Outre’ Announces Its 2017/18 Season

The Outré Theatre Company is proud to announce its 2017/18 season, its sixth full season and its first as a resident theatre company of the brand new Pompano Beach Cultural Center!
“We’re really looking forward to our new home in Pompano Beach,” said Outré’s Artistic Director Skye Whitcomb. “It’s been a great experience working with the Cultural Arts Creatives in preparation for the season, and we’re very excited about the shows we’re planning on producing. We live in perilous, quickly changing times,” Whitcomb continued. “Our season reflects our commitment to thought-provoking work, and it also reflects the political and social climate we find ourselves in.”
Outré Theatre Company’s 2017/18 Season:
1984 by George Orwell, adapted by Andrew White
July 13-30, 2017
Thursdays through Saturdays at 8 pm, Sundays at 2 pm
Tickets: $39 adults, $29 seniors, $19 students and industry
Tickets available at www.ccpompano.org or by calling (954) 839-9578
Outré begins its sixth season with a disturbingly timely adaptation of George Orwell’s seminal dystopia 1984. This adaptation, written by Andrew White, premiered at the Lookingglass Theatre in Chicago, and later moved to the Steppenwolf Theatre. This haunting look at fascism and doublethink will be Outré’s first production in the Pompano Beach Cultural Center!
American Idiot by Billie Joe Armstrong and Michael Mayer
November 2-19, 2017
Thursdays through Saturdays at 8 pm, Sundays at 2 pm
Tickets: $39 adults, $29 seniors, $19 students and industry
Tickets available at www.ccpompano.org or by calling (954) 839-9578
Outré brings Green Day’s punk opera American Idiot to South Florida. Written as a response to the political climate of the era of “extraordinary rendition,” the Patriot Act, and “freedom fries,” American Idiot follows three friends as they struggle to choose between their dreams and the gray anesthesia of suburbia.
Reservoir Dolls adapted by Erika Soerensen
February 1-18, 2018
Thursdays through Saturdays at 8 pm, Sundays at 2 pm
Tickets: $39 adults, $29 seniors, $19 students and industry
Tickets available at www.ccpompano.org or by calling (954) 839-9578
Outré is proud to bring an East Coast premiere to the stage of the Pompano Beach Cultural Center: Reservoir Dolls by Erika Soerensen! Quentin Tarantino’s 1992 indie hit breakthrough Reservoir Dogs is reimagined with an all-female cast. A group of thieves assemble to pull off the perfect diamond heist, which turns into a bloody ambush when one of the women turns out to be a police informer. Soerensen’s work is a thoughtful, funny, and bloody commentary on our perception of women and violence. Outré’s production of Reservoir Dolls will also be the first production of the play to be directed by a woman, Assistant Artistic Director Shannon Ouellette.
A fourth production, which will be announced at a later date, will run March 22 through April 8, 2018.
Season subscriptions for 1984, American Idiot, and Reservoir Dolls are available for $99 for adults, $74 for seniors, and $49 for students and industry. Both season tickets and individual performance tickets may be purchased online at www.ccpompano.org, or by calling (954) 839-9578.
About Outré Theatre Company
Outré Theatre Company is a young, vibrant theatre company in beautiful South Florida. Outré believes that theatre is a living art form with the power to reimagine and reexamine ourselves and the world around us. They strive to create theatre which stimulates thought, provokes reflection, and encourages activism. www.outretheatrecompany.com
About the Cultural Alliance
The Cultural Alliance is comprised of highly regarded performing arts organizations based in South Florida. The eleven resident companies of the Pompano Beach Cultural Center offer exciting individual performances, while also collaborating on special events and education programming. For more information, www.ccpompano.org.
About the Pompano Beach Cultural Center
The Pompano Beach Cultural Center and Library is a mixed-use City of Pompano Beach facility. The 47,000close square foot facility showcases a Cultural Center and Library under one roof. The Cultural Center features the best of regional talent in South Florida along with the finest international talent. A home to a 400-seat theater, an art gallery, and a state-of-the-art digital media center, the Cultural Center brings all disciplines together, not just under one roof but onto one stage.

2016/17 Season Auditions

The Outré Theatre Company, in conjunction with Showtime Performing Arts Theatre, is proud to announce auditions for its 2016/17 season. Auditions will be held July 17 from 6 pm until 10 pm, and July 18 from 6 pm until 10 pm, at the Showtime Performing Arts Theatre in Boca Raton. Auditions are BY APPOINTMENT ONLY. To schedule an audition, please email auditions@outretheatrecompany.com with an electronic copy of your headshot and resume, your preferred audition date and time, and which role(s) you are interested in. Auditionees should prepare two contrasting monologues, not to exceed two minutes each. Musical auditionees should also prepare 16 bars of a rock-tempo song. An accompanist will be provided. All roles are paid.

The Normal Heart by Larry Kramer. Doug Wetzel, director.
September 22 – October 9, 2016
Rehearsals begin August 30

Ned: Male, late 20s – early 30s. Writer and activist. Relentless and opinionated.

Ben: Male, 40s – 50s. Ned’s brother, lawyer, conservative.

Emma: Female, 30s-40s. Physician, devoted, strong willed, HIV pioneer.

Bruce: Male, 30s. Banker, successful, closeted, reluctant.

Felix: Male. Reporter, conservative, outgoing, masculine. Latino.

Craig: Male, 20s. Emma’s patient, AIDS sufferer.

Mickey: Male, 30s – 40s. Jewish, volunteer.

Tommy: Male, late 20s. Southerner, outgoing.

Hiram: Male, late 30s – 40s. Mayor’s assistant.

Grady: Male, late 20s-30s. Volunteer, African American.

Examining Doctor: Male, 40s – 50s. Superior, authoritative.

NOTE: Some roles may be double-cast. Actors of color are encouraged to audition.

The Who’s Tommy by Pete Townshend and Des McAnuff. Skye Whitcomb, director.
December 1 – December 18, 2016
Rehearsals begin November 1

Captain Walker: Male, 30-45. A former soldier with lingering guilt. He murders his wife’s lover after coming back from a POW camp, resulting in Tommy’s trauma-induced blindness, deafness, and dumbness. Father to Tommy and husband to Mrs. Walker. Range: F3-C#5.

Cousin Kevin: Male, 18-25. A bully with sadistic tendencies. Tortures his cousin, Tommy, when they’re young and later seizes the opportunity to profit from Tommy’s success. Range: Ab2-B4.

Gypsy: Female, 25-35. A brazen drug dealer and prostitute. Tommy’s parents bring him to the Gypsy to experiment with unusual cures. Range: G3-F5.

Mrs. Walker: Female, 25-40. A weary middle-class woman. Mrs. Walker is tired and frustrated from trying to care for and cure Tommy. Tommy’s mother and Captain Walker’s wife. Range: G3-D6.

Sally Simpson: Female, 15-18. A bold, sensitive, and excitable teenybopper. Sally develops a fan crush on Tommy and rushes the stage to be close to him. Range: F3-D5.

The Specialist: Male, 30-45. A doctor with modern ideas about how to cure Tommy. Tommy’s parents hire him in their desperation to find any cure for their son. Range: G#3-F4.

Tommy/Narrator: Male, 18-25. An embittered young genius stricken deaf, dumb, and blind after a childhood trauma. Tommy discovers that he is a natural master of pinball, and later becomes a cult-like hero figure to masses enthralled by his story. Captain Walker and Mrs. Walker’s son. Range: Db3-B4.

Uncle Ernie: Male, 30-45. A lecherous, drunken bachelor. Ernie molests a young Tommy and later runs a children’s camp seeking to profit from Tommy’s popularity. Mrs. Walker’s brother and Tommy’s uncle. Range: G2-Bb4.

Ensemble: Males & Females, 18+. To play Soldiers, Nurses, Harlots, Lads and Lasses, Guards, and Reporters.

TBA (non-musical)
February 16 – March 5, 2017
Rehearsals begin January 17

TBA (musical)
May 25 – June 11, 2017
Rehearsals begin April 25

ROOMS Is On Its Way!

She wants to see every room in the world.


He just wants to stay in his.


The Outré Theatre Company is proud to announce a concert production of Rooms: a rock romance, part of Outré’s signature concert series! Starring Noah Levine and Erica Mendez, and directed by Managing Director Sabrina Lynn Gore, Rooms was nominated for Most Outstanding Musical for the Outer Critics Circle Awards, the Drama Desk Awards, and the Helen Hayes Awards. Outré is thrilled to present the South Florida premiere of this one-of-a kind musical.


The year is 1977. Punk rock and the New Wave have swept the world, and bands like the Sex Pistols, the Ramones, and the Clash are seizing the spotlight. Monica, an ambitious singer driven to make a name for herself, meets Ian, a reclusive guitarist who only wants to be alone with his music. Together, the two take the punk world by storm, traveling from Glasgow to London to New York, and along the way, they discover that more than music connects them. Struggling with the pressures of fame. Struggling with alcoholism, bulimia, and an unplanned pregnancy, Monica and Ian strive to find happiness in their music and in each other.


Rooms is not just a punk rock show,” says director Sabrina Lynn Gore. “It’s about relationships. It shows us that how no matter how you try to resist, you can’t fight the innate need for human connections. I think it’s going to speak to a lot of people.”


Rooms: a rock romance will be performed for two nights only, February 27 and 28, at the Stache Drinking Den, 109 SW 2nd Avenue in Fort Lauderdale. Performances are at 7 pm, and tickets may be purchased at the door or online at www.outretheatrecompany.com. We can’t wait to see you there!

“Back of the Throat” – The Sun-Sentinel Review!

Mind Games in “Back of the Throat”

by Rod Stafford Hagwood


Is he a terrorist? Are you?

That’s the text and subtext of playwright Yussef El Guindi’s “Back of the Throat,” being staged through Nov. 9 by Outre Theatre Company at Boca Raton’s Sol Theatre.

The taut, stomach-in-knots play is set in the paranoid days following the 9/11 attacks. Arab-American Khaled (Rayner Garranchan) is being casually questioned by two Homeland Security agents in his New York studio apartment. “If you have nothing to hide, you have nothing to worry about,” he is reassured. Not told exactly why he is a person of interest, Khaled responds: “It’s like battling ghosts.”

Over the next 80 minutes with no intermission, the web widens, and the noose tightens. The feds — Bartlett (Jim Gibbons) and Carl (Tim Gore) — keep finding titles on Khaled’s bookshelves that raise their doubts from elevated yellow to severe red. Answers to seemingly innocuous questions are turned jujitsu style back on Khaled, who is desperately trapped by insinuation and innuendo.

“It’s not profiling,” Bartlett says, noting that all the 9/11 terrorists are of Arab descent. “It’s deduction.”

“You know what I resent?” Carl asks after things have escalated. “What you make us become.”

In flashbacks, we get glimpses of what happened before Khaled answered the door. Carl and Bartlett interview three women, all played by an on-her-game Faiza Cherie, as they home in on ties with known terrorist Asfoor, played by an equally terrific Freddy Valle. There, the script reveals its brilliance: The interrogators are not sadistic madmen. That would be too easy. We are shown how they arrive at such a terrible place.

Visually speaking, “Back of the Throat” works when it really shouldn’t. The play isn’t so much designed with sets and lights as it is plunked down in the middle of the very intimate Sol Theatre with a few pieces of furniture serving minimal purpose.

And yet, the acting is visceral down to the pores, oozing flop sweat and the smell of fear. Is Khaled the victim of a Salem-like witch hunt (if he floats, kill him. If he sinks, well, that’s our bad) or is he a left-wing, militant Maoist who is into bestiality?

“Back of the Throat” throbs with that question. The implications are so awful, and the play’s execution is so engrossing, applause seems almost irreverent.


Outré Is Coming To The Broward Center!

Outré is coming to the Broward Center! Outré is thrilled to announce that its productions of Othello and Bloody Bloody Andrew Jackson will be performed at the Broward Center in the Abdo New River Room! We will also be adding a staged reading of Marie Antoinette: The Color of Flesh to be performed at the JM Family Studio Theatre in the newly built Education Building, opening this year at the Broward Center. We’ll also have some more announcements to make later in the season.

Our first show of the 14/15 season, Back of the Throat, will be performed at Sol/Evening Star in Boca Raton. So join us in Boca at the beginning of the season, and then join us on our journey to the Broward Center!

Thank you to everyone who has supported us as we make the transition into this next exciting phase of Outré! It’s gonna be one hell of a season 3!

Riveting, Creepy ‘Thrill Me’ Impresses at Outré

Reviewed by Hap Erstein for Palm Beach Arts Paper

The year was 1924, but the “thrill killing” of a 14-year-old boy by Nathan Leopold and Richard Loeb was so brutal and senseless that it was already being labeled “the crime of the century.”

Over time, the case would continue to capture the nation’s imagination, in Alfred Hitchcock’s film Rope, Ira Levin’s novel Compulsion and John Logan’s play Never the Sinner. And most recently in Thrill Me: The Leopold & Loeb Story, composer-lyricist-playwright Stephen Dolginoff asks, “Why not a musical?”

Indeed, boiled down to its two-character essentials and then heightened with the impact of music, Thrill Me is a creepy experience, a description that would surely please Dolginoff. He would also be pleased, I suspect, by the production at Outré Theatre Company in Boca Raton, a stark, chilling presentation, thanks to the dead-on performances of Mike Westrich (Leopold) and Conor Walton (Loeb) and the assured, minimalist direction by Outré’s artistic director, Skye Whitcomb.

Both real-life characters were born to wealth, with too much time and money on their hands. And in the case of Loeb, he is drawn to the writings of Nietzsche, which leads him to believe that he is a superior being, above the laws of man. As depicted here, Leopold is drawn to Loeb on a sexual level, a weakness that Loeb uses to exact a contract, signed in blood, that the two of them will be jointly committed to a life of crime.

When the thrill of robbery wears off, Loeb gets it in his head that murder must be next. In a song of icy calm — an understated tour-de-force for Walton — he proposes that they kill his own brother, then mercurially changes his mind to opt for a random homicide. And little Bobby Franks, in the wrong place at the wrong time, becomes their victim.

Events are narrated in flashback by Leopold from the vantage point of 1958, his fifth parole hearing, in which he dredges up oft-told memories of his relationship with Loeb, the murder and their trial, defended by the wily Clarence Darrow — the best lawyer money could buy — who maneuvered them away from the death penalty. Westrich carries much of the storytelling burden and is very effective, but it is Walton who is particularly unnerving, creeping onto the stage in Leopold’s mind.

Dolginoff’s score has a period feel and a dramatic insistence, showcasing the two performers’ sweet, fevered harmonies on duets. Kristen Long accompanies on keyboard very effectively, with simple arrangements that keep the focus on the two voices.

Whitcomb stages Thrill Me with unflinching assurance and deadly unease. In its short past, Outré has overreached with some of its show choices, but this unnerving chamber musical plays to the company’s strengths and suggests the dramatic power of which the troupe is capable.



The 2013/14 Season

Artistic Director Skye Whitcomb and Managing Director Nori Tecosky have announced Outré Theatre Company’s 2013-2014 season.

“Our sophomore season is really very eclectic,” Whitcomb remarked. “We have two brand new works, we have caustic dark comedies, we have Shakespeare – we’re really trying to show how some themes thread their way through the centuries. This year our focus is on how often people skirt around uncomfortable truths, whether those truths are about ourselves or about others. You can see that in all the works we’re producing this year, from works that are five hundred years old as well as works that are still being workshopped.”

The season opens with a reading of a new work, Flashing Lights by Edward Excalibur, produced under the auspices of the South Florida Theatre League’s Summer Reading Series and sponsored by WLRN. Being produced on July 29, Flashing Lights examines the disintegration of a couple’s relationship as they deal, each in their own way, with the effects of tragedy.

Outré follows this up with a South Florida premiere, a one-weekend only performance of the outrageously successful off-Broadway hit Bloody Bloody Andrew Jackson. This reimagining of America’s first populist president casts him as a rock star, and examines the thrills and terrors that populism brings. Continuing Outré’s penchant for incorporating the band into the action of their musicals, Bloody Bloody Andrew Jackson will perform September 20-22.

In November, Outré brings us back to the Bard, one of the original bad boys of theatre, with Much Ado About Nothing. The original romantic comedy, Much Ado follows the rock-strewn path towards romance followed by Benedick and Beatrice, this time set in modern-day Venice, California. Mistaken identities, lavish parties, and a beach cop riding a Segway – what could possibly go wrong? Much Ado plays November 1-17.

Outré begins the new year with a concert of a brand-new musical, The Journey by Outré’s resident musical director, Kristen Long. Set in present-day New Orleans, and featuring a bluesy rock score, The Journey shows us the differing lives of five individuals as they strive for what they desire and what they need. Playing for one weekend only, The Journey graces Outré’s stage on January 17-19.

The next full production comes in March with Noah Haidle’s blacker-than-black comedy Mr. Marmalade. Haidle’s work centers on a four-year-old little girl with an imaginary friend, Mr. Marmalade. Innocent, right? What if that imaginary friend is a cocaine addict who beats his personal assistant and has a penchant for porn and sex toys? In that case, you have Haidle’s I-can’t-believe-I’m-laughing-at-this Mr. Marmalade, playing March 28 through April 13.

Outré finishes its sophomore season with the musical Grey Gardens, playing May 23-June 8.  Based on the 1975 film, the musical follows Edith Bouvier Beale and her daughter “Little Edie,” aunt and cousin to Jacqueline Kennedy Onassis, on their descent from wealth and power to decrepitude and decay. Powerful and haunting, Grey Gardens examines what happens when sedentary complacency prevent us from pursuing and holding on to our dreams.

Season ticket packages will be available August 1, and can be purchased either by calling 954-300-2149 or online at www.outretheatrecompany.com. Single production tickets will be available August 19. For more information, call 954-300-2149 or email info@outretheatrecompany.com.

Tick, tick. . .BOOM! Time well spent at Mizner Park


“Too often in our lives, we sacrifice,” starts the director’s note for Outré Theatre Company’s production oftick, tick. . . BOOM!, a semi-autobiographical tale of the life of Broadway musical composer Jonathan Larson. But are we really? Sacrificing, that is.

tick, tick. . . BOOM! was loaded with layers when Larson wrote it, but became even more layered after his sudden death a few years later. The events surrounding BOOM!are what was going on in Larson’s life as he was trying to create what became the mega musical Rent, which changed the face of modern Broadway theater. Although Andrew Lloyd Webber and Tim Rice had written Broadway musicals with a rock music score, Larson did something different. With Rent, he told a contemporary tale of a group of twentysomethings living in the 1990s, when AIDS had seeped into many corners of young lives, gay and straight.

Read the rest of the review here.

Outré Announces Its 2013-14 Season Auditions

Outré Theatre Company is proud to announce season auditions for its 2013-14 season! Auditions will be held August 4 from 12-5 pm and August 5 from 5-10 pm. Please prepare 2 contrasting monologues, not over 1 minute each (if auditioning for Much Ado About Nothing, one monologue should be classical). If you are auditioning for a musical, please also prepare 16 bars that show off your range.

Auditions are by appointment. To schedule an audition, please email Skye Whitcomb at skye@outretheatrecompany.com or call 954-300-2149.


Bloody Bloody Andrew Jackson – September 20-22

ANDREW JACKSON – A roguish, man’s president who is deeply charming and sexy, yet is also an extremely violent, arrogant, bigoted idiot that fights for what he believes in. Male, 22-32 yrs old. Range: Bb2 – Bb4
BLACK FOX – Native American chief who is intelligent and somber with a hint of danger. He used to have an alliance with Jackson. Male, 25-35 yrs old. Speaking Role
FEMALE SOLOIST – Self-confident, attractive singer with powerful, emotive indie rock voice. Dark, mysterious, hip vibe. Doubles as other roles. Female, 20-30 yrs old. Range: G3 – B4
HENRY CLAY – An over-the-top, vivacious, tall, cadaverous, and villainous senator with greasy hair who wears weasel pelts. Doubles as other roles. Male, 28-36 yrs old. Range: D3 – A3
JAMES MONROE – Foppish and overwhelmed old-school President of the United States. Doubles as other roles. Male, 30-40 yrs old. Speaking Role
JOHN C. CALHOUN – A sinister, good-looking, charming, and brilliant gentlemen senator from the South who is a vain mastermind. Doubles as other roles. Male, 25-35 yrs old. Range: B2 – F3
JOHN QUINCY ADAMS – The former President’s whiney, spoiled, and demanding son who really wants to be president. Doubles as other roles. Male, 22-32 yrs old. Range: B2 – E4
LYNCOYA – Adopted Native American son of Andrew Jackson who has a sweet disposition with a wild streak. Male, 5-8 yrs old. Speaking Role
MALE SOLOIST – Brooding, intense rocker with powerful, emotive indie rock voice. He is angsty, good-looking, young, and hip. Doubles as other roles. Male, 18- 25 yrs old. Range: D3 – E4
MARTIN VAN BUREN – Jackson’s right hand man who is in over his head. He is a well-intentioned buffoon who is utterly lovable. Doubles as other roles. Male, 25-35 yrs old. Speaking Role
RACHEL JACKSON – Jackson’s deeply religious and devoted wife who is strangely alluring, yet not overtly sexual. Doubles as other roles. Female, 25-35 yrs old. Range: A3 – B4
THE STORYTELLER – A milquetoast, oppressively good-natured, history-loving narrator that has not had much excitement in her life. Female, 35-55 yrs old. Speaking Role

Much Ado About Nothing – November 1-17

DON PEDRO – A powerful man who knows it; quietly and confidently in control of every situation. Male, 35-55.
BENEDICK – A charming and witty virtuoso of language; wealthy but not ostentatious. Male, 25-35.
CLAUDIO – A young man searching for something to dedicate himself to, something that will give him purpose. Male, 22-28.
DON JOHN – Cunning and amoral. Feels that he has been wronged by his brother, Don Pedro. Male, 25-45.
BORACHIO – A sycophant of Don John’s. Cruel in a careless sort of way. Male, 25-45.
LEONATO – A politician, smarter than most, but also smart enough to hide it. Male, 55-75.
HERO – Leonato’s daughter, she has been born to wealth and prestige. Female, 18-25.
BEATRICE – Leonato’s niece. Highly intelligent and quick-witted, fiercely independent. Female, 25-35.
MARGARET – Hero’s not-quite-bright “attendant.” Female, 18-30.
DOGBERRY – A beach cop. Has watched way too many reality cop shows. Male, 30-50.
VERGES – Dogberry’s partner. Personifies the “bright-eyed and bushy-tailed” junior cop. Male, 25-35.
THE WATCH – two beach cops under Dogberry’s command

Mr. Marmalade – March 28-April 13

LUCY – A 4-year-old little girl, with a vivid imagination, an absent father, a neglectful mother, and an imaginary friend. Female, 18-30.
MR. MARMALADE – Lucy’s imaginary friend. Debonair, stylish, addicted to cocaine, and physically abusive. Never has any time for Lucy. Male, 25-45.
SOOKIE – Lucy’s mom. Relies on men for more than they’re good for. Tends to forget about Lucy. Female, 25-35.
EMILY – Lucy’s babysitter. The first girl in her class to get boobs, and is quite proud of it. Female, 18-25.
GEORGE – Emily’s boyfriend. A stereotypical high-school male. He also is quite proud of Emily’s boobs. Male, 18-25.
LARRY – A 5-year-old little boy. He has bandages on his wrists, and is the youngest suicide attempt in the history of New Jersey. Male, 18-30.
BRADLEY – Mr. Marmalade’s personal assistant. Can sing like an angel. Slightly effeminate. Male, 25-45.
A CACTUS AND A SUNFLOWER – Talking plants. Played by the actors who play Emily and George.
A MAN – Sookie’s one-night stand. Played by the actor who plays George.

Grey Gardens – May 23-June 8

EDITH BOUVIER BEALE/”LITTLE” EDIE BEALE – Plays mother Edith in act one and daughter Edie in act two. Female, 45-55. Vocal range: legit soprano or mezzo-soprano to F-sharp 5, mix/belt to D5. Highly recommended that this actress be familiar with the film, as Little Edie is a unique character with many specific traits.
“BIG” EDIE BEALE – An eclectic woman who fondly recalls her days of glory entertaining guests at lavish parties in the heyday of Grey Gardens. Female, 65-75. Vocal range: character alto E3-C5. It is recommended that this actress also be familiar with the documentary film.
YOUNG “LITTLE” EDIE BEALE/ENSEMBLE – Portrays young Edie in act one, and participates in the ensemble in act two. Female, 22-28. Vocal range: mix/belt to D5, soprano to B-flat 6.
JOSEPH KENNEDY, JR./JERRY – Plays Joseph Kennedy, handsome and suave, in act one, and plays handyman Jerry in act two. Male, 22-32. Vocal range: tenor, C3-G4.
GEORGE GOULD STRONG/ENSEMBLE – Plays pianist and confidante Gould in act one, and participates in the ensemble in act two. Ability to play the piano is helpful, but not necessary. Male, 40-50. Vocal range: baritone or tenor, C3-F4.
MAJOR BOUVIER/NORMAN VINCENT PEALE – Plays the strict, domineering patriarch of the Bouvier family in act one, and the beloved minister and author of “The Power of Positive Thinking” in
act two. Male, 60-75. Vocal range: baritone, C3-E4.
BROOKS SR./BROOKS JR. – African-American actor. Portrays loyal family servant Brooks Sr. in act one, and landscaper Brooks Jr. as well as a member of the ensemble in act two. Male, 30-40. Vocal range: baritone, C3-E4.
JACQUELINE BOUVIER/ENSEMBLE – Thirteen years old – lovely, poised, and well-mannered, although dearly in love with her wacky Aunt Edith and her performances. In the second act she participates in the ensemble. Female, 13-18. Vocal range: juvenile mix belt, C4-E5
LEE BOUVIER/ENSEMBLE – Ten years old – tomboyish, energetic, and joyful, sharing her sister Jackie’s love of her Aunt Edith. In the second act she participates in the ensemble. Female, 10-18. Vocal range: juvenile mix belt, C4-E5.

“An Iliad” Wins New Times’ “Best Of” for Solo Show!

Broward-Palm Beach New Times Awards Outré’s An Iliad Best Solo Show!

For its first full-length-play production, emerging Mizner Park company Outre chose a work that was both minimalist (in its cast and production requirements) and maximalist (in its broad thematic umbrella). A modern retelling of Homer’s similarly named epic poem, An Iliad dramatized the narrative of the Trojan War through the eyes of a road-weary itinerant storyteller, played by Avi Hoffman. Slinging an occasional guitar and swilling the more-than-occasional guzzle of booze, Hoffman broke many a fourth wall while colloquially inhabiting Agamemnon, Achilles, Petroclus, Hermes, and the rest of them in an exhausting exercise running more than 90 minutes. Set designer Sean McClelland provided him with a morbid playground — a bombed-out, multitiered war zone that bridged the gap between battles past and present, which is the ultimate message behind the play’s antiwar monologue. Stefanie Howard’s lighting design proved equally instrumental in creating the show’s electric atmosphere, and ditto for Danny Butler’s soundscape, which merged ancient sword-and-sandals sound effects with present-day war reports. This may be remembered as Hoffman’s finest hour, not to mention an artistic breakthrough for Outre; I dare say Homer has never been this engaging.

Read the original article here.