“The Violet Hour” – The Sun-Sentinel Review!

“Medea is a Floridian in chilling ‘Violet Hour'”

by Christine Dolen

Before Susan Smith and Andrea Yates, before the too-frequent tragic headlines about murdered Florida children, there was Medea.

Created by Euripides in 431 BC, Medea is among Greek tragedy’s most horrifying yet complex characters, a spurned wife who exacts vengeance upon her faithless husband, Jason, in multiple ways, including the unfathomable murder of her children.

Fort Lauderdale’s Outré Theatre Company has created a new, taut version of Euripides’ tragedy set in present-day South Florida. Adapted by Shannon Ouellette and Outré artistic director Skye Whitcomb, “The Violet Hour: A Modern Medea” takes its title from a phrase suggesting dusk in T.S. Eliot’s “The Waste Land.”

Starring Outré managing director Sabrina Lynn Gore as Medea and her real-life husband, Tim Gore, as Jason, the production in the Broward Center’s Abdo New River Room runs barely over an hour. But what an intense hour it is.

The themes and thrust of “The Violet Hour” follow Euripides, though the language is largely contemporary. Here, Medea and Jason have just one son, who’s played by Nathanael Schultz, a particularly adorable kindergartener. The boy is watched over, fretted over, by Nurse (Beverly Blanchette), a nanny who is rightfully worried that the raging Medea is descending into madness.

And no wonder: Middle-aged Jason is about to wed the “barely legal” (as Medea puts it) 18-year-old daughter of wealthy developer Kreon (Jim Gibbons). It’s hardly surprising that Medea — who, as it turns out, rejected her family and gruesomely murdered her brother in order to be with Jason — isn’t handling hubby’s rejection well. Maybe he should have thought about her fratricide before taking up with the new squeeze, whose daddy orders Medea to get lost and leave her boy behind.

Whitcomb, the play’s director, and Ouellette (who serves as its dramaturg) have turned the Greek chorus into wedding guests. Liz Dikinson, Rachel Finley, Daryl Fortson, Kitt Marsh and Sandy Stock have some interaction with Medea, but they also observe and comment, whispering or chanting or gossiping from different spots in the Abdo. That staging helps to make “The Violet Hour” one of Outré’s better uses of what can be a challenging space.

The cast, which includes Jovon Jacobs as a tutor still loyal to Jason, dives ever more deeply into a tragedy that becomes nearly unbearable to watch, particularly as it nears its end, when the unhinged Medea and the child she is about to turn into a sacrifice sing “You Are My Sunshine” as part of a pre-bedtime ritual.

As in Euripides, Medea’s crimes occur offstage, but mournful recorded music from cellist Andreina Kasper and a shift to blood-red lighting by designer Julia LaVault underscore the emotional horrors of her actions.

Medea is a role that, like Hamlet or King Lear, is an aspirational test for a serious stage actor. Gore’s skills are suited to this present-day, reshaped version of the play, as she persuasively communicates Medea’s cunning, deceptiveness, rage and deepening madness. For a time, she stirs some sympathy for a woman scorned. And then, as does a seemingly endless line of modern-day Medeas, she makes us recoil as the tragedy hits home.

Venue Changes, Edgy Work Mark Broward’s Evolving Theater Scene

Venue Changes, Edgy Work Mark Broward’s Evolving Theater Scene

by Christine DiMattei for WLRN

When nominations for South Florida’s equivalent of the Tony Awards – the Carbonells – were announced recently, Broward County theaters snagged a quarter of them.

That comes as no surprise to Bill Hirschman, founder of and chief critic for the website Florida Theater On Stage.

“There is some outstanding work that’s being done,” says Hirschman. “People are doing things specifically aimed at getting younger and more diverse audiences in.”

Until recently, Broward’s theater scene resembled the dot com bubble of the early 2000’s — companies would make a great start and then fold after only a few years. But a number of defections from Palm Beach County suggest Broward’s status as a theater mecca is on the upswing.

The most high-profile venue changes involve the Slow Burn and Outre Theatre companies. Over the last five years, Slow Burn has built a loyal following and garnered critical praise with its ambitious musicals mounted in a high school auditorium in western Boca Raton. Outre’s edgy work has appeared in venues throughout Boca, including Mizner Park. But recently, Slow Burn partnered with the Broward Center for the Performing Arts as a resident company for its Amaturo Theater, while Outre rents its new space in the Broward Center’s Abdo New River Room.

In addition, smaller venues continue to make a fresh start. Thinking Cap Theatre, which had been operating for five years in a tiny Fort Lauderdale venue (the “size of your living room,” according to Hirschman), renovated a church in the city’s downtown. Now christened The Vanguard, the space is home to Thinking Cap and has opened itself up to other arts events.

Other theaters are distinguishing themselves with cutting-edge drama. Island City Stage, an LGBT company, scored a big win last season with its production of “Daniel’s Husband,” a play about marriage equality by Michael McKeever that opened to rapturous praise and played to sold-out houses.

However, Broward theater still continues to struggle with funding problems, lacking both the generous government grants and deep-pocket donors found in other counties. “There is a tradition of giving to the arts that exists in Broward, but it’s not remotely as strong as it is in Miami-Dade and Palm Beach County,” says Hirschman.

So what will Broward County have to do to survive as a theater destination?

According to Hirschman, it will need savvy publicity and advertising imaginative enough to convince people that good theater is worth a drive from one county to another. “[In Broward] there’s theater that’s as edgy as anything you find Off-Off-Broadway, and then there’s mainstream theater that your grandparents would like,” he says. “When people ask me, ‘What should I go see?’ I say, ‘What do you like?’ ”

Miami Herald Features Outré as Part of a Broward Renaissance!

Broward theatre’s stage presence is growing rapidly

by Christine Dolen for the Miami Herald

 

West Side Story is being produced by Actors’ Playhouse in Coral Gables in late January, but one of the show’s signature numbers could serve as a theme song for the Broward County theater community at the start of the 2015-16 season.

Something’s Coming, a song that radiates anticipation, excitement and hope, expresses the way many artistic directors and theater leaders are feeling as the season is about to begin.

“Our theater scene here is growing and diversifying,” said Nicole Stodard, whose Thinking Cap Theatre now has its own striking space, The Vanguard, in a refurbished Fort Lauderdale church. “It’s not just canned touring shows. There’s already a sense of strength in numbers.”

Sabrina Lynn Gore, Outré’s co-founder and managing director, believes the presence of her company and Slow Burn at the Broward Center makes a statement.

“There’s a whole legitimacy that’s conferred when a big theater center supports the work of smaller companies. It tells the community they care,” she said.

Read the rest of the article here.

A Southeastern Premiere! “Bed and Sofa” by Polly Pen and Laurence Klavan

The Outré Theatre Company’s Artistic Director Skye Whitcomb and Managing Director Sabrina Lynn Gore are honored to announce that Outré will be presenting the Southeastern premiere of Polly Pen and Laurence Klavan’s “silent movie opera,” Bed and Sofa. Winner of the 1996 Obie Award for Best Music, and nominated for seven Drama Desk Awards including Best Musical, Bed and Sofa was hailed by the New York Times as “a delight” and “a classy treat,” while the Village Voice praised it as “so perfectly done it is almost unfair to the rackety hacks who infest our musical theatre.”

Based on Avram Room’s 1926 silent film masterpiece Tretya meshchanskaya, Bed and Sofa focuses on a stonemason, Kolya, and his wife, Ludmilla, living in a cramped basement apartment in Moscow. When Kolya’s old army buddy Volodya shows up in Moscow without a place to stay, Kolya offers to let the handsome young man “with the sensitive face” stay on his and Ludmilla’s sofa, while they take the bed. The sexual tension between Ludmilla and Volodya reaches its peak when Kolya has to leave town for three weeks, only to return to find that is now he who is sleeping on the sofa, while Ludmilla and Volodya share the bed. The tension mounts between the three, until Ludmilla finally must make the decision that will define her.

Outré is proud to offer the Southeastern premiere of Pen and Klavan’s work, which will be replacing The Threepenny Opera in the 2015/16 season. The Threepenny Opera will be included as part of the 2016/17 season. “The film on which [Bed and Sofa] is based was revolutionary for its time,” says director Skye Whitcomb. “Its frank treatment of sex, of abortion, of women’s rights, was nearly unheard of in 1927. It’s a great show to start our ‘Power of Woman’ season, since Ludmilla is really the linchpin of the story. Rather than allowing either of the men to define who she is, she makes that decision on her own, to be whoever it is that she wants to be.”

Bed and Sofa welcomes back Noah Levine as Volodya; Levine was last seen on Outré’s stage as Van Buren in Bloody Bloody Andrew Jackson, and will reprise his role as Ian in the June 2016 full production of rooms: a rock romance. Elvin Negron, who played the Male Soloist in Bloody Bloody Andrew Jackson, returns as Kolya. The role of Ludmilla will be played by Rebeca Diaz, a newcomer to Outré whom we are excited to welcome to our stage. Bed and Sofa also welcomes Caryl Fantel to the Outré family as Music Director; she will be leading an orchestra comprised of cellist Konstantin Litvinenko and violinist Liuba Ohrimenko, both of whom have played with the Miami Symphony Orchestra.

Bed and Sofa will perform August 28, 2015, through September 13, 2015, with performances on Friday and Saturday nights at 8 pm and Sunday afternoons at 2 pm. All performances are in the Abdo New River Room at the Broward Center for the Performing Arts. Season and individual show tickets are available through the Broward Center’s website, www.browardcenter.org, or by calling 954-462-0222.

Outré is proud to call the Abdo New River Room at the Broward Center for the Performing Arts its new home. The Abdo New River Room features a fresh, modern menu of delectable choices with table service offered 90 minutes prior to performances and during intermission for shows that take place in the Abdo New River Room. Please note: arrive at least 15 minutes prior to curtain to ensure table service. No table service is available after the show. Tickets to performances in the Abdo New River Room do not include food or beverages unless otherwise noted.

Outré and Lord & Taylor Team Up!

On August 13, Outré Theatre Company and Lord & Taylor of Mizner Park are joining up to bring you a night of music, fashion, and elegance, all to benefit Outré as we begin our fourth season! Attendees will be treated to musical theatre entertainment from Outré, a fashion show featuring Lord & Taylor’s fall lineup, champagne and noshes, as well as a discounted shopping pass! Tickets are only $25, and there will be only 50 tickets sold. To purchase your tickets to this elegant benefit, RSVP to skye@outretheatrecompany.com or call 954.300.2149. With only 50 tickets available, space is extremely limited!

Bloody Bloody Andrew Jackson – The Miami Herald Review

“Bloody Bloody Andrew Jackson” Brings An Emo History Lesson to Broward

by Christine Dolen

All the buzz in New York theater this season has been about Lin-Manuel Miranda’s hip-hop Hamilton, the scorching hot hit about the United States’ first treasury secretary, which will land on Broadway in mid-July after its sold-out run at the Public Theater.

But before Hamilton, in 2010, the Public sent another mash-up of 21st century music and early American history to Broadway: Bloody Bloody Andrew Jackson.

Fort Lauderdale’s Outré Theatre Company has brought Alex Timbers and Michael Friedman’s emo-style musical to the Abdo New River Room at the Broward Center for the Performing Arts. The pumped-up show about a divisive president — his historical rep, the musical argues, runs the gamut from great leader to perpetrator of genocide — adds to a spring surge in intriguing productions in a county that hasn’t been as hospitable to theater as Miami-Dade or Palm Beach. But as the surge demonstrates, Broward theater is on the upswing.

With echoes of Spring Awakening and American Idiot, Bloody Bloody Andrew Jackson offers an in-your-face, anachronistic yet resonant take on America’s seventh president.

The score, performed by musical director-keyboard player Kristen Long (who also sings beautifully) with Wayne Rediker on guitar, Martha Spangler on bass and Walt Brewer on percussion, presents Jackson as a rock-star military leader and politician (Rock Star is one of the songs). The haunting Ten Little Indians suggests the ruin of Native American lives, with plenty of blame going to the territory-acquiring Jackson — who, as the show argues, put “the ‘man’ in ‘Manifest Destiny.’” The music thunders and softens repeatedly through the course of the show, and it’s all impressively sung.

Outré and director Skye Whitcomb include a full page of warnings in the show’s program, for good reason. Bloody Bloody contains profanity (some defacing portraits on the set), offensive language, sexual innuendo and stinging political satire that will remind audiences of just how little down-and-dirty politics have changed from Jackson’s day to the nasty, paralyzing present. The show is a wild, pointedly provocative ride, and those who like their entertainment pleasantly inoffensive shouldn’t think about hopping aboard.

Robert Johnston plays Jackson with an emo broodiness mixed with volatility and a populist appeal. He bonds with Kaitlyn O’Neill as Rachel, Jackson’s controversial wife (she wasn’t actually divorced when they first married), through the song Illness as Metaphor, and O’Neill has a powerful song about political sacrifice in The Great Compromise (though its fleeting reference to the Jacksons’ slave owning is a jarring reminder of that particular presidential fact).

Rick Peña as Henry Clay, Conor Walton as a lollipop-licking John Quincy Adams, Geoff Short as John C. Calhoun, Michael Mena as James Monroe and Noah Levine as Martin Van Buren deftly ride the satirical waves in their roles. Mena also plays Black Fox, symbol of Jackson’s treatment of native Americans. Jennipher Murphy has a kooky, surprising role as a historian lecturing about Jackson. Elvin Negron, Jordana Forrest, Christina Groom and Erica Mendez amplify the show’s vocal power and, along with young Leo Valentine Kaplan as Jackson’s adopted son Lyncoya, go full out with its brashness.

The set, costumes and choreography, all by Sabrina Lynn Gore, are of a creatively anachronistic piece with a musical that has its 19th century characters using cellphones, ordering pizza and using street language. Bloody Bloody Andrew Jackson takes plenty of liberties. But a stodgy history lesson it is not.

Bloody Bloody Andrew Jackson – The Florida Theater On Stage Review

Outre’s Bloody Bloody Andrew Jackson Is, Well, Bloody Good

by Bill Hirschman

When critics write that they can’t wait to see a full production of a musical viewed in a concert version/tryout, as we did in 2013 about Outré Theatre Company’s Bloody Bloody Andrew Jackson,the truth is that we hold our breath wondering whether the reality will match expectations.

Well, no need to fear here. With bracing anger, profuse profanity and biting satire that is more slashing than surgical, this edition ofBloody will not to be everyone’s taste but it is more assured and more easily understood than the admirable but messy concert version we saw earlier.

Ostensibly a biography of our seventh president, the satire is a punkish Emo take on this country’s bottomless hubristic pursuit of Manifest Destiny via a genocidal campaign against the American Indians. It draws parallels to broader modern American know-nothing arrogance exemplified by, but not limited to, the George W. Bush Administration and the rise of the Tea Party. By reimagining Jackson as a jingoistic not-too-bright rock star, it depicts politicians as shallow as celebrities for a mob that demands substance from neither.

The show is no kinder to the populace than the politicians. The voters are ignorant sheep led wherever a demagogue wants to take them. Even when Jackson deigns to asks the people’s opinion, they have no idea what issues he’s polling them about.

Staged as sort of a small town high school history pageant, the style is intentionally sledgehammer broad in every category from the melodramatic acting to the Green Day brand of music.

Much of the humor is beyond sophomoric; it’s intentionally dumber than a Saturday Night Live skit. Faced with the red tape of the bureaucracy, Jackson proclaims, “I’m federal Metamucil; I’m here to unclog the system.” Similarly, the punkish costume design gave Jackson a Bowie knife in a large scabbard located precisely where a codpiece might end up and for good measure, he jiggled his hips on occasion to underscore the point. Somehow, that excess doesn’t quite go over the top in a production where “the top” is located somewhere in the ionosphere.

But mostly, Bloody it’s about how History is horsepucky. In that intentionally lampoonish broad approach, authors Alex Timbers and Michael Friedman seem to say that history is so perverted by lies and rationalizations that it doesn’t deserve to be depicted seriously.

The earlier tryout benefited this iteration with insights and lessons learned. Artistic Director Skye Whitcomb and Assistant Director Sabrina Lynn Gore have located the precise gonzo groove the work demands for much of the evening and yet smoothly change gears when the horrid truth of what Jackson has wrought finally comes clear even to him -– and to those in the audience who see tragic parallels to the current socio-political scene.

They and their cast have tweaked the script even with a reference at Sunday’s matinee that Game of Thrones would be broadcast that night.

To be fair, some folks may feel a bit burned out that the overall nose-thumbing vibe is really just a couple of wry jokes played out over and over for about two hours. But others will savor each thrust of the saber.

The focal point was Robert Johnston’s portrayal of the arrogant, dimwitted Jackson. Johnston, who was the naked victim in Zoetic Stage’s Clark Gable Slept Here and the hero in High Fidelity, has enough charisma and rock swagger to make Jackson almost likable in his simultaneous self-absorption and insatiable need for adoration. He starts out with a boyish face leavened with a three day-growth of beard. But as Jackson discovers the pragmatic requirements of running a government and the compromises requiring selling one’s soul, Johnston depicts the war between Jackson’s troubled conscience and his blithe rejection of any transitory qualms.

The rest of the 12 cast members slipped in and out of characters that encompassed textbook names like Henry Clay and Martin Van Buren plus a kind of Greek chorus. Standouts included Kaitlyn O’Neill as Jackson’s wife Rachel, Michael Mena as his Indian ally Black Fox and Conor Walton as a hilarious dazed and brainless John Quincy Adams. The ensemble of chameleons included Christina Groom, Elvin Negron, Erica Mendez, Rick Pena, Geoff Short, Noah Levine, Jordana Forrest, Jennipher Murphy and Leo Valentine Kaplan.

Musical director/keyboardist Kristen Long led the rock band of Wayne Rediker, Martha Spangler and Walt Brewer. She also pinch-hit as a sometime narrator and sang one of the atypically lovely ballads, “Second Nature.”

This is the second show that Outré, formerly performing at Mizner Park, has mounted in its new home in the Abdo New River Room at the Broward Center for the Performing Arts, which has a bit of a shallow stage. Outre has wisely extended the stage and added a runway into the auditorium for the actors to invade the audience’s space. Actors make entrances and exits through the audience and might stop off at some patrons’ tables for a chat. A major improvement in the new home is the sound quality; at Mizner Park, the lyrics were often unintelligible.

One last time, there is something to offend almost everyone, the music is aimed at a younger demographic and it even runs a tad long. But for those whose preference run more to Rent thanMamma Mia, this is your acidic cup of tea.

Bloody Bloody Andrew Jackson – The BroadwayWorld Review

BLOODY BLOODY ANDREW JACKSON Rocks the House

by Mary Damiano

Anyone who goes to see BLOODY BLOODY ANDREW JACKSON expecting a bio-musical about our seventh president is in for a rude awakening.

The musical plays fast and loose with facts, painting Jackson as a sexy, populist rock star of politics, known for killing Indians and making a point of offending as many of what he considered the elitists of his day. Frontiersman, statesman, soldier, president—the Andrew Jackson portrayed in BLOODY BLOODY ANDREW JACKSON is all that and much more.

Outré Theatre Company presented a staged concert version in 2013; now they’re back with the fully produced musical at Broward Center’s New River Abdo Room.

Director Skye Whitcomb has assembled several of the same actors as the concert two years ago. Robert Johnston returns as Andrew Jackson, as does Kaitlyn O’Neill as his beloved wife Rachel, Conor Walton as John Quincy Adams, Michael Mena as Jackson’s friend Black Fox and James Monroe, and Jennipher Murphy as The Storyteller.

The book by Alex Timbers is written as an extended skit with modern references and jokes, and dialogue that lends itself to intentionally bad acting. This goes perfectly with the rock music and lyrics byMichael Friedman, whose score is both catchy and ominous, especially on “Ten Little Indians” performed by Erica Mendez while Jackson moves several native tribes from their lands either by negotiation or force.

BLOODY BLOODY ANDREW JACKSON shows how Jackson evolved from a simple country boy who fought for his country during the Revolutionary War to the man who lost the love of his life due to his own ambition. Jackson’s relationship with Rachel is at the heart of this story or any story about Jackson—his deep love for his wife humanizes him when he goes on the rampage against the Spanish or the British or the Indians or the politicians or anyone else who crosses him.

Johnston is every inch the sexy rock star—physically and vocally—that the creators envisioned when they wrote this version of Jackson. O’Neill is winsome and straight-talking as Rachel, a woman who simply wants her husband by her side. Her full silky voice elevates several songs, including “The Great Compromise”. Walton delivers another hilarious performance as the lollipop-licking, overgrown man-child John Quincy Adams. Mena’s Black Fox is intense and greatly contributes to the tension in the story.

The ensemble cast, which includes Christina Groom, Noah Levine, Jordana Forest, Geoff Short, Elvin Negron, Leo Valentine Kaplan and Rick Pena, is obviously having a great time. Whitcomb’s inventive staging includes a runway, which is often used for comic effect and to increase the intimacy between the cast and the audience. The cast soars vocally, and has fun with Sabrina Lynn Gore’s choreography. They often spill over from the stage, fanning out through the crowd and even sitting down and enjoying a drink at a table in the audience.

Kristen Long, who plays keyboards leads the band, also contributes as The Storyteller for part of the show and sings the lilting “Second Nature.”

Say what you will about Andrew Jackson—some believe him to be one of the greatest presidents we’ve had, responsible for adding more land to the country than any other, while some believe him to be a power-hungry, grudge-holding maniac responsible for genocide of Native Americans. What comes across most in this version is that Jackson was a man of contradictions. Outré Theatre Company’s production of BLOODY BLOODY ANDREW JACKSON is rollicking and raucous, and definitely rocks the house.

Bloody Bloody Andrew Jackson – The SFGN Review

Revisionist History Rocks at the Broward Center

by JW Arnold

Don’t say you weren’t warned. Outre Theatre’s production of “Bloody, Bloody Andrew Jackson” at the Broward Center contains: strobing lights, profanity, offensive language, political satire, sexual innuendo, sexual out-uendo, taxidermy, corsets, children with tomahawks, bottled water, weasel coats, defaced portraits, twinkies, fake mustaches and a vibraslap. And then there’s the question of revisionist history.

Plenty of modern references pepper the show, which explores Jackson’s youth, rise to prominence as an “Indian fighter” and hero of the Battle of New Orleans, and later, as the populist president who railed against the Washington aristocracy.The rollicking rock musical about our seventh president, a big hit Off Broadway that fizzled on the big, big money stage on Broadway, is the perfect vehicle for Outre and its leadership, artistic director Skye Whitcomb and assistant Sabrina Lynn Gore.

In many ways, the show offers especially relevant commentary today as the public discourse focuses on the one percent and the seeming political power of the monied elite a century and a half later. Stymied by a belligerent Congress, Jackson resorted to sweeping executive actions similar to those taken by President Obama, only to be labeled a tyrant. The book by Alex Timbers and score by Michael Friedman also takes aim at homosexuals, liberals, environmentalists and the other frequent targets of modern conservatives.

Robert Johnston offers a breakout performance, transforming Jackson into an Emo rock star, dramatically delivering the internal conflict the president faced while soaring vocally in numbers such as “I’m Not that Guy” and “I’m So that Guy.” Between the theatrical and musical demands, it’s a tough role to pull off, but Johnston conquers, guyliner and all.

The strong ensemble cast features many familiar young performers, all with strong voices, covering a number of roles: Kaitlyn O’Neill (Rachel Jackson), Rick Pena (Henry Clay), Conor Walton (John Quincy Adams) and Noah Levine (Martin Van Buren). Jennifer Murphy is the lesbian, wheelchair-bound storyteller, a Wellesley grad student who wrote her thesis about Jackson and often gets sidetracked with her personal historical recollections.

The players are accompanied by an accomplished rock band led by Kristen Long, who did triple duty as musical director, keyboardist and the fill-in for the storyteller after Jackson pushes her off a cliff. Yes, a cliff. (We’re thinking that didn’t really happen, either.)

The Broward Center’s Abdo New River Room is an appropriate space for the single set production, a graffiti-covered Antebellum sitting room designed by Gore. She also created the ‘80s punk-inspired costumes that manage never to stray too far from the actual fashions of the early-19th century. And, while the performances were polished and delivered with verve, some of the technical aspects still need some work, lighting and sound, in particular. No doubt the kinks will get worked out over the two-week run.

In many ways, history is still deciding Jackson’s legacy. Did the so-called Trail of Tears make him a visionary who simply enacted manifest destiny or the genocidal murderer of tens of thousands of Native Americans forced to march west?

History is often revisionist and attitudes evolve — or devolve. Just ask the Texas state textbook commission. Regardless, Outre’s production of “Bloody, Bloody Andrew Jackson” delivers a thought-provoking performance despite the frequent f-bombs, sexual innuendo, sexual out-uendo, taxidermy and the lot.

Auditions for the 2015/16 Season!

The Outré Theatre Company is proud to announce the 2015/16 Season Auditions for its fourth season, “The Power of Woman”! Auditions will be held by appointment only on May 3 and 4 from 6 pm until 10 pm, with callbacks on May 5 and May 10. Auditions and callbacks will be held at Outré’s new home at the Broward Center in the Abdo New River Room. Actors interested in auditioning should submit electronic copy of headshot and resume, as well as which role(s) they are interested in, via email to auditions@outretheatrecompany.com.

The following roles are available unless otherwise noted:

The Threepenny Opera by Bertolt Brecht and Kurt Weill, adapted by Robert David MacDonald and Jeremy Sams
Directed by Skye Whitcomb
Runs August 28 – September 13, 2015
Rehearsals begin mid-July 2015.

Macheath – Male, 25-35. The underworld’s most infamous criminal, charismatic and sadistic. Tenor.
Jonathan Jeremiah Peachum – Male, 40-60. The “King of the Beggars,” a cunning and vicious organized crime boss. Baritone.
Celia Peachum – Female, 35-55. The strong-willed matriarch of an organized crime family. Mezzo-soprano.
Polly Peachum – Female, 18-25. The Peachums’ daughter, a bit sheltered but learning fast. Soprano.
Jackie “Tiger” Brown – Male, 30-45. The chief of police and Macheath’s former Army buddy. Baritone.
Lucy Brown – Female, 18-25. Tiger’s daughter, sensual and smart. Soprano.
Jenny – Female, 25-35. Prostitute and former lover of Macheath’s. Mezzo-soprano.
Ensemble (3 men, 3 women) – All ages. Play a variety of roles, including gang members, prostitutes, and constables.
Medea by Euripides
Directed by Skye Whitcomb
Runs March 11-27, 2016
Rehearsals begin mid-February 2016

Medea – CAST. Auditionees will be considered as possible replacements. Female, 30-45. A strong woman consumed by grief and rage as her husband leaves her and her children for a younger woman.
Jason – Male, 35-50. A strong politician, ex-military, who sees political advantage in leaving his wife for a younger woman.
Creon – Male, 40-60. A powerful, well-connected man who approves of Jason’s maneuvering. Jason’s future father-in-law.
Nurse – Female, 30-50. Nanny to Medea and Jason’s children. She herself was left by her husband earlier in life.
Tutor – Male, any age. Tutor to Jason and Medea’s children, he is also a spy for Jason who mistrusts his wife.
Chorus – Six women who represent different aspects of Medea’s psyche. They also step in as various characters.
Goblin Market by Polly Pen and Peggy Harmon, adapted from the poem by Christina Rossetti
Directed by Sabrina Lynn Gore
Concert Production
Runs April 8-10, 2016
Rehearsals begin late March 2016

Lizzie – Female, 25-40. A Victorian wife and mother who has returned to her childhood home. Strong and loving. Operatic mezzo-soprano.
Laura – Female, 20-35. Lizzie’s younger sister. A wife and mother herself, she is more impetuous and less proper than her sister. Operatic mezzo-soprano.