Live theatre is a surprising beast. It has a mind of its own and no one, NO ONE, is going to ever truly harness control. I think that’s part of what makes it so exciting… yet also disappointing.

Last week, Actor’s Theatre opened Clybourne Park by Bruce Norris.

It was tremendously well-received. I heard many genuine accolades…

“Most provocative new script I’ve experienced in YEARS!”

“…setting the bar for Charlotte theatre a little higher…”

“It was better than Cats…” (actually, I was the one who said that, so just ignore that)

With such praise and enthusiasm, how could I possibly call it disappointing?? My disappointment lies not in the production itself, but in one patron’s reaction. If I sincerely thought it was one lone soul, I would ignore it, but I’m afraid it represents a portion of the Charlotte community who refuses to openly engage in sensitive dialogue about the issue of race.

While the production was underway this past Thursday evening, one woman had a rather harsh reaction. She rose from her seat, raised her palm to face the actors onstage, and shared with the audience her one-word description of the action at hand.

“Racist.”

This classic 1990′s “talk to the hand” move was one she repeated as she made her way down the aisle, again being sure that the audience and actors understood her claim,

“Everyone here is racist.”

To be fair, this Pulitzer Prize winning script does contain words, phrases, and attitudes that we SHOULD, especially as people of a 21st century mindset, find offensive. No doubt about that. And if avoiding further offense was her only intention, I suppose she timed her exit quite well. Leaving midway through Act II, she narrowly escaped the portion of racially offensive jokes hurled out in a comedic passive aggressive showdown.

The abrupt interruption didn’t slow down the show, but it did prompt some interesting discussion at the talkback following the performance. It seemed I was not the only one disappointed in the actions displayed that night. The audience who witnessed the event seemed truly sorry that she did not stick around and share her feelings in the post-show discussion.

Actor Craig Spradley simply said…

“She got it. The woman who left. She got the play. She probably doesn’t even KNOW she got it.”

Further addressing the issue of race, director Dennis Delamar received an almost auditory “AMEN” from the crowd as he explained…

“It would be a shame to perform this show for an all white audience, or for an all black audience, because it is meant for us to watch together. To sit down beside one another and experience this production, and the discussion that it evokes, is what it’s all about.”

Brandi Feemster, an actor in the production, shared with everyone…

“We use the terms ‘racist’ and ‘not racist’ as if we’re either one or the other, but there are many degrees in between. Do I consider myself a racist? No. Have I ever made a judgement about someone based on their color? Yes.”

Brandi is a black woman who is not afraid of an honest discussion about the issue. She continued to make a very important distinction…

“The difference lies in whether or not you allow those preconceived judgments to influence your actions and behavior.”

When you see Clybourne Park next week, you’ll see this…

…though probably with a little more clarity. This was a photo i snapped during Thursday’s curtain call. I hope my point shines through the blur and that you can see this audience, of mixed race and varied generations, standing to applaud not only the art itself, but the courage and honesty of the performers as they make us laugh while revealing the good, bad, and ugly in each of us. But that’s what theatre is all about, isn’t it? That’s why we at ATC do what we do. We believe it sparks ideas and conversations that Charlotte needs to be having. And when one group gets up and walks out of that conversation, it makes positive change feel like a distant dream. Three steps forward, two steps back.

Now, I wasn’t actually in the room when the dramatic exit took place, but I will tell you this: I never questioned the woman’s race. Five days later, I am now informed that she was white. It’s a small descriptive detail that I filled in with my own prejudice assumptions. Wow… it seems as though I might be just one more reason for those ‘two steps back’. While I’m standing back here eating crow, perhaps I’ll watch the show a little more closely and think about what other assumptions I make that so clearly display my own prejudice.

You know, these actors didn’t have the opportunity to defend themselves against the accusation made of them on that fateful Thursday evening. Will they let that negative energy effect their performances? How will it impact them? As I was closing up the building, I saw this new message left by a cast member on the green room refrigerator:

It seems they’ll make it through… with a laugh… as always.

I must be living right these days. I got another treat last night–Clybourne Park at Actor’s Theatre. Here is my reaction to this gem:

Just how good is Actor’s Theatre of Charlotte’s new production of the new American classic, Bruce Norris’ “Clybourne Park”? About as good as theatre gets. This brilliant realization of an equally brilliant script does not take a back seat to any theatre you will ever see in Chicago or New York. In a season that has brought theatre-goers more than their money’s worth in an unprecedented string of great shows, finally the champ comes rolling into town. When Charlotte Rep lost its fight for financial survival a few years back, Dan Shoemaker and ATC stepped in to fill the void. And they have done so with a remarkable consistency of quality. But with this production they come fully of age, erasing from our theatre-quality scale the old standard and giving us a new one.

Deliver an ingenious script that does a comic riff on an American classic (“A Raisin in the Sun”) into the masterful hands of Dennis Delamar (ably assisted by Polly Adkins) and then let him work with as talented a cast as you are likely to see any time soon. The result is sheer theatre Nirvana. This production held echoes for me of some of the finest plays I have ever seen or read. The funny and touching first act reminded me at times of Arthur Miller’s “All My Sons” (Craig Spradley’s rendition of the bitter father). The flat-out hilarious second act paid homage to Kaufman and Hart’s zany, “You Can’t Take It With You.” (Mitzi Corrigan’s first act ditzy mom had already reminded me of the latter play.) Add to that a denouement that devastated me like the finest moments of Sam Shepherd’s “Buried Child.”

Dennis works magic here, but he does not do it alone. The cast is a mix of very talented young performers and three veterans–Craig, Mitzi, and Rob Simmons–all of whom we see much too seldom on Charlotte stages these days. Pay particular attention to Spradley’s transformation from the troubled but amusing dad of Act I into a working-class cameo in Act II. At the play’s end when Delamar has us focused elsewhere, sneak at look at Spradley to see some of the best work all night by an old pro. And then there is Simmons at his comedic best. It is comforting to see the Charlotte area’s best actor back in top form. His timing throughout, but especially in Act II, is peerless.

Add to this costumes by Jamey Varnadore, lighting by Hallie Gray and a brilliant set by Chip Decker that does the reverse metamorphosis from a cute butterfly into the ugliest caterpillar you have ever seen, and you have all theatrical elements working to near perfection.

I cannot say enough about the direction of this play. The delivery of comedy this complex takes Toscanini-like precision. Dennis does that here. And he delivers the farce of Act II without the quick entrances and slamming doors we usually associate with that comedy genre. For the most part he plops his characters down on make-shift chairs in an empty living room and trusts his actors and the playwright to work their magic. And then there is the ending. No spoiler here. Just suffice it to say that I have not seen a better finish to a play in all my years of theatre-going in Charlotte.

If you are a theatre lover, do yourself a favor and see this comedic masterpiece. If you are an actor or director, do yourself an even bigger one and see this lesson in brilliant comic timing and subtle layering of serious issues painlessly over the fun.

Shared by Charles LaBorde, a long-time educator and theatre supporter, on his Facebook page. Shared on our website with his permission.

First up – Playbill.com. If you have ever been to the theatre you know what a playbill is. For the one person who might read this article out of mild - it’s a program. Playbill.com gives readers daily updates on the latest and greatest happenings in the theatre world. It also hooks you up with tickets from Broadway to London. Membership is free, but they still give you the opportunity to get some really great discounts. There are also photo galleries, videos from some of the top shows, and a store in case you want to indulge your obsession a little more.

Second – IBDB.com. You know what IMDB is, Internet Movie Database? Now you can check out the Internet Broadway Database. What do you want to know about theatres, character, designers, awards, songs, and a so much more about Broadway? Go here! I will say that it is not always up to date with the latest and greatest info, bit it is a valuable source.

Finally, Theatermania.com. Visiting Minnesota next? Type it in, and see what is showing near where you will be staying and buy tickets. Don’t bother searching all over the net to find tickets, just go here. See the lists of the latest openings and closings, as well as the latest theatre news from around the web in one place.

I hope this helps the theatre geeks out there, and those who are just realizing that a little culture is a great thing.

And don’t forget that PAY WHAT YOU CAN has been moved to the Tuesday, February 28 at 7:30 PM. This is the perfect opportunity to see the show if you can’t afford the normal tickets, but get there early as this is sure to sell out.

Here are two more interviews with a couple of the actors from the show.

First up Tanya McClellan, who was most recently seen in ATC’s production of The Vibrator Play.

Second, John W. Price, who has been part of the Actor’s Theatre family for numerous years.

 Go buy your tickets now to see more characters starring in this great show, and check out more about the actors in the Who’s Who section under the shows web page.

A brief moment with Brian Daye.

A brief moment with Jeremy DeCarlos.

Keep an eye out for more interviews coming your way with more of Cuttin” Up’s cast.

Here’s a little more about the irreplaceable Brant Aycock…

When he’s not working for Russ Communications or volunteering at the theatre, Brant enjoys all forms of entertainment. In 2009 he started a supper club entitled Adventurous Palates – challenging members to experience the world through cuisine. Each month the club dines at a different ethnic or cultural restaurant to enjoy the culinary delights offered. He is also a devout music buff and publishes a monthly playlist of his favorite musical discoveries.

Brant has always enjoyed the theatre – but lacking any performance talent and being too tall to fit into most costumes, he has found that serving on the Board of Actor’s Theatre is the most appropriate role he can fulfill. “I’m grateful for the opportunity Board Membership has given me to support the arts in general, and Actor’s Theatre of Charlotte specifically,” he says. “It’s a pleasure to be a part of such an esteemed community.”

Vic Vega (Michael Madsen) from Reservoir Dogs and Vincent Vega (John Travolta) from Pulp Fiction are brothers.

Where is Vincent heading in the opening scene?

Every time Vince Vega goes to the restroom something bad happens.

The wallet that Jules uses that says “Bad Mother Fucker” actually belonged to Taratino.

How long did Butch’s dad hide his birth rite (a watch) up his bum?

Big Kahuna Burger make appearances in Reservoir Dogs and From Dusk Till Dawn.

The cereal Fruit Brute, that Lance eats, was part of the Monster Cereal line along with Count Chocula, Frankenberry, and a couple of others. Taratino kept the box for nostalgia and uses it from time to time in movies.

The shot of Vincent plunging the needle into Mia’s chest is actually the shot being run backwards.

Harvey Keitel played Winston ‘The Wolf’ Wolfe, a cleaner in two movies Pulp Fiction and what else?

The F*** word is said 257 times in the movie.

Danny DeVito was a producer on the film. In the movie Twins he played Vincent, and Schwartzeneggar played Jules.

Daniel Day-Lewis wanted the part of Vincent Vega, but Taratino had his heart set on Travolta.

The innocent bystander shot by Marsellus Wallace is the same actor pulled out of her car by which character, by color, in Reservoir Dogs (1992)?

The book  that Vincent reads is “Modesty Blaise”, by Peter O’Donnell. In that book, a killer indulges in a Biblical rant very similar to that of  Samuel L. Jackson’s character.

What does Vincent call Butch at the bar?

Keep checking back for more trivia answers.

The artistic director of a theatre company is the individual with the over-arching artistic control of the theatre’s production choices, directorial choices, and overall artistic vision.

Got it? Good. But wait, there’s more, especially for Chip who has been with ATC for around 15 years. He was gracious enough to take a few minutes out of his day to answer a few questions for us.

1. How long have you been with ATC?

I started as their part time Technical Director in 1996 after doing the show, Dark Rapture. In 2001 I took over as Artistic Director and in 2002 I went full time. So, 15-ish years.

2. Knowing that most director’s were actor’s first, what was the first show you acted in and what character?

Good grief.  How many years did I play a Sheppard in the church play? too many to count.  But I guess my first “real” role was in the 6th grade as a private detective in some silly mystery play.  The name of which, escapes me, but the character name was Jake.

3. What was the first show you directed?

The Octette Bridge Club.

4. Of all the productions you have been a part of with ATC, what was your favorite and why?

You know, I really hate this question, and I get asked it quite often.  It’s like asking the Dugger family which of their 19 kids is best. So I will give you my top 6.  2 musicals, 2 dramas and 2 comedies.

Musicals:

Violet.  Beautifully realized from all aspects, design/direction/performances/lighting/set. And the musicality of the show is   brilliant.

Hedwig and the Angry Inch.  Amazing score and book. and I had the privilege to play bass behind two different and amazing Hedwigs.  A show like this  makes you realize why the Rolling Stones loved to perform live for so long.

Dramas

The Pillowman.  Once in a while, every moment, every detail of a show, from the script to the back stage crew just gels and is perfect.  Does not    happen often but when it does, it’s magic.  Pillowman was magic.

Take Me Out.  See above.

 Comedies

Flaming Guns Of The Purple Sage:  When a show has you laughing as much on closing night as on opening night, it’s a really well done show.

The Lieutenant of Inishmore: An amazing story by the same writer as The Pillowman plus a strong and well executed cast and dozens of technical effects which were amazing to see live on stage night after night.  Plus a live cat on stage!  Hitting his mark night after night!  What’s not to love?

5. Which ATC production of them all did you find the most challenging to put together?

Every show, even a one person production, has challenges.  Sometimes it starts with casting, sometimes it’s an effect or stage issue or wardrobe snafu but every show brings its own set of challenges and opportunities with it.  So my answer is, “The next one”.

6. What show would you like ATC to produce that the company hasn’t yet done?

There are numerous high powered quality shows out there, and a lot goes into determining if we can present it properly and professionally.  If money or casting opportunities were not an issue, I would love us to present Lynn Nottage’s Ruined. Also, I think we have the talent here to write and present an amazing new musical.  I would love to find an underwriter to help us finance a new musical, much like we had when we created Southern Rapture.  Oh yeah, Add Southern Rapture to my list of favorites.  The finest locally produced, locally commissioned new play ever to come from Charlotte.  I know we can do that with a musical.

7. What show would you like to bring back for an encore run?

Selfishly, Hedwig.  But we do still get an amazing number of requests for Flaming Guns of the Purple Sage.  Something funny about cheerios in the ass.  So maybe Flaming Guns.

8. For people who may not be familiar with The Actor’s Theatre of Charlotte, what is the one thing you would really want them to know about ATC?

We work exceptionally hard at presenting the most interesting seasons year after year but more importantly our emphasis on quality and professional productions is second to none.  When you come to one of our productions, you will enjoy your whole evening and feel that the investment of your time has been well worth it.

Thanks Chip. Make sure to say “Hi” to Chip when you come see the next show Cuttin” Up, which opens February 15.

Well…Chaps! A Jingle Jangle Christmas opened last night the the review from Larry Topman is already in. He liked it. He really really liked it. What does this mean. It will probably translate to sold out audiences yet again so get your tickets now. Better yet – have that person on your list that is hard to buy for? BUY THEM TICKETS! The show runs until the 23rd so it makes an excellent holiday gift.

But now back to our title.

Below are a couple of more videos from rehearsals of Chaps!. The first is Ryan Stamey and Brett Gentile rehearsing a song from the show.  Ryan plays the singing dummy.

A Singing Dummy or Ryan Stamey singing

And here is Kevin Roberge or as he became know that night – The Ghost of Drag Christmas Past. Actually, actors were trying on parts of there costumes for director Patrick Tansor to give his Yea or Nay to. I believe this one made it into the show, but you will just have to attend to know for sure.

The Ghost of Drag Christmas Past or Kevin Roberge trying on a costume.

I hope you had a good giggle on me. Now go out and see the show. It is well worth it.

And thank to Ryan and Kevin for letting me poke a little fun at them. They are both talented beyond belief, as are the rest of the actors and staff. We are lucky to have you guys and your immense talent.