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Brecht-Fest with Weill
Interterm, 2003 |
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Director
Steven Kent Scenic Designer |
Musical Director
Dr. Scott Farthing Costume Designer |
Assistant Director
Ivica Bojcic Acting Coach |
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Lighting Designer and Choreographer
Jessica Wotherspoon |
Stage Managers
Anthony Guerrero Margaret Tipton |
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Cast of Characters
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Mack
Sharlene “Shar” Church Celia Jo Price Raoul Simone Sinclair Angela C. Swallows Lou Schroeder Munro Guido Sticks Katherine “Kat” Brodie Colin Hunter Clive Dextrous Mattie Lynn “Peaches” Tucker Bebe Chiffon Deja Elysse Dupris Gaby Leigh Ashton Lundia Claudia Mayfair Tuesday Parker Francesca Yalanna Tyler Zuckerman |
Chris Smith Christina Massengale Margaret Tipton Eli Hernandez Samantha Chung Jonathan Serret Nicholas Pulido Scott Farthing Steve Biondo Jessica Wotherspoon James Darrah Anthony Guerrero Siddeeqah Shabazz Adrianna Ortega Ayanna Moultrie Sarah Morales Brianna Roth Bjana Washington Melissa Stahly Sylvia Alheli Torres Whitney Wickham Scott Alley |
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Technical Director
Light Board Operator Followspot Operators Projections Lighting Crew Construction Crew |
Elizabeth Pietrzak Melissa Lau Rebecca Campana and Sylvia Alheli Torres James Darrah Rebecca Campana, Jonathan Serret, Chris Smith, Melissa Lau, Sylvia Alheli Torres, Brianna Roth, Melissa Stahly, Sarah Morales Rebecca Campana, Mary Himes, Mike Harrington, Melissa Lau, and the Company |
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| A Letter from Mack...
Why Cabaret? Why not travel on an "emotional journey" with characters who are nothing like the people you see outside of a 4,000 seat theatre? Why not be spoon-fed chewed-up emotion from second-rate actors? I think my point is clear. For years I failed to see the value of theatre performances turned into a mush that barely slid down an intelligent observer's throat, yet rested comfortably in those who adhered to the common day "theatre etiquette"; leaving their logic in the coat room, tucked neatly inside their expensive jacket. What makes those actors think their audience has no ability to reason? They cry to show the audience that they can cry, they laugh on cue to show that they have a sense of humor, and they tighten their muscles to show that they are angry. |
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| What's worse is the audience. The audience cries because the actor is crying, with no regard for the injustice the playwright intended to be realized; therefore, nothing gets done. They laugh because the actors laugh, without regard for the satirical tone, thus turning a mirror into a window. Again, nothing gets done. Their calves tighten as they slide to the edge of their seats in perception of a character's anger; hoping that if they are close enough they will understand what causes anger. | |||||||||
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| The audience thinks that because the events are presented to them, they aren't supposed to think - all interpretation has been done for them. To this, I ask, has a man the right to offer others a plate that he has already eaten himself? I already know that everyone will enjoy our performances, but I challenge every person who steps in the door to analyze everything they hear at my club; not the performer's ability as a performer, but as a messenger. |
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| The writing is insightful, yet so beautiful that I challenge everyone to appreciate the beauty without floating over the insight. Don't forget that you are allowed to have an opinion!But also don't forget to have fun. If you know the songs, sing with us. If you find the rhythm, clap to it. Cheer, snap, clap, and smile, just make sure you are thinking all the while. |
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