In This Issue
What's Going On At Antrim
"Wait Until Dark"
"All Shook Up"
"Tete a Tete"
"Antrim Antics II"
Moonstruck At Elmwood
Rave Review For The Graduate
We Are Still Looking For Actors For Our Musical
"All Shook Up"
Miss Sondra (Late 20's-Mid 30's) Sexy, sultry and smart. Acts sophisticated in an unsophisticated town. Strong vocals and dance skills
Men & Women Of Any Age For Featured Roles In The Ensemble. Must Be Able To Sing & Dance
Call or email Marty Andreas for audition appointment
It's hard to believe that 2010 is behind us and our 74th season is almost half over. It has been quite an exciting season so far. Our first two shows, The Odd Couple and Inherit The Wind were great successes. Our current show The Graduate, with it's innovative technical enhancements, superb acting and cutting edge set is receiving rave reviews. Bravo to all involved in these productions for a job well done. I know that the remainder of our season, Wait Until Dark, All Shook Up and Chapter Two, will bring the same level of excitement and praise.
For those who have never been involved in a community theater production it is difficult to imagine the hours, days, weeks and months of work that go into putting on a 2 hour show. The process begins at least 6 months before opening night with the director poring through the script to develop the blocking, refine their vision, determine sets and set pieces and a thousand other details. Then a production team is assembled. This includes the producer, set designer, set builder, stage manager, lighting and sound design and engineers, costumer and prop master. There are then countless production meetings to make the director's vision a reality. Then comes the audition process, which can take up to a month to finalize. In these hard economic times it is becoming increasingly difficult to get actors who are able to devote 3 to 4 months of their time for no pay. However, we are lucky that acting is something that gets in your soul and we always seem to find extremely talented people with a passion for it to grace our stage. This is when the real work begins as rehearsals start and the Antrim stage is transformed into a home, forest, city or whatever is needed for that particular production. Hammers and saws start blazing as the set is built and miles of cables are run to create the lighting, sound and special effects magic that you have come to expect from us. But it's all worth it when we hear your applause on opening night. Without you, none of the work I mentioned would be necessary because we would have no production or even a theater for that matter. So I would like to take a moment to thank our wonderful audiences. Give yourselves a round of applause.
We are currently in the process of planning our diamond jubilee for next season and have many exciting events planned. Beginning with a stellar 75th season which will be announced in April. If anyone has ideas on how to make our 75th anniversary a success please email me your suggestions.
Thank you again, and I look forward to seeing you at Antrim.
President - Antrim Players
(845) 664-0689 - firstname.lastname@example.org
Review At The Bottom Of This Newsletter
Coming In March
Directed By Randy Accardi
Antim Announces 2 Very Special Events
"Tete a Tete"
A Reading Of An Original Play By Joe McDonald
Saturday Feb. 12th @ 8PM
Admission Is Free
Tete a Tete is the story of two men, Jerome Carrein, a Frenchman, and Hamida Djandoubi a Tunisian immigrant, have been executed in Marseille by guillotine within a week of each other and are the last two humans executed by guillotine in France. The year is 1977 and we see the heads sans bodies of these two men on shelves in a large room. They are alive and talk to each other, laughing, cursing, arguing, anything they can do with only their eyes and lips! The Executioner who has acted in that title for both men, is a third character in the play and through him and his dealings with the two heads, we learn about their crimes which resulted in their beheadings. A fourth character, Gabrielle, the Executioner's girl friend, also comes into play as she teases and manipulates Carrien and Djandoubi, but in the end does something for them out of kindness. Hovering behind all is the specter of the guillotine and the death penalty, very much a volatile issue today".
"Antrim Antics II"
"Just When You Thought It Was Safe To
Come Back To Antrim"
Come And Enjoy The Second Installment Of Our Hilarious Night Of Comedy, Improv And Music
Friday & Saturday April 1st & 2nd @ 8PM
All Seats Are $10
Call 845-354-9503 For Reservations
Our Friends At
A Staged Reading Of The Beloved Movie
Sunday Feb. 13th @ 7PM
Tickets are $15
For Reservations Call
Or Email At
The Our Town Newspaper Loved
Review By Arthur Aldrich
Unto all things there is a season...certainly never truer than in literature. The expression "tenor of the times" has nothing do with the highest male vocal part and everything to do with the zeitgeist of particular period. The early 1960s was a period of angst and transition. Television had emerged from the 1950s as a full-blown technological, social and cultural phenomenon. The years of glowing hope and exuberant optimism following WWII had given way to Cold War fears and McCarthy-era paranoia. Returning veterans who finished their schooling under the GI Bill and were making their way in the brave new world they had helped to create. The dystopian warnings of George Orwell's 1949 novel "1984" were appearing more prescient. John F. Kennedy, the first U.S. president to have been born in the 20th century was assassinated, forever shattering the illusion of Camelot. In a preview of the coming counter-culture inspired in the previous decade by Jack Kerouac's "On the Road" and J.D. Salinger's "A Catcher in the Rye," young people chafed under their parents' smug 1950's "Man in the Grey Flannel Suit" conformity, perfectly expressed in the lyrics to the1962 Malvina Reynolds song, "Little Boxes." America was crossing cultural boundaries; some young people would be left to wander in no-man's land between the old and the new. The era would forever be defined by the Vietnam War, radical youth protests and the 1969 Woodstock festival. Early in this decade came the Charles Webb novel, "The Graduate," made into the memorable film starring Dustin Hoffman as Benjamin Braddock and Ann Bancroft as the promiscuous Mrs. Robinson of the eponymous Simon and Garfunkle song written specifically for the film.
The stage version of "The Graduate" was a late-bloomer, premiering about 10 years ago. It opened at Antrim Playhouse in Wesley Hill last weekend under the bold direction of Brooke Malloy. Many of the elements that made "The Graduate" a top-rated film have been retained in the Antrim play with a number of production enhancements. Malloy uses an abstract unit set to avoid scenery-shifting delays and employs projections for the action sequences that would be impossible to stage otherwise. The devices work smoothly; elements of the drama blend seamlessly. Restlessness, muddled rebellion, hypocrisy, boredom and alienation lurking behind the white, pink and green exteriors of the little boxes made of ticky-tacky fuel "The Graduate" and drive the characters. Joe Micelli and Meg Renton skillfully play the pivotal roles of Benjamin Braddock and Mrs. Robinson.
Micelli turns in an outstanding characterization of the conflicted, drifting young college grad, struggling to resolve his own identity with conflicting parental expectations and societal pressures. Does he want to return to college earn a master's degree or find a job? Neither offers a compass bearing by which to orient a life. Awkward and shy, he fumbles his way through his first affair, takes off on the road in search of himself only to return more confused than when he left. The audience sees this process through Micelli's perceptive interpretation of Benjamin Braddock. A striking contrast is Renton's reading of the prototypical-bored housewife, years in advance of the now-popular TV series. Hers is a difficult role because besides marital problems, the character of Mrs. Robinson is also an alcoholic, estranged from her husband but living under the same roof, and prone to mindless affairs to numb the pain of daily existence. Cynical, blasÚ', jaded, yet manipulative and seductive; they are the unhealthy personality traits Renton reveals with extraordinary insight. Steve Becker plays Benjamin's affable father, well intentioned but inept at parenthood, lacking a clue into the turmoil
roiling within his son. He is more concerned about approval from his social set and law partner, Robinson. Connie Reiss-Taragano plays Benjamin's mother, also clueless in an agreeable "Stepford Wives" way. Chris Marth plays Mr. Robinson, whose one-word advice to young Benjamin "plastics" has become ingrained in the popular culture as a metaphor for the mindset of the era. However, in an avuncular way, advises Benjamin to sow his wild oats before he settles down, never
dreaming the advice might involve his own daughter, Elaine. Mary Norey plays Elaine Robinson, another conflicted young person of the 1960s, but one who focuses more clearly than the ambivalent Benjamin. She communicates the conflict raging within a sheltered and na´ve young woman who finds out that her would-be boyfriend is (a) having an ongoing affair; and (b) the affair is with her own mother. She effectively conveys the outrage and frustration of these revelations as her characters
tries to cope with the dissolution of what had been a sheltered and predictable world. Excellent character parts are played by Jacqueline Keller, a stripper, Michael Malloy, the desk clerk of the hotel where Benjamin has his assignations (under the transparent pseudonym of Gladstone), and Ryan Stephens as Elaine's former boyfriend. The hypocrisy is palpable. The Robinsons' marriage has been on the rocks for five years prior to the opening of the play, so much so they inhabit
separate halves of their home. Yet husband and wife both vent their fury at Benjamin for precipitating the divorce that ends the estranged relationship. Mrs. Robinson is perfectly willing to have an affair with Benjamin, but considers him degenerate for wanting to date her daughter. She herself is an out-of-wedlock mother, having unwillingly married only because of the pregnancy. Even at moments of presumed intimacy, she and Benjamin cannot find enough common ground to hold anything more than an insipid and banal conversation. "The Graduate," in essence, holds a mirror up to the decade of the 1960s, a preview as it were of the rebellion and sullen rage that swept the country with slogans like "tune in, turn on, drop out."
I was impressed with technical aspects of the production as well - subtle touches such as elevator music and sound effects as Benjamin rides an imaginary elevator to the fifth floor room where Mrs. Robinson awaits, appropriate crowd noises and the like. Malloy incorporates songs of the period and creates a mosaic of subtle, almost imperceptible detail, the stuff of which actors create memorable and vivid characterizations out of dry lines of script and of which quality productions are constructed from artistry and creative vision.
Our Antrim experience was well worth an excursion in Saturday's sub-freezing temperatures; likewise, "The Graduate" should offer ample reward for any audience.