thrust stage filled, dim blue lights and upbeat music set the atmosphere for the upcoming performance of Remember the Dance presented by the University of Central Missouri. Chosen as one of the Invited Productions at the Kennedy Center American College Theatre Festival Region 5, “Remember the Dance” brought the audience on an emotional journey about love and loss.
Written and directed by Dr. Aaron Scully and Ashley Miller-Scully, Remember the Dance combines an original script, original music and original choreography. The story follows Betsy, who has early onset Alzheimer’s. After receiving a letter from an old friend, Betsy relives her freshman college experience through flashbacks. With the help of her two new friends, Betsy discovers self-confidence and meaningful relationships. The play explores themes of memory, loss and love, ultimately leaving the audience with a feeling of acceptance and closure.
A self-proclaimed “dance-play,” Remember the Dance pushes the boundaries of plays versus musicals. The use of dance to advance the story was effective at some points but reduced the plot’s momentum at others. Dance styles are used to establish different settings, and each dance sequence either mirrors dialogue or stands on its own. The strongest dance in the piece was the waiting room scene, where lights, sound, and movement combined to show Christina’s worry as she waited for Betsy’s diagnosis. This “dance-play” presented audiences with an uncommon form of theatre, introducing them to the possibilities of combining dialogue and dance.
The story itself was moving. The character’s syntax was realistic, accurately depicting the difficulty and courage it takes to be vulnerable. Alannah Trigg and Grace Clark complimented each other as Betsy and Young Betsy. Jen White’s disguisedly anxious Christina played well with Kayla Addison’s composed Lainie. The friendship between Clark’s Young Betsy, Shanna Sinow’s friendly Jillian, and TiJhana Hines’s vulnerable Ettie felt real and believable. The dance ensemble functioned nicely as memories, shadows, and whatever else they needed to be. The costume, scenic, and lighting design effectively pulled the audience into the world, creating a space in which the music and sound could create the atmosphere.
As the characters moved through this story, the audience responded well. They laughed at comedic lines, held their breath in suspense, and cried through catharsis at the end. I too felt my eyes clouding during the last dance. There were a few continuity issues within the script regarding the year the present-day takes place in, but the confusion is not enough to detract from the emotional impact of the show. The recurring themes of impending morality and finding joy and love in moments of sorrow resonate with audiences as they recognize their own fears in the characters. The lesson to take away from this dance is one Betsy herself learns: “Life is too short to be scared all the time.”
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Review: "The Lightning Thief: The Percy Jackson Musical"
By Cori Jobman
“Oh, things couldn’t be worse when your parents run the universe.”
This message was old news to fans of Rick Riordan’s book series “Percy Jackson and the Olympians,” but old fans and newcomers alike braved the cold to see The Lightning Thief: The Percy Jackson Musical on Friday night and were treated to much more than the “mid-college show” the production claimed to be.
Staged at Hoyt Sherman Place as a part of the Kennedy Center American College Theatre Festival on Jan. 19, the show was produced by Normandale Community College and was one of four shows and the only musical invited to the festival.
The Lightning Thief is an adaptation of Riordan’s first book, which follows title character Percy Jackson as he discovers the truth of his origin: He’s a half-blood, the child of a Greek god, in Percy’s case Poseidon, and a mortal, allowing him to cross between the mortal and divine realms, but also making him the target of monsters from across the mythological world. Percy is accused of stealing Zeus’s Master Bolt on behalf of his father, and is joined by his half-goat friend Grover and Annabeth, daughter of Athena, on a quest to retrieve the Bolt and find the true culprit, leading him from New York to the entrance to the modern underworld, a record store in L.A., a journey which forces Percy and his friends into conflict with gods and monsters alike in his bid to prevent a war between the gods and save his mother, Sally.
The actors take the rock score and run with it, putting in one jaw-dropping performance after another. Each of Percy’s songs was heartfelt and captured the classic “Broadway Rock” sound those familiar with the genre are used to. “Put You in Your Place” introduces standout side character and daughter of Ares Clarisse, who embraces her punk aesthetic as she powers through the highest-energy song of the show. Annabeth matches Clarisse blow-for-blow, both vocally and in the fight choreography, as the duo brought the crowd to its feet.
The cast navigates through genres effortlessly, from Grover’s pop-rock travel song “Drive” to the disco track “D.O.A.” sung by escort to the Underworld, Charon. Annabeth’s “My Grand Plan” and Grover’s “The Tree on the Hill” are sincere ballads that bring the audience in and allow them to connect with the core trio.
The cast’s clear chemistry allowed the comedic moments of the show to ring through, starting with Percy blurting out wildly awkward statements in a way that had the audience cackling to lines that, without the proper delivery, would have been cringe-inducing. Beasty boy Hades and surfer bro Poseidon come off as a pair of sketch characters who understand and deliver on their bits, each brother giving the audience a riot of a scene and leaving before he’s able to overstay his welcome.
Puppet Designer Bill Stevens and Costume Designer Annie Cady shine in the show’s monster designs. The reveal of Stevens’ Minotaur design created one of the strongest moments of the show, as the half-bull creature lurched onto the stage beneath a chorus of smoke and red LED lights before stepping downstage to fight Percy and his mother. The Furies, Medusa, and Cerberus also gave the audience memorable moments with some of the most iconic creatures from the original series.
If the show had a weakness, it was the choreography, especially in Act 1. The ensemble’s fight choreography in “Put You in Your Place” was a noticeable drop in energy from Annabeth and Clarisse, and some personal moments for Percy in “Good Kid” were upstaged by his fellow half-bloods distractingly running across stage behind him and coming on for choreography in a moment where Percy is supposedly alone with his thoughts.
With that being said, the cast found its stride in Act 2, as “D.O.A.” brought high-energy disco moves and “Tree on a Hill” had a truly touching dance by daughter of Zeus, Thalia. The fight choreography was taken up a step as well, as the final two fights of the show were filled with impactful blows and a stab that felt so real, even an audience well-versed in the world of Percy Jackson audibly gasped in terror.
The lighting within the set’s Greek pillars was also jarring at points, but that was most likely due to the show’s light setup being designed for a very different space than Hoyt Sherman Place.
Zeus’s Master Bolt may have been more than “a tinfoil zigzag from a mid-college show invited to perform in Des Moines, Iowa,” but that line also sells this production short. This high-energy, lovingly crafted rock musical about a bunch of demigods dealing with all the struggles their divine parents throw on them was anything but “mid.”
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Review: "Thoughts of a Colored Man"
By Kaylee Selin
In the darkness of blue light, seven African American men swagger out of the wings, laughing and clapping each other on the back. Another man enters through the same door the audience came in just a few minutes ago, confidently greeting some of the young men in the audience, then striding onstage to join the rest. And just like that, the audience is brought into the joyful community of Thoughts of a Colored Man.
Thoughts of a Colored Man was written by Keenan Scott II. The University of Missouri’s production, directed by Dr. Les Gray, was invited to perform at the Temple Theater during KCACTF Region 5’s Festival 56. But watching it at the festival, you would hardly guess that this production performed anywhere else. The actors owned the stage, and the room was full of their power.
Set in Brooklyn, it consists of scenes from each man’s day, interspersed with slam poetry. The play invites its audience into the lives of these men, taking them through the everyday journey of riding the subway, working, going to the barber shop, playing basketball, the miracle of life, and the injustice of death.
The ensemble work of this group of actors truly shone. They interacted with each other beautifully, embracing the subtleties of each interaction. Whenever actors weren’t in a scene, they would sit on the edge of the stage and react to what was going on, which made the audience engage more, too. But each character’s moments of slam poetry allowed them to be wonderfully developed and differentiated individuals.
However, there was one actor who didn’t seem quite as engaged in the story as the rest. His character was meant to be new in town and different from everyone around him, but he felt removed from the audience, too, especially in his monologues. It was as if he was reciting a speech rather than letting the words swell up from his heart, like he didn’t entirely believe what he was saying. Yet the heart of Scott’s words still came through, and this actor still had good emotion.
This story is partly one about generations. Actors Gabriel Levi and Joel Stancer, playing son and father-in-law, did especially beautiful work with this thread of the story. The quiet wisdom of the father-in-law and the tender love of the son-in-law for his own son made the crowd hush in wonder. The emotion of the relationship was wonderfully real.
This show ultimately exists to make its audience listen to the voices of African American men. It’s also about the individual and his relationship to his community because, as one of the characters expresses, they all have “a connection to community. You know exactly who you are.” But this play is more than just great characterization and ideas to chew on. The director emphasized that when she came onstage and spoke at the beginning. It’s an invitation to action. “Don’t go home feeling good because you saw a black play,” Dr. Gray said. “You got work to do in your own communities.”
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Review: The Lightning Thief: Percy Jackson Musical
A Musical Twist on the Beloved Novel
By: Olivia Harms
Jan. 20th, 2024
Whenever one hears the name “Percy Jackson” their minds tend to trail to the novel series that was released in early 2000’s, the movies that were released in 2010 and 2013, or more recently the brand-new series that has been swirling around the crowd of people who grew up with the Percy Jackson novels. Not many would connect the words “Percy Jackson” with the word “musical” yet there is in fact a musical based solely on the Son of Poseidon and all the half-bloods who wish their parents weren’t gods or goddesses.
When gathering a group of theater people who probably grew up on the Percy Jackson novels, movies, and now the series being so freshly released it wasn’t a surprise that the “Lightning Thief” stole the hearts of the audience immediately. The ensemble was charming, vocals were beautiful, costuming was clever, and the set was surprising but worked well for a college musical. And that’s what worked, knowing this was a college musical the cast, crew, and everyone involved sold it and made the audience believe they were watching Percy, Grover, and Annabeth going on their “Killer Quest!” while still knowing that this is a college production.
The musical started off with Percy Jackson and ensemble singing “The Day I Got Expelled” while they dance around on stage, the set looking almost like a construction site of sorts which only heightened the curiosity of the audience, how were they going to pull off these mythical creatures? The Gods? Goddesses? Turns out very elaborate, yet simple, costume pieces were used but the gasp from the audience was real. As the play progressed there were a few of the fight scenes between the mythical monsters and Percy that were anticlimactic and wish lasted longer, but working with the budget and material it was well done.
The main three characters: Percy Jackson played by Drew Bainbridge, Annabeth Chase played by Olivia Anselment, and Grover played by Bennett Klingman all nailed the characterization, acting, vocalization, and stayed true to their roles. Bennett Klingman played other characters besides Grover and was loved by the audience and never failed to make them laugh. Drew Bainbridge portrayed the cute, dorkiness that is Percy Jackson that has made our generation fall in love with the character. Olivia Anselment showed the vulnerability of Annabeth but also the strong, female empowerment of her character.
The whole ensemble was memorable and not one was left forgotten. No one can forget about Hades and Poseidon’s unique performance given by Joey Deegan. The musical was unforgettable as well with special guest appearances of Kurt Cobain, Janis Joplin, and other celebrities when Percy and his friends met Charon on their way to the Underworld during the song “D.O.A.”, who would forget seeing those iconic celebrities?
The whole cast and crew put a lot of effort and time into this production and were happy to share this work at a festival for those who know how hard it is to pull off a musical that involves Greek gods and goddesses, mythical creatures, and factors such as that. It was a production that stayed with the audience hours after the show ended and will be embedded into the minds of the people who saw it at the festival, and it was no question as to why this production was invited to KCACTF 56.
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Review: "Thoughts of a Colored Man"
By Lilly Julien
What does it really mean to be “black”? Keenan Scott II’s Thoughts of a Colored Man attempts to finally give an answer to this question that every person of color, including myself, has asked countless times. Through a series of constantly conflicting monologues and slam poetry style pieces, each character voices what they believe makes a colored man black. From Kobe Bryant vs. Michael Jordan and debates over beautiful women to gentrification and the debate over racial stereotypes, Scott truly leaves no stone left unturned.
As a new day begins in Brooklyn, we meet seven entirely unique black men. Right from the start conflicting descriptions begin. The man on the right of stage begins to describe his morning as being rough and dangerous. He describes familial issue and just overall neighborhood issues. His description alternates with another man to the left of the stage. This man has just moved into a condo on the nicer side of the neighborhood and sounds excited to begin his day. After the two go back and forth for a bit, the set changes to a classic barbershop. Here is when the theme of the play is directly discussed as the members of the barbershop start insulting the newcomer, launching him into a powerful monologue about his experience, “not being black enough.” He’s interrupted by another member making a joke ending in a homophobic slur. Here it is revealed that the character we’ve been listening too is actually gay. He explains how this also normally makes him feel less black and how he expects the rest of the barbershop to carry on as normal.
Except they don’t. At all.
Instead, the entire barbershop scolds the man and tells him that kind of hatred won’t be tolerated as they want everyone to feel welcome in there. This moment acts as a catalyst for the rest of the play’s conversations. From here we bounce around scenes but follow the stories of each character. It breaks off into the story of two best friends defusing modern dating. One who wants to take things slow with women and one who wants to get straight to the action with them. Surprisingly, later in the show it is revealed that the fast-paced man has actually been “messing with” a girl for a while. A white girl. Here the issues are discussed both from within the girl’s home and from within his own community.
Another duo we see is the man working as a grocery store clerk and the previously mentioned new rich guy in the neighborhood. Here the two fight a bit about not being able to understand one another, but ultimately end up connecting in the end over their love and sacrifices for family. The grocery store clerk reveals he passed up an opportunity to go to college on a full scholarship to stay home and help his family.
The last duo we see is the owner of the barbershop and his son-in-law in the hospital. They’re waiting together for the new baby to arrive. The husband of the mother gives a beautiful monologue about still dealing with the grief from their miscarriage and his guilt with how he handled it. His father-in-law gives him advice on how to deal with it and tells him to call upon the ancestors for protection over this one.
Finally, the last man we learn about is the coach of basketball team at their local youth center. He talks about the potential all of the kids have before revealing that he himself almost went pro before someone targeted him and injured his knee permanently. He vocalizes his pent-up anger about it and even lashes out at the kids a couple of times.
The group reunites in line for the new Jordans. They discuss the fact that the shoes are capitalizing off of black success, but then agree that they are just great shoes. After this an incredibly heartbreaking twist is thrown into the production. I won’t spoil it here in the review, but I will include that I don’t think there was any dry eyes left in the theater afterwards.
Due to the fact that the set in the production I saw by University of Missouri was a bunch of chairs rearranged to fit the scene, I can’t help but say that the actors are what made this production. Even though their characters didn’t have names until the twist at the end, every actor truly brought their characters to life in a way I would have never expected. The two that really caught my eye were Joel Stancer and Jojo Patton. Stancer, throughout the whole production has a protective feel about him. Even when he isn’t directly in the scene his facial expressions and body language show a deep care and consideration for those around him. Jojo Patton also has a way of making his presence known even when he isn’t directly involved in what’s going on. His character radiates anger and frustration in a way that you can’t help but be mesmerized by. In all of his monologues, he yanks at the audiences’ heartstrings and allows all of us to feel and understand his anger. Another honorable mention is Reginald Coleman II. His performance in the scene, “But I love her” had the entire audience choking back tears. He yelled and you could feel it vibrating through the room. It was only the first of many times in this production that the audience would be left feeling shattered by what they just heard.
All in all, this production is a heart-wrenching, anger-inducing, hilarious, must see for all people regardless of their skin color. It is a story of acceptance and finding what important things tie us all together. The director, Dr. Les Gray, does an amazing job at portraying the story in a way that people of all backgrounds can love and relate to. I feel there is no better way to describe this production than in the words of the author Keenan Scott II himself, “Thoughts of a Colored Man celebrates the hopes, ambitions, joys, and triumphs of black men in a world that often refuses to hear them.”
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MTI Cabaret program
"All is Full of Love"
Choreographed by Josh Walden to "Cvalda" by Bjork
MTI Dance Finalists: Rachel Thomson, Kaylah Janssen, Devon Vick, Mia Nollett, Miranda Muenz, Natalie Suarez, Sandi Flahn, Lindsey Fields, TiJhana Hines, Katie Kaminski, Ken Donovan, Devin Michael Leming, Topher Williams, Jacob Haen, Thomas Yambo-Rios, Beau Schoenfelder, Jonathan Banks, Nicholas Crawford, Noah Svaty
Justeen Schoner & Ella Schmitz
"Class"
Allyson Hayes-Tinker
"Somewhere That's Green"
Vivian Klein
"All That Matters"
Mackenzie Ammon
"No One Else"
Kaitlyn Callahan
"I Say No"
Neil Peltier
"How I Am"
Belle Waggoner & Drew Stutz
"Therapy"
Finnola Coughlin
"I Didn't Plan It"
Sydney Belonge
"I'd Give My Life for You"
Kaylah Janssen
"You Oughta Know"
Mary Little
"Over and Done"
Skyler Weaver
"Snoopy"
10-minute Intermission
Caitlyn Nelson, William Gurley, & Zachary Rodriguez
"Try"
Laura Breyen
"Welcome Home"
Jenny Duncan
"I'm Losing My Mind"
Bryson Kendall
"I Love You Too Much"
Alixandra Young
"Lost in the Waves"
Emma Hildebrand
"Diva's Lament"
Ella Appelbaum & Kurtis Nethington
"Backstage Romance"
Gabriel Levi
"Friends on the Other Side"
Carly Cramer
"Pretty Funny"
Kate Folkestad
"Ladies Who Lunch"
Dani Major
"I'm Breaking Down"
Jonathan Banks
"What Would I Do If I Could Feel"
Symonne Sparks
2023 KCACTF National Musial Theatre Fellows Award recipient
"Move On"
Tai Chi Workshop handout
| tai_chi_exercises.docx |
After Ever Happily seating
Seating for performances of After Ever Happily is VERY limited. If you have a ticket for the show, please plan on arriving early to guarantee a seat. It is unlikely that we will be able to seat anyone who does not have a ticket.
Thank you!
Thank you!
MTI Singing Finalists
Jenny Duncan
Allyson Hayes-Tinker
Neil Peltier
Alixandra Young
Kaitlyn Folkestad
Carly Cramer
Finnola Coughlin
Skyler Weaver
Bryson Kendall
Gabriel Levi
Mary Little
Laura Breyen
Mackenzie Ammon
Sydney Belonge
Kaylah Janssen
Kaitlyn Callahan
Dani Major
Emma Hildebrand
Vivian Klein
Jonathan Banks
Please keep an eye on your email later tonight for more information about finals.
Allyson Hayes-Tinker
Neil Peltier
Alixandra Young
Kaitlyn Folkestad
Carly Cramer
Finnola Coughlin
Skyler Weaver
Bryson Kendall
Gabriel Levi
Mary Little
Laura Breyen
Mackenzie Ammon
Sydney Belonge
Kaylah Janssen
Kaitlyn Callahan
Dani Major
Emma Hildebrand
Vivian Klein
Jonathan Banks
Please keep an eye on your email later tonight for more information about finals.
SDC Directing Finalists
Gabrielle Fraser
Blake Fabre
Kasey Lynch
Kaushik Raghavan
Orientation is tonight at 6 pm in Marriott Salon C.
Blake Fabre
Kasey Lynch
Kaushik Raghavan
Orientation is tonight at 6 pm in Marriott Salon C.
Irene Ryan Finalists
Mackenzie Ammon
Sydney Belonge
Hunter Conrad
Zsofi Eastvold
Luca Freccia
Landon Hudson
Lynnlee Johnson
Jane Kelly
Tylor McComas
Jules McDowell
Henry Morgan
Olivia Nelson
Rachel Shaffer
Lewhat Tesfaldet
Jude Thurman
Irie Unity
Finalists orientation is tonight at 10:00 pm in Marriott Salon C
Feedback for semifinalists is Thursday from 8 am - 12 pm in Marriott Salon C. No appointments necessary, come when you can.
Sydney Belonge
Hunter Conrad
Zsofi Eastvold
Luca Freccia
Landon Hudson
Lynnlee Johnson
Jane Kelly
Tylor McComas
Jules McDowell
Henry Morgan
Olivia Nelson
Rachel Shaffer
Lewhat Tesfaldet
Jude Thurman
Irie Unity
Finalists orientation is tonight at 10:00 pm in Marriott Salon C
Feedback for semifinalists is Thursday from 8 am - 12 pm in Marriott Salon C. No appointments necessary, come when you can.
MTI Singing Semifinalists
Will Gaspar
Cadence Smith
Kaylah Janssen
Sydney Belonge
Jenny Duncan
Finnola Coughlin
Gabriel Levi
Mackenzie Ammon
Dani Major
Stephanie Mayer
Simon Luckow
Rachel Thomson
Allyson Hayse-Tinker
Skyler Weaver
Mary Little
Kaitlyn Callahan
Neil Peltier
Bronwyn Quinlan
Brooklyn Mauch
Meg Cook
Alixandra Young
Bryson Kendall
Kaley Sikora
Mason Payne
Ray Keady
McKenna Sanford
Sophia Danielson
Abigail Howard
Jonathan Banks
Cindy Hansen
Magdalen Eberle
Melany Donoghue
Kaitlyn Folkestad
Katherine Warmka
Laura Breyen
Emma Hildebrand
Carly Cramer
Andy Johnson
Ahmad Mohamad
Vivian Klein
Semifinalists, please check your email. Information will be sent soon regarding schedule for semifinals.
Cadence Smith
Kaylah Janssen
Sydney Belonge
Jenny Duncan
Finnola Coughlin
Gabriel Levi
Mackenzie Ammon
Dani Major
Stephanie Mayer
Simon Luckow
Rachel Thomson
Allyson Hayse-Tinker
Skyler Weaver
Mary Little
Kaitlyn Callahan
Neil Peltier
Bronwyn Quinlan
Brooklyn Mauch
Meg Cook
Alixandra Young
Bryson Kendall
Kaley Sikora
Mason Payne
Ray Keady
McKenna Sanford
Sophia Danielson
Abigail Howard
Jonathan Banks
Cindy Hansen
Magdalen Eberle
Melany Donoghue
Kaitlyn Folkestad
Katherine Warmka
Laura Breyen
Emma Hildebrand
Carly Cramer
Andy Johnson
Ahmad Mohamad
Vivian Klein
Semifinalists, please check your email. Information will be sent soon regarding schedule for semifinals.
MTI Dance Finalists
Rachel Thomson
Kaylah Janssen
Devon Vick
Mia Nollett
Miranda Muenz
Natalie Suarez
Sandi Flahn
Lindsey Fields
TiJhana Hines
Katie Kaminski
Ken Donovan
Devin Michael Leming
Topher Williams
Jacob Haen
Thomas Yambo-Rios
Beau Schoenfelder
Jonathan Banks
Nicholas Crawford
Noah Svaty
Rehearsal is 7:00 pm tonight in Salon D.
If you did not advance to finals, the feedback session is Thursday at 12:30 pm in Salon B. Feedback will involve some light dancing (from the same combination as auditions) so please come in clothes/shoes you can move in.
Kaylah Janssen
Devon Vick
Mia Nollett
Miranda Muenz
Natalie Suarez
Sandi Flahn
Lindsey Fields
TiJhana Hines
Katie Kaminski
Ken Donovan
Devin Michael Leming
Topher Williams
Jacob Haen
Thomas Yambo-Rios
Beau Schoenfelder
Jonathan Banks
Nicholas Crawford
Noah Svaty
Rehearsal is 7:00 pm tonight in Salon D.
If you did not advance to finals, the feedback session is Thursday at 12:30 pm in Salon B. Feedback will involve some light dancing (from the same combination as auditions) so please come in clothes/shoes you can move in.
Long-Form Improv Cast
Everyone who participated in the auditions in cast!
Please come to rehearsal on Thursday, January 18 at 12:30 pm at the Marriott, Davenport room (3rd floor).
Please come to rehearsal on Thursday, January 18 at 12:30 pm at the Marriott, Davenport room (3rd floor).
Irene Ryan Semifinals Schedule
**NOTE: Call time is 45 minutes prior to your slot - Salon C
9 am
Mackenzie Ammon
Sydney Belonge
Evald Brodd
Kaitlyn Callahan
Logan Capek
Lauren Cavanah
Justeen Schoner
Liv Collet
Kaitlyn Collins
Sanorah Goldoff
10 am
Grace Clark
Allison Cotant
Jack Danter
Dawson Craig
Kaylee Door
Katherine Warmka
Zsofi Eastvold
Luca Freccia
Spencer Gerber
Aubrey Gogel
11 am
Hunter Conrad
Ashly Gunderson
William Gurley
Andre Hall
Maddie Hodgden
Landon Hudson
Hannah Johnson
Lynlee Johnson
Maleena Johnson
Garmunee Phillips
12:30 pm
Taylor Joronen
Jane Kelly
Courtney Larson
Gabriel Levi
Caleb Lightner
Alex Mears
Billie McCoy
Tyler McComas
Josephine McDonald
Jules McDowell
1:30 pm
Sarah McKay
Henry Morgan
Miranda Muenz
Olivia Nelson
Cole Nowlin
Gianna Ortiz
Aaliyah Jones
Mariah Pleskac
Hunter Ramsden
Sashyani Rodrigo
2:30 pm
Chandler Rosengren
Tucker Rushing
Louisa Schirmacher
Abigail Chambers
Rosalyn Schuster
Rachel Shaffer
Shanna Sinow
Cadence Smith
Amanda Soukup
Lewhat Tesfaldet
3:30 pm
Jude Thurman
Irie Unity
Hannah Vath
Autumn Dovre
Raegan Weber
Maci Wehri
Peyten Wiese
Bex Williams
9 am
Mackenzie Ammon
Sydney Belonge
Evald Brodd
Kaitlyn Callahan
Logan Capek
Lauren Cavanah
Justeen Schoner
Liv Collet
Kaitlyn Collins
Sanorah Goldoff
10 am
Grace Clark
Allison Cotant
Jack Danter
Dawson Craig
Kaylee Door
Katherine Warmka
Zsofi Eastvold
Luca Freccia
Spencer Gerber
Aubrey Gogel
11 am
Hunter Conrad
Ashly Gunderson
William Gurley
Andre Hall
Maddie Hodgden
Landon Hudson
Hannah Johnson
Lynlee Johnson
Maleena Johnson
Garmunee Phillips
12:30 pm
Taylor Joronen
Jane Kelly
Courtney Larson
Gabriel Levi
Caleb Lightner
Alex Mears
Billie McCoy
Tyler McComas
Josephine McDonald
Jules McDowell
1:30 pm
Sarah McKay
Henry Morgan
Miranda Muenz
Olivia Nelson
Cole Nowlin
Gianna Ortiz
Aaliyah Jones
Mariah Pleskac
Hunter Ramsden
Sashyani Rodrigo
2:30 pm
Chandler Rosengren
Tucker Rushing
Louisa Schirmacher
Abigail Chambers
Rosalyn Schuster
Rachel Shaffer
Shanna Sinow
Cadence Smith
Amanda Soukup
Lewhat Tesfaldet
3:30 pm
Jude Thurman
Irie Unity
Hannah Vath
Autumn Dovre
Raegan Weber
Maci Wehri
Peyten Wiese
Bex Williams
Region 5 National Playwriting Program Full-Length Play Awards
The Region 5 Nathan Louis Jackson Playwriting Award
Leeches
by Adrian Enzastiga
University of Iowa
The Region 5 Lorraine Hansberry Playwriting Award
Cave Canem
by Alex Lead
University of Iowa
The Region 5 Darrell Ayers Playwriting Award
Karla, Sam and Mel are Going Straight to Hell
by Chris Reisig
Western Nebraska Community College
The Region 5 Paula Vogel Award in Playwriting
In: A Memory Play
by Derick Edgren
University of Iowa
The Region 5 KCACTF Latinx Playwriting Award
The Internet is a Myth
by Derick Edgren
University of Iowa
The Region 5 Ken Ludwig Playwriting Award
Emily Emerson for her plays
The Rowan Tree and The Field
Augsburg University
The Region 5 Jean Kennedy Smith Playwriting Award
Pierogi Play
by Christopher Lysik
University of Iowa
The Region 5 Mark Twain Prize for Comic Playwriting
In This Sepulcher, We Are Fed
by Eli Campbell
University of Iowa
The Region 5 Rosa Parks Playwriting Award
Leeches
by Adrian Enzastiga
University of Iowa
The Region 5 National Partners of the American Theatre Julie Jensen Playwriting Award
Glory to the Father by Pamela Morgan
Augsburg University
Honorable Mention
Karla, Sam and Mel are Going Straight to Hell
by Chris Reisig
Western Nebraska Community College
Honorable Mention
In This Sepulcher, We Are Fed
by Eli Campbell
University of Iowa
The Region 5 Hip Hop Theater Creator Award
Cave Cane
by Alex Lead
University of Iowa
Leeches
by Adrian Enzastiga
University of Iowa
The Region 5 Lorraine Hansberry Playwriting Award
Cave Canem
by Alex Lead
University of Iowa
The Region 5 Darrell Ayers Playwriting Award
Karla, Sam and Mel are Going Straight to Hell
by Chris Reisig
Western Nebraska Community College
The Region 5 Paula Vogel Award in Playwriting
In: A Memory Play
by Derick Edgren
University of Iowa
The Region 5 KCACTF Latinx Playwriting Award
The Internet is a Myth
by Derick Edgren
University of Iowa
The Region 5 Ken Ludwig Playwriting Award
Emily Emerson for her plays
The Rowan Tree and The Field
Augsburg University
The Region 5 Jean Kennedy Smith Playwriting Award
Pierogi Play
by Christopher Lysik
University of Iowa
The Region 5 Mark Twain Prize for Comic Playwriting
In This Sepulcher, We Are Fed
by Eli Campbell
University of Iowa
The Region 5 Rosa Parks Playwriting Award
Leeches
by Adrian Enzastiga
University of Iowa
The Region 5 National Partners of the American Theatre Julie Jensen Playwriting Award
Glory to the Father by Pamela Morgan
Augsburg University
Honorable Mention
Karla, Sam and Mel are Going Straight to Hell
by Chris Reisig
Western Nebraska Community College
Honorable Mention
In This Sepulcher, We Are Fed
by Eli Campbell
University of Iowa
The Region 5 Hip Hop Theater Creator Award
Cave Cane
by Alex Lead
University of Iowa
Intensive Workshops
Announcing the Festival 56 Intensive Workshops:
Long Form Improv Intensive with Harold Hynick
Improvisors will be selected during an onsite audition. During the 1st rehearsal the improvisors will be split into troupes based on skill sets and chemistry. These troupes will rehearse during the week to quickly develop group mind and develop a form that they will perform in the Long Form Improv Showcase on Saturday.
Creating Facial Hair with Kristina Sneshkoff
Learn the basics of ventilating and head tracings for wig fronts and facial hair pieces. Ventilating is the art of hand tying hair to lace to create hair pieces. You will create a mustache from scratch in this two-day intensive. *Must bring your own ventilating needle and holder. This can be purchased on Amazon at https://a.co/d/88lAnRy
Photoshop Rendering for Designers with Curtis J Phillips
Photoshop and digital renderings have become very popular in our industry. This workshop will demonstrate how designers can create quick scenic and lighting renderings for designs. We will also show techniques on how to use photoshop for costume renderings. Feel free to bring a laptop and follow along!
Do You Hear What I Hear? Telling Stories Through Sound with Alexander Pikiben
Storytelling is essential for live theater. This is no different for sound designers. This workshop will cover some ideas of creative story telling with audio. Can we tell a complete story in the dark? Participants should bring a working laptop with sound editing or Qlab capabilities.
Sketch Comedy Writing with Ryan J. Bernier
The workshop includes daily assignments, in class feedback and a variety of different sketch styles. These styles include Clash of Context, Blackouts, Fish out of water, Relationship scenes, Monologues, improv and many more. This one of a kind class caters to the skill level of the individual student while also pushing them out of their comfort zone to become a stronger sketch writer. If you’re interested in starting sketch comedy or are looking to sharpen your existing sketch voice this class is for you.
Costume Runway with Cassie Kay Hoppas
This intensive allows students to work together to create a pin drape design of a character and concept combination. Designs draped on dress forms will then be displayed for the remainder of KCACTF in the design expo area. Students (working in groups of 2 or 3) will be given a character from a Shakespearean play and a concept (both randomly drawn) and will then design and drape their character’s costume on a provided dress form. Students are encouraged to bring 2 yds of fabric to contribute to the fabric stock used for creating the draped designs.
Suzuki-Viewpoints Intensive with Nathan Bowman
An interactive intensive which demonstrates techniques that are the building block of the Suzuki-Viewpoints method of actor training, a physically rigorous style of training developed by directors Tadashi Suzuki and Anne Bogart through their theatre SITI Company. Participants will be led through the physical acting exercises that form the basis of the training as well as discussions on the application of Suzuki-Viewpoints in modern theatre.
All intensives require students to register in advance. To register for an intensive, please email Workshop Coordinator Scott Mollman at [email protected]
Long Form Improv Intensive with Harold Hynick
Improvisors will be selected during an onsite audition. During the 1st rehearsal the improvisors will be split into troupes based on skill sets and chemistry. These troupes will rehearse during the week to quickly develop group mind and develop a form that they will perform in the Long Form Improv Showcase on Saturday.
Creating Facial Hair with Kristina Sneshkoff
Learn the basics of ventilating and head tracings for wig fronts and facial hair pieces. Ventilating is the art of hand tying hair to lace to create hair pieces. You will create a mustache from scratch in this two-day intensive. *Must bring your own ventilating needle and holder. This can be purchased on Amazon at https://a.co/d/88lAnRy
Photoshop Rendering for Designers with Curtis J Phillips
Photoshop and digital renderings have become very popular in our industry. This workshop will demonstrate how designers can create quick scenic and lighting renderings for designs. We will also show techniques on how to use photoshop for costume renderings. Feel free to bring a laptop and follow along!
Do You Hear What I Hear? Telling Stories Through Sound with Alexander Pikiben
Storytelling is essential for live theater. This is no different for sound designers. This workshop will cover some ideas of creative story telling with audio. Can we tell a complete story in the dark? Participants should bring a working laptop with sound editing or Qlab capabilities.
Sketch Comedy Writing with Ryan J. Bernier
The workshop includes daily assignments, in class feedback and a variety of different sketch styles. These styles include Clash of Context, Blackouts, Fish out of water, Relationship scenes, Monologues, improv and many more. This one of a kind class caters to the skill level of the individual student while also pushing them out of their comfort zone to become a stronger sketch writer. If you’re interested in starting sketch comedy or are looking to sharpen your existing sketch voice this class is for you.
Costume Runway with Cassie Kay Hoppas
This intensive allows students to work together to create a pin drape design of a character and concept combination. Designs draped on dress forms will then be displayed for the remainder of KCACTF in the design expo area. Students (working in groups of 2 or 3) will be given a character from a Shakespearean play and a concept (both randomly drawn) and will then design and drape their character’s costume on a provided dress form. Students are encouraged to bring 2 yds of fabric to contribute to the fabric stock used for creating the draped designs.
Suzuki-Viewpoints Intensive with Nathan Bowman
An interactive intensive which demonstrates techniques that are the building block of the Suzuki-Viewpoints method of actor training, a physically rigorous style of training developed by directors Tadashi Suzuki and Anne Bogart through their theatre SITI Company. Participants will be led through the physical acting exercises that form the basis of the training as well as discussions on the application of Suzuki-Viewpoints in modern theatre.
All intensives require students to register in advance. To register for an intensive, please email Workshop Coordinator Scott Mollman at [email protected]
Festival 56 Faculty Awards
KCACTF Region 5 Festival 56 Playwriting Finalists
The following plays are invited to be performed at the 2024 festival:
John Cauble Award for Outstanding Short Play (One-Acts) Regional Finalists
American Girl(s)
by Abby Uphoff
University of Missouri
Teambuilding
by Katee Imlay
Benedictine College
Diet Pride
by Derek Edgren
University of Iowa
Gary Garrison Ten-Minute Play Award Regional Finalists
Potluck Promises
by Kale Marei Michael
University of Missouri - Kansas City
Kristallglas
by Drew Stutz
University of Northwestern - St. Paul
It Crept into the Coop One Night
by Irie Unity
University of Minnesota - Duluth
Don't Leave Me, Sugar!
by Avah Robinett
Johnson County Community College
Solitaire
by Emmett Spaw
Kansas State University
Spring Cleaning
by Sara Wiley
University of Missouri
10-Minute Play Lottery Workshop Participating Plays
A Matter of Opinions
By LaNyia Murdock
Coe College
Soaked
By Jeff Larsen
University of South Dakota
The Little Red Hen
By Savanah Hunter
University of Northwestern - St. Paul
In Defiance of Chekhov
By Regina Hinkley
University of Nebraska-Lincoln
A Necropsy
By Stephanie Heathcock
University of Central Missouri
Rough Draft
By Kayli Slayden
MidAmerica Nazarene University
Region 5 full-length play awards will be announced at a later date.
John Cauble Award for Outstanding Short Play (One-Acts) Regional Finalists
American Girl(s)
by Abby Uphoff
University of Missouri
Teambuilding
by Katee Imlay
Benedictine College
Diet Pride
by Derek Edgren
University of Iowa
Gary Garrison Ten-Minute Play Award Regional Finalists
Potluck Promises
by Kale Marei Michael
University of Missouri - Kansas City
Kristallglas
by Drew Stutz
University of Northwestern - St. Paul
It Crept into the Coop One Night
by Irie Unity
University of Minnesota - Duluth
Don't Leave Me, Sugar!
by Avah Robinett
Johnson County Community College
Solitaire
by Emmett Spaw
Kansas State University
Spring Cleaning
by Sara Wiley
University of Missouri
10-Minute Play Lottery Workshop Participating Plays
A Matter of Opinions
By LaNyia Murdock
Coe College
Soaked
By Jeff Larsen
University of South Dakota
The Little Red Hen
By Savanah Hunter
University of Northwestern - St. Paul
In Defiance of Chekhov
By Regina Hinkley
University of Nebraska-Lincoln
A Necropsy
By Stephanie Heathcock
University of Central Missouri
Rough Draft
By Kayli Slayden
MidAmerica Nazarene University
Region 5 full-length play awards will be announced at a later date.