Did You Know Elijah Pierce?

March 10th, 2010

Rehearsals are now underway for Pierce to the Soul, the world premiere play by Chiquita Mullins Lee about the internationally-renowned folk artist and Columbus icon, Elijah Pierce.

In developing Pierce to the Soul over the past four or five years, we’ve done several public workshops.  At each workshop an actor reads an excerpt from the script, playwright Chiquita Mullins Lee talks about her efforts to research and write the story, and then there is an open discussion with the audience about Pierce and the play.

Dayton actor Alan Bomar Jones, who will play Pierce in the world premiere, has participated in many of these workshops, as has veteran dramaturge Bill Childs. I’ve also participated as the director.

Actor Alan Bomar Jones portraying Elijah Pierce at the "Pierce to the Soul" workshop at the Columbus Museum of Art

Actor Alan Bomar Jones as Elijah Pierce at the "Pierce to the Soul" workshop at the Columbus Museum of Art

Elijah Pierce died in 1984, but there are still people around Columbus who knew him – some who met him only once, some who knew him quite well. At almost all of these workshops – and we’ve done nearly ten – audience members have come forward with interesting anecdotes about Pierce.

Actor Truman Winbush, who read the role of Pierce in one of the early workshops, told us that he had visited Pierce’s barbershop as a teenager and provided a very amusing anecdote about the artist’s attitude towards the younger generation’s hairstyles. (Truman’s story will probably find its way into the play).

At Ohio Dominican University, one woman told us that her father – who used to rehab houses in Pierce’s neighborhood – would often take her with him when he dropped in at Pierce’s barbershop: “Mr. Pierce was a great BS-er – just like my dad!”

At the Columbus Museum of Art, another woman told us that she had taken her Bexley cub scout troop to visit Pierce. It was the early 1970’s, and she had taken the boys to the Columbus Museum of Art, and – having heard of Pierce – decided on the spur of the moment to walk them over to the barber shop on Long Street. Pierce happened to be there and welcomed them into his shop, where he patiently showed them his biblical “Book of Wood” – and generously took the time to explain his art.

At a workshop for the Columbus Historical Society, a man told us that as a young boy he had been hired by his grandfather, another barber, to sweep up the hair in his shop. Mr. Pierce, he remembered, would stop by to visit and seemed to the boy to have a real dignity.

Someone at one of the earliest workshops also pointed Chiquita to an extremely valuable source of information: Mr. Pierce’s godson.

All the stories we heard about Pierce pointed in the same direction: a man who was devout, generous, gentle, dedicated, humorous, proud, humble and completely unique.

Did you know Pierce? Or meet him? We’d love to hear from you.  You can e-mail me at  gnelson@catco.org.

–Geoff Nelson,  Artistic Director

How’d They Do That??? Greg Bell on the Special Effects for “Evie’s Waltz”

March 1st, 2010

CATCO’s production of Carter W. Lewis’ Evie’s Waltz features a number of special effects, things that break, blow up, or otherwise meet their demise during the course of the performance each night. These things seem to happen suddenly and magically, helping us suspend our disbelief and become lost in the theatrical experience.

Several people have asked us “How’d you do that?”

The answer is we “did that” by hiring the right person for the job. In this case, the right person is Greg Bell, the Technical Director for the Otterbein College Theatre Department.

Richard Ades, in his Other Paper review of our production said

“But the real offstage hero is Greg Bell, designer of the special effects that let us know Danny is out there somewhere, waiting to have the final word.”

Greg is a genius at stage mechanics and things technical, and seems to really enjoy a fresh challenge. We have been fortunate to have his expertise on several CATCO production in the past, helping us create the illusion that crockery was being “shot” off the mantle in Sleuth, and engineering the turntable that kept our world premier of You’re My Boy spinning in the right direction.

Greg created a plethora of effects for “Evie’s Waltz,” utilizing pneumatics (air-power), remote switching, and custom-fabricated steel pieces to make the magic that appears on on the stage each night.

Here is a video clip where Greg talks about creating the effects, and gives an inside look at how he makes them work.

Greg Bell on the Special Effects for CATCO’s Production of “Evie’s Waltz” from CATCO is Theatre on Vimeo.

Enjoy!


Actor Caitlin Morris on Her Nightly Waltz: Playing Evie

February 24th, 2010
Actor Caitlin Morris

Actor Caitlin Morris

It strikes me as somehow fitting that my first ever blog is being written in the midst of my portrayal of a 17-year-old girl. I have a cousin who is turning 17 this year and I am pretty certain that cyber-journaling consumes most of her free time. Yet somehow I, a mere five years her senior, have never put fingers to keyboard in this fashion. If this is not an indication of the fervent progression of the modern age, and some sort of symbolic tribute to the themes that Carter W. Lewis drew from to create this show, Evie’s Waltz, I don’t know what is.

The success of opening was quite a relief, seeing as how 5 days prior, Evie seemed to be farther away than ever, sprinting away from me in her mischievously evasive way, determined to widen the gap.

During the month of rehearsal, she had maintained a safe distance, always a step ahead of me, the desperate actor. At moments, such as the rehearsal where I discovered her physical life and was allowed a brief glimpse into her distraught psyche, I felt her just within reach. Other nights however, such as the rehearsal that I spent attempting to tap into her dangerous unpredictability, she would break away. Throughout the process, I found myself connecting with her and then somehow letting her slip from my grasp.

To be fair, tapping into a 17-year-old self was not the biggest obstacle. I remember the sensation of being a teenager vividly: the seemingly limitless possibilities, the bizarre hormonal roller coaster, the paradox between a child-self and an adult-self, having just enough responsibility, feeling free and vivacious but also feeling patronized and undervalued. In fact, the chance to explore these extremes, this naively blissful existence was amazing. Yet despite my connection and accessibility to these qualities, Evie remained a mystery.

The biggest challenge to approaching this role was discovering her layers, never permitting myself to settle too for just one emotional state, setting my personal sensitivity aside long enough to lash out mercilessly, violently. Ed Vaughan, the director, kept having to remind me how I differ from her. I am far more inclined towards passivity. I always attempt to smooth things over to make the people around me happy and comfortable. Evie, on the other hand, relishes the opportunity to shake things up. She is confrontational and sassy. I am the flight, Evie is the fight. Finding a way to adopt these tendencies and set aside my own sentiments and sympathy was the major obstacle.

For some reason, the voices that Carter writes for his characters make a great deal of sense to me. Whether or not I agree with their comments, attitudes or behaviors, their syntax rings true for me. So finding Evie’s voice, her speech pattern, the mapping out of her thoughts came relatively easily. Involuntarily dispersing “like” and “ya know” throughout my phrases I am constantly being scolded by my grandmother for my verbal gymnastics. But now, much to her chagrin, I am exploiting those habits!

In searching for Evie’s physicality, I found myself relying on a couple basic concepts. Our movement coach, Melinda Murphy, suggested that I use the confliction of Evie’s emotions to establish the groundwork for her character. Grief sends energy down the front of the body; fear, down the back; anger, up the back. Embracing the intersection of these emotional states was a key element in forming her physical life.

Secondly, Evie appears onstage bearing the weight of the truth about Danny and the actual events of the day. She must mentally and emotionally deny and cover these secrets throughout much of the show, so I opted for a physical outlet for these burdens: she fidgets. Through restless leg syndrome, nail-biting and hair-twirling, she keeps her truths covered up.

Caitlin Morris in CATCO's "Evie's Waltz." Photo by David Alkire

Caitlin Morris in CATCO's "Evie's Waltz." Photo by David Alkire

The final component of the equation was addressing her gestures. Because Evie is a unique, peculiar, rebellious, social outcast, it seemed only fitting that her gestures would mirror that. I began playing with asymmetrical and unexpected hand movements pretty early on in the process.

In order to prep for performance, I do a breath warm-up (breath is super essential in this show because of the emotional highs and lows), followed by vocal and physical exercises. Then I walk through the “moment before” (the conversation that Danny and I are having prior to my entrance). I waltz a bit, mentally plot out my plan for the evening, and do a little imagery work to insure that Danny will be clear and present in the play. After the show, I just have to remember to keep breathing deeply and slowly. Once the shakes die down, I try to just let it go. I allow some laughter and joy to flood back in and then I recharge for the next night.

–Caitlin Morris, Actor

Caitlin Morris, Mandy Fox, and Ralph Scott in CATCO's "Evie's Waltz." Photo by David Alkire

Caitlin Morris, Mandy Fox, and Ralph Scott in CATCO's "Evie's Waltz." Photo by David Alkire

“Evie’s Waltz” Now Playing at CATCO to Great Reviews!

February 21st, 2010

“Evie’s Waltz” opened Friday night at CATCO to great applause, and a great review from Dispatch critic Michael Grossberg!

Contemporary American Theatre Company’s gripping area premiere creeps up on the audience like a cat about to pounce, and then enlists the audience’s imagination to dramatize the kill.

…keeps the audience guessing — and flinching — until the final cathartic scene.

–Michael Grossberg, The Columbus Dispatch

Mandy Fox, Ralph Scott, and Caitlin Morris in CATCO's "Evie's Waltz." Photo by David Alkire

Mandy Fox, Ralph Scott, and Caitlin Morris in CATCO's "Evie's Waltz." Photo by David Alkire

We describe Carter W. Lewis’ play as a “Provocative Thriller” and it is apparently thrilling indeed!

Have you seen the show?  Comment on this blog and let us know what you thought of the show!

Haven’t seen the show yet? Get a “Sneak Peek” with the video on our website by clicking here, then come check it out!

Caitlin Morris in CATCO's "Evie's Waltz." Photo by David Alkire

Caitlin Morris in CATCO's "Evie's Waltz." Photo by David Alkire

The Location for the CATCO non-Equity Auditions has Changed!

February 18th, 2010

The location for the CATCO non-Equity auditions has changed to the Studio One Theatre in the Riffe Center at 77 S. High Street in downtown Columbus. The Equity auditions will remain as scheduled in the Columbus Performing Arts Center (formerly the Davis Discovery Center). Click here for more information on the auditions.

See you there!

CATCO Prepares Intern Rachel Coon for U/RTA Interviews

February 15th, 2010

Rachel Coon has been an intern with CATCO since March of 2009. Since being here  Tatjana Longerot, Costume Studio Manager has been working with her to prepare her for a career in Costume Design. Rachel has worked closely with Tatjana on the design process, assistant designing a show for Carrickmacross Productions (Blowin’) and then going on to design shows with both Available Light Theatre (God’s Ear) and Evolution Theatre Company (The Agony and the Agony). With some experience under her belt, and some newly acquired technical knowledge, Rachel felt ready to take the next step; Graduate School. She has decided to go the route of attending U/RTA’s (Universty/Resident Theatre Association). U/RTA’s is a sort of mass audition/interview where many graduate programs attend to interview hundreds of students in different areas of theatre. At U/RTA’s Rachel will have a standard sized 6×2.5 ft table in order to display two design panels, her portfolio, and resumes.

Here is how Rachel describes her experience in her own words:

I decided to go to U/RTA’s because I wasn’t sure exactly which Graduate Costume Design Program I wanted to go to. Financially it’s a lot easier to do U/RTA’s if you aren’t sure because then you don’t have to pay application fees and pay to visit several different schools. In order to prepare for U/RTA’s, I was given some conceptual projects, developed by Tatjana and Kristine Kearney (Professor of Costume Design at The Ohio State University). The first project was to design three characters from The Tempest to show my understanding of play analysis. The second project was to design four shows, in different genres, all in the 1890’s period. This was to show my understanding of genre, and period costuming. After these assignments were completed, I started preparing my portfolio and my display panels.  The process took a lot longer than I had originally anticipated.

On the panels, I decided to display my design for God’s Ear and my conceptual 1890’s project because they were the most visually interesting and contrasted each other well. In my portfolio, I included all of my projects and designs that I had done. I added several of my drawings and paintings I created in college as well. They illustrate my ability to use different media and an understanding of line, texture/pattern, color, and form/shape. After initially arranging my portfolio it was revised many times after receiving some much needed feedback. The part that took the longest though, was the cutting and matting of all the pictures, descriptions, and titles.

This week I had a mock U/RTA interview and portfolio review with T.J. Gerckens, Anna Grywalski, Edie Dinger-Wadkins, and Dennis Parker. I was really nervous, but after a few minutes, I felt more comfortable. A lot of the questions I had about the process were answered, and my fears eased. I’m so grateful that they did that for me, and for Tatjana who had arranged the whole thing.

Rachel previews her display with dennis Parker, Anna Grywalski, and Edie Dinger-Wadkins (with Tatjana in the mirror)

Rachel previews her display with Dennis Parker, Anna Grywalski, and Edie Dinger-Wadkins (with Tatjana in the mirror)

Anna Grywalski & Dennis Parker give feedback on Rachel's work

Anna Grywalski & Dennis Parker give feedback on Rachel's work

Costume Designer Dennis Parker gives Rachel pointers

Costume Designer Dennis Parker gives Rachel pointers

I leave on Thursday for my U/RTA interviews which are on Friday in Chicago. I’m still nervous, I do however, feel prepared and am excited to start the next journey in my career.

That weekend, Rachel went to U/RTA’s and is now back. Here is her report:

Nothing will ever be able to compare with my big day at URTAs in Chicago. My nerves were shot and I now know what it feels like to be scared to death. I arrived at Roosevelt University bright and early with my portfolio and display panels in hand. I had no idea what was in store for me that day. I set up my display and left to have breakfast with my parents while the members of URTAs reviewed my work for potential interviews. I returned around 11am to see if I had any jump start interviews. These are interviews that take place prior to the main interviews with professors that know right away they are interested. I had hoped to have at least a few before the major section of interviews began. When I returned back to my station I had 8 interviews and was completely shocked. I never expected to had the whole two hour block filled. The interviews went by so fast. The next thing I knew, I was sprinting down Michigan Ave in desperate search of a Dunkin’ Donuts. I only had an hour break in between interview sessions.  It is remarkable how fast a person can sprint in business casual attire while in pursuit of a chocolate glazed donut and iced coffee.

After I successfully found a Dunkin’ Donuts, I made my way back to Roosevelt. I tidied up my display and waited anxiously for my next schedule of interviews for the second part of the day. Once again, I was speechless. I had 11 interviews ahead of me in the next few hours. To be honest everything was such a blur. My voice was gone by 6 o’clock and all I wanted to do was pass out in my hotel room. Every school that I interviewed with was friendly and unbelievably helpful. I highly recommend this experience to any designer looking to pursue graduate school. It is fantastic exposure and helps evaluate one school with another by having consecutive interviews. I am grateful for the help I received from my CATCO family. I would not have had this rewarding experience without them. There are no words to express my eternal gratitude other than thank you for believing in me.

Dennis Parkwer, Edie Dinger-Wadkins, and Rachel Coon discuss Rachel's display

Dennis Parker, Edie Dinger-Wadkins, and Rachel Coon discuss Rachel's display

Rachel Coon previewing her display

Rachel Coon previewing her display

Edie, Dennis, and Anna

Anna, Edie, and Dennis

CATCO Auditions Are Coming Up Soon!

February 4th, 2010

Are you a veteran actor, a novice actor, or someone in between  who would like like the opportunity to audition for CATCO?

We are about to hold  general auditions, so this could be your chance!

Twice per year, we hold general auditions where we are able to see the wealth of talent that is available in Columbus and this helps us start the process of casting our shows. The winter auditions are scheduled for February 21 and 22, 2010.

This year, with the merger of CATCO and the Phoenix Theatre taking place,  Geoff Nelson, Steven Anderson, and Jonathan Putnam will be attending, and actors will have the opportunity to perform for one or more of them, depending on scheduling.

When are the auditions?

Audtions for non-Equity actors are on Sunday February 21st, 2010 from 6:00pm-9:00pm

Auditions for Equity actors are on Monday February 22nd, 2010 from 6:00pm-9:00pm

Where are the auditions?

The auditions will be held at the Van Fleet Theatre of the Columbus  Performing Arts Center at 549 Franklin Ave. in downtown Columbus (formerly the Davis Center).

How do you schedule an audition?

Equity actors may call Associate Artistic Director Jonathan Putnam at (614) 461-1382 ext.151 or e-mail jputnam@catco.org to schedule a Monday audition time.  Please bring a picture/resume; professional references are strongly encouraged.

Non-Equity actors must submit a headshot, resume, and the names and phone numbers of three references to: CATCO/ General Auditions, 77 South High Street, 2nd floor, Columbus, OH 43215 or to: jputnam@catco.org.  Deadline for submissions is 5:00 PM on Thursday February 16.

What should you prepare?

Actors will have three minutes to audition and may choose to present two contrasting monologues or one piece with considerable range. Singing actors may additionally present 16-32 bars. An accompanist will be provided and a CD/cassette player will be available.

Is there any fine print?

Of course there is!  But I decided to use the same font so you can actually read it….

These are Equity Principal Auditions. No monitor will be provided. The producer will run all aspects of the audition. Actors of all ethnic and racial backgrounds are encouraged to audition.

Deadline for submissions is 5:00 PM on Thursday February 16. Space is limited.

Are there any other opportunities to audition for CATCO?

Yes!  CATCO will also be attending the Theatre Roundtable  Unified Auditions on February 27 and the Unified Professional Theatre Auditions (UPTA’s) in Memphis, TN on February 5 through 8.

Additionally, we will be holding a second round of general auditions this summer; watch this blog for more news as we have it.

Can I see this information in a more formal, sterile, press-release-style  format?

Yes, click here for the Audition info in a press release format.

See you on the stage!

3 More Opportunities to “Get Pierced!”

January 22nd, 2010
No, we aren’t prepping for ComFest early, we are getting ready for our world premiere production of Chiquita Mullins Lee’s Pierce to the Soul!

Part of the play writing process is hearing the words you’ve written read aloud, preferably by an actor,  and figuring out what works and what doesn’t. CATCO  loves to get people involved and would love to give the playwright the benefit of hearing the feedback from a real live audience as she is shaping the script.

So we have created the “Plays in Process” series, and are about to hold 3 FREE public workshops  to help us develop the script for  Pierce to the Soul, all generously supported by a grant from the Ohio Humanities Council.

OHC_Logo

Did I mention that the workshops are FREE to the public?

What happens at a Pierce workshop?

Each  begins with an introduction by dramaturge (read “scholar”) Bill Childs, followed by a reading of an excerpt of the play, performed by actor Alan Bomar Jones.  After the performance playwright Chiquita Mullins Lee will talk about the research and playwriting process, and then open the floor for questions, comments and suggestions.  The workshops are great way to learn more about legendary Columbus folk artist Elijah Pierce, and to join in a public discussion with the playwright and creative team that will help shape the evolution of this work-in-progress.

Yes, the audience for the workshop helps shape the script! This isn’t passive listening or theoretical noodling (which is fun in its own way…). This is a chance to hear how the play got started, hear a veteran actor reading the draft, and have an impact on how the play turns out.

We held three Pierce workshops this fall, thanks to support from GCAC and in concert with our colleagues at Transit Arts and Ohio Dominican University, and the response was great. We had people from all walks of life responding to the play, sharing personal experiences some had with Elijah Pierce when he was still alive, and we got some great insights to how the play spoke to real people. The discussions were lively and fascinating, and often bumped up against the time-limits of the workshops.

Actor Alan Bomar Jones at the Central Community House/Transit Arts Pierce Workshop

Actor Alan Bomar Jones at the Central Community House/Transit Arts Pierce Workshop

Come join us for this final round or workshops before we start official rehearsals!

This winter we  are lucky enough to be working with the Columbus Museum of Art, the Columbus Historical Society,  the King Arts Complex, and the Ohio Humanities Council to present  the workshops.

When and where are they?

Tuesday February 16, 2010 at the King Arts Complex at 867 Mt. Vernon

Avenue. The workshop begins at 7 pm.

 

Sunday February 21, 2010 at the Columbus Museum of Art, 480 East Broad

Street. The workshop begins at 2 pm

 

Wednesday March 3, 2010 at the Riffe Center Studio Two Theatre, 77 S. High Street,

hosted by the Columbus Historical Society. The workshop begins at 7:00 pm

 

How much is admission?

FREE!

 

Come hear the work in progress, join in the discussion, then experience the finished play as CATCO produces its world Premiere in April!

Getting a Look Behind the Scenes at CATCO

January 11th, 2010

This season more than ever, people have been interested in taking a peek “behind the scenes” to see how CATCO produces plays.  In the fall, more than forty volunteers served on our Play Reading Groups, reading and discussing over seventy plays.  “First Rehearsals” have become increasingly popular – we had a record crowd for the First Rehearsal of Seafarer and I’m turning away people from the one for Evie’s Waltz because we’ve run out of space.

Dramaturge Christopher Hill provides a profile of playwright Conor McPherson for the cast, crew and about two dozen guests at the First Rehearsal for Seafarer

Dramaturge Christopher Hill provides a profile of playwright Conor McPherson for the cast, crew and about two dozen guests at the First Rehearsal for Seafarer

At the dress rehearsal of The Santaland Diaires (which continued to draw good crowds in its 4th season), a class from the Columbus College of Art & Design (CCAD) sat in.  The students weren’t really there to see the show – it was a course devoted to sketching live performance – but despite their best attempts to concentrate on drawing, Jonathan Putnam’s performance as “Crumpet the Elf” kept distracting them.  They laughed throughout the show!

CCAD class at Santaland dress rehearsal

CCAD class at Santaland dress rehearsal

A large group of theatre and arts teachers from the Columbus public schools joined us for a “professional development day” in December.  CATCO staff talked with the teachers about our approach to producing plays, gave them a tour of the facility and then the group watched a matinee of our critically-acclaimed production of Conor McPherson’s The Seafarer.

Columbus theatre and arts teachers spend a professional development day at CATCO

Columbus theatre and arts teachers spend a professional development day at CATCO

The next public event CATCO has planned is a series of three public forums about our upcoming World Premiere of Pierce to the Soul by Chiquita Mullins Lee.  The forums include a reading of an excerpt from the play and a lively public discussion with the playwright, actor, director and dramaturge.  It’s a great opportunity to see how a play is created from scratch and to have some influence on its development.

The Greater Columbus Arts Council sponsored three of these forums in October, which were very well received by audiences.  Thanks to another generous grant from the Ohio Humanities Council, CATCO will offer three more forums in late February at locations to be announced (check the CATCO website for details).

Actor Alan Bomar Jones reads an excerpt from Pierce to the Soul for an audience at the Central Community House.”

Actor Alan Bomar Jones reads an excerpt from Pierce to the Soul for an audience at the Central Community House.”

If you would like to be notified of future opportunities to “look behind the scenes,” contact me at gnelson@catco.org.

–Geoffrey Nelson
Artistic Director

CATCO Honored With Multiple “Best of 2009″ Nods!

December 31st, 2009

As the media rolls out its “Best of 2009″ lists, CATCO is proud to be among the honorees!

The breadth of the offerings honored is a real salute to the growing wealth of theatre being produced in Columbus, despite some of the most trying economic times in recent memory. From Actor’s Theatre’s Shakespeare in the park with puppets, to the Phoenix/CAPA production of The Miracle Worker with both deaf and hearing actors, to Evolution’s Frozen, to Shadowbox’s original musical about Woodstock, to Gallery’s musical  Parade, to Available Light’s Dirty Math, to CATCO’s Seafarer, our community of artists and audience has clearly shown that we are not backing down in the face of the recession.

Congratulations to all honored!

We at CATCO are proud to have several productions and artists named as “Bests” of the year:

Blackbird, David Harrower’s exploration of the boundary between love and abuse, directed by Geoffrey Nelson, and featuring Jonathan Putnam, Anna Paniccia, and Marisa Jean Riegle gripped our audience and held them spellbound within the intimate confines of the Studio Two Theatre. Dispatch critic Michael Grossberg named it to his “Best Of” list for 2009. The production featured set design by Jessica Trent Secrest , Costumes by Kristine Kearney, Lighting by Jim Hutchison, and sound design by Nitz Brown.

Anna Paniccia & Jon Putnam, in CATCO's "Blackbird." Photo by David Alkire

Anna Paniccia & Jon Putnam in CATCO's "Blackbird." Photo by David Alkire

The Seafarer, Conor McPherson’s darkly humorous tale of a Christmas Eve poker game involving copious amounts of alcohol, the devil, and the chance for redemption received several honors. Mandy Fox directed a 5-actor cast that included Damian Bowerman, Rick Clark,  Ken Erney, Mark Mann, and Geoffrey Nelson. The production featured set design by Dan Gray,  costume design by Tatjana Longerot, lighting design by Darin Keesing, and sound by Keya Myers-Alkire. Michael Grossberg named it to his “Best Of”  list, and Richard Ades of The Other Paper declared it the “Best Comedy” saying:

“Director Mandy Fox was blessed with a cast of five fine actors, and she used them well in Conor McPherson’s alcohol-fueled tale. Dan Gray’s realistically dingy set was another plus.”

Ken Erney, Damian Bowerman, Rick Clark, Mark Mann, and Geoffrey Nelson in CATCO's "The Seafarer." Photo by David Alkire

Ken Erney, Damian Bowerman, Rick Clark, Mark Mann, and Geoffrey Nelson in CATCO's "The Seafarer." Photo by David Alkire

Mandy Fox: Tied for Best Direction for The Seafarer. Richard Ades ‘ choice for “best Direction” was a three-way tie among Mandy for The Seafarer,  Pam Hill for The Tempest at Actor’s Theatre, and Frank Barnhart for Parade at Gallery Players. Quoth Ades:

Try as I might, I could not find a reason to favor one of these sterling efforts over the others.”

Congrats to Mandy, and Frank & Pam as well!

Michelle Schroeder, The Other Paper’s “Best Performance (Female)” of 2009! Richard Ades honored Michelle for her work with CATCO in Almost, Maine, and for her role in Available Light’s production of God’s Ear. If you saw CATCO’s Almost, Maine you will remember Michelle as the petite actress who portrayed a wide variety of roles from Sandrine, whose bachelorette party is interrupted by an ex-boyfriend,  to Rhonda the tom-boy who discovers love wrapped up in a snowmobile outfit. Almost, Maine was Michelle’s debut production at CATCO and her work on the show was nothing short of brilliant! I had enjoyed her acting in Phoenix productions in the past, and colleagues tell me she was simply heart-breaking in AVLT’s God’s Ear. We were thrilled to have her with us for Almost, Maine and are glad her talents are being recognized!

Kevin McClatchy and Michelle Schroeder in CATCO's "Almost, Maine." Photo by David Alkire

Kevin McClatchy and Michelle Schroeder in CATCO's "Almost, Maine." Photo by David Alkire

Michelle Schroeder and Malcolm Callan in CATCO's "Almost, Maine." Photo by David Alkire

Michelle Schroeder and Malcolm Callan in CATCO's "Almost, Maine." Photo by David Alkire

Congratulations Michelle, you deserve it!

Thanks to our colleagues in the press for their continued coverage and recognition!

Have a happy and safe new year!

–T.J. Gerckens
Managing Director
CATCO