ClassicsFest 2011 Opens Tonight!

It’s Opening Night! Not just for “The Doctor’s Dilemma,” but for ClassicsFest 2011! We couldn’t be more excited here in the office as we put together the finishing touches on an exciting summer. From food trucks to tweet nights to ticket deals, be sure to follow us on Twitter to keep up with the special events happening at each performance (@AntaeusTheater).

This week, I spoke to Jessica Olson, the costume designer of ClassicsFest, to hear how things are going with next week’s show, “Twelfth Night.” I also checked back in with Robert Pine to see how he was feeling about “The Doctor’s Dilemma” opening night, especially after the compressed rehearsal period. “Obviously, there are compromises that have to be made as we get closer to doing this for an audience since our time is short,” Robert commented. “But we make discoveries every day.  I am quite pleased with where we are now and think by the time we have an audience we will have a most entertaining show.” He wasn’t feeling any pressure about the opening until I made the mistake of commenting on it. Oops.

Alexandra Goodman and Joe Delafield in last year's ClassicsFest production of "Arcadia," assistant costume designed by Jessica Olson (photo by Ehrin Marlow)

As for “Twelfth Night,” they’re one week away from their opening night and Jessica’s keeping busy, working on this show as well as the other ClassicsFest shows. “On a Classicsfest production, a costume designer is presented with a variety of challenges,” she noted. “For one thing, you have over six shows to costume. This includes working with that many different directors & stage managers all of whom have vastly differing work and artistic styles. Luckily, the design team remains the same, so that work dynamic is a constant. For ‘Twelfth Night’ in particular, I face several challenges.”

Jessica has been working with Claudia Weill, the director of “Twelfth Night,” to help determine the concept for this production, since Shakespeare plays can fit well into so many different time periods – a blessing and a curse. As Jessica describes it, “choosing a concept/era that fits not only the play, but also the cast, theater, & message the director wishes to convey can be tricky. For this play in particular you have the challenge of presenting the class differences between a variety of different character groups that interface with one another. Another obvious and immediate challenge is how to make Viola & Sebastian similar enough in appearance to be mistaken for one another. And of course, there is the famous trick on Malvolio that involves him being ‘cross-gartered’ a plot device that has challenged costumers for centuries. Cross gartering belongs to a very specific time period. If the play is not set in that time period, the costume designer must come up with a solution that works in that era. Finally, Claudia would like Viola & the Captain to appear in wet garments when they begin the show. Wet clothing always presents a challenge as it must be dried so no mold grows, and must not drip so that the floor does not become hazardous. It’s also a health concern for the actors appearing repeatedly in wet garments.”

“It’s wonderful to have an opportunity to work with all these directors,” Jessica told me, “It’s an excellent way to meet and network and it allows all of us to work on classical pieces that are not frequently produced. Additionally, it allows me to work at Antaeus, a theatre of which I am a passionate supporter, and of course, it’s rewarding because I get to spend my time doing something I love.” We’re so excited to kick off an amazing summer filled with fantastic productions and wonderful collaborators, all as passionate and talented as Jessica and Robert.

Summer Intern and Columbia University MFA Candidate Jen Hoguet is keeping you up-to-date on all things ClassicsFest this summer at Antaeus. She can be reached via email at jen@antaeus.org or followed on twitter @JHoToGo …..

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Peter van Norden on ‘King Lear’

One of the benefits of an ensemble company is the wisdom and insights of those offstage as well as the talents of those appearing in a particular production. Throughout the run of our production of King Lear and ClassicsFest 2010, we’ll be sharing thoughts from Antaeus company members about their experiences of the shows they see.

Peter Van Norden on King Lear
Okay. Lear. I’ve done the play twice and seen it countless times, so it’s the small, interesting choices that I’m drawn to – that fascinate me. So, here’s two moments that I found quite striking…one an image and one a “surprise” that I found quite affecting.

‘Lear’ before the hovel, at the end of the storm, III, iv.
It’s a famous speech, of course, ‘Lear’ praying in the tempest – “Poor naked wretches, wheresoe’er you are…” — but both Dakin and Harry have found a fully realized moment with “O, I have ta’en too little care of this.” It becomes a sudden, surprising revelation to both Kings — and it humanizes ‘Lear’ in a visceral, beautifully moving way. In both performances, this sudden self-realization quite literally took my breath away. I’ve never seen the moment presented as clearly or as movingly.

Another “surprising image” that startlingly brings the depth of the play into a shattering focus is provided by both our ‘Edgars’ and ‘Edmunds’ — at the very end of their fight. When ‘Edgar’ finally has the upper hand in the battle…he suddenly and viciously goes for ‘Edmund’s’ eyes, as if to pluck them out. For me, this horrifying image brought an extra level to their struggle – a level that I found quite affecting and that reflects on all that’s gone before it. Not only is this a political battle (for power), and not only is it ‘Edgar’s’ personal revenge for what’s been done to him…but it’s ‘Edgar’s’ uncontrollable response to what has been so unjustly done to their father (‘Gloucester’). It solidifies the ‘Gloucester/Edgar’ relationship in one startling, almost unbearable moment. Kudos to Bart and Ramon/John/Seamus/Daniel for coming up with this idea. Great moment….

‘King Lear’ Announces Cast – Official Press Release

NEWS RELEASE
FOR IMMEDIATE RELEASE
Contact: Lucy Pollak (for media only)
(818) 887-1499 lucy@lucypr.com

Antaeus Company opens ClassicsFest 2010 with Shakespeare’s tale of madness, tyranny, loyalty and love:
Bart DeLorenzo directs  KING LEAR.
Harry Groener and Dakin Matthews are double cast in the title role.

NORTH HOLLYWOOD, CA – May 18, 2010 – “Blow, winds, crack your cheeks! Rage! Blow!” The Antaeus Company, L.A.’s classical theater ensemble, opens ClassicsFest 2010 with its first full production of a Shakespeare play. Bart DeLorenzo directs King Lear with renowned scholar, actor and Antaeus founding artistic director Dakin Matthews and Broadway veteran/three-time Tony nominee Harry Groener heading two fully double-cast ensembles. Two gala openings, one with each cast, take place on Saturday, June 26 at 8 pm and Sunday, June 27 at 4 pm, with performances continuing through August 8 at Antaeus’ interim home, Deaf West Theatre in the NoHo Arts District. Low-priced previews begin June 12.

King Lear is the politically resonant, timeless and searing story of an aging monarch, a kingdom divided and a family in turmoil. Lear’s decision to divide his kingdom among his three daughters ignites a firestorm of greed and betrayal. Displaced as king and cast out as patriarch, Lear discovers the fragility of familial bonds as he descends into madness. Shakespeare’s sublime poetry infuses this towering tragedy, a tale of family, duty, politics and mortality.

King Lear marks the first full production of a Shakespeare play in The Antaeus Company’s 19-year history.

“We chose Lear because it’s a fantastic ensemble piece, and because we wanted to feature our founding artistic director, Dakin Matthews,” explains artistic director Jeanie Hackett. “Dakin is one of the country’s foremost interpreters of the Bard, and this is an opportunity to explore a Shakespearean play with the master. We double-cast all our productions, a technique that strengthens the way we collaborate and work together as an ensemble, so we’re incredibly fortunate to have the equally superlative actor Harry Groener to share the title role.”

Widely regarded as Shakespeare’s greatest tragedy and arguably one of the greatest English-language plays ever written, King Lear explores domestic, spiritual and political themes in a primal world and an ambiguous time that could just as easily be hundreds of years ago or hundreds of years from now. Harold Bloom, writing in “The Invention of the Human,” calls King Lear a play that shows “an apparent infinitude that perhaps transcends the limits of literature.”

“Many productions are opening in the U.S. and around the world this year, and that’s not a coincidence” notes DeLorenzo. “Everything is in flux: the economy, health care, the political power structure. When the world is changing, theaters do Lear.”

In addition to Matthews and Groener, the ensemble features Allegra Fulton and Kirsten Potter as Goneril; Francia DiMase and Jen Dede as Regan; Rebecca Mozo and Tessa Thompson as Cordelia; Ramon De Ocampo and John Sloan as Edgar; Daniel Bess and Seamus Dever as Edmund; JD Cullum and Stephen Caffrey as the Fool; Robert Pine and Norman Snow as Gloucester; Morlan Higgins and Gregory Itzin as Kent; Kevin Daniels and Adrian Latourelle as Cornwall; and John DeMita and Thomas Vincent Kelly as Albany. Rounding out the cast are Adam Meyer, Brett Colbeth, Gabriel Diani, Jeff Doba, Drew Doyle, Jeff Gardner, Bruce Green, Jason Henning, John Francis O’Brien, Renata Plecha, Jeremy Shouldis and Paige Wilson.

A multiple award-winning director, DeLorenzo is working with Antaeus for the first time. “This is an opportunity to explore one of the world’s great plays with a company of actors who can do the work justice,” he says.

Adds Hackett, “Antaeus is unique because we do weeks, months, sometimes years of exploratory work on a single play before even beginning to rehearse. It’s a very intensive and in-depth process, and perhaps one of the reasons that many of our productions are so successful.”

Set Design for King Lear is by Tom Buderwitz; Lighting Design is by Lap Chi Chu; Costume Design is by A. Jeffrey Schoenberg; Sound Design is by John Zalewski; Prop Design is by Jen Prince; Production Stage Manager is Deirdre Murphy; and Young Ji produces.

Bart DeLorenzo is founding Artistic Director of the Evidence Room in Los Angeles where he has directed many plays over the last 15 years including local and world premieres by Charles Mee, David Greenspan, Kelly Stuart, Philip K. Dick, Gordon Dahlquist, Martin Crimp, David Edgar, Naomi Wallace, and Edward Bond, as well as his own adaptation of Dickens’ Hard Times, Chekhov’s The Cherry Orchard, and Schiller’s Don Carlos, among many others. His recent freelance work includes the world premieres of Roberto Aguirre-Sacasa’s Doctor Cerberus and Donald Margulies’ Shipwrecked! An Entertainment at South Coast Repertory (later revived at the Geffen Playhouse); the world premiere of Joan Rivers: A Work in Progress by a Life in Progress at the Geffen; Sarah Ruhl’s Dead Man’s Cell Phone at South Coast Rep; Racine’s Britannicus at Cal Rep; and Around the World in 80 Days at the Cleveland Playhouse. Most recently, he directed Charles Mee’s bobrauschenbergamerica for TheSpyAnts at Inside the Ford, Adam Bock’s The Receptionist and Caryl Churchill’s A Number at the Odyssey, and the world premieres of Justin Tanner’s Voice Lessons at the Zephyr, and Michael Sargent’s The Projectionist at the Kirk Douglas. For his work, he has received five LA Weekly awards and three Back Stage Garlands.

The Antaeus Company, L.A.’s classical theater ensemble, has a 19-year history of providing quality classical theater in Los Angeles. Through productions, readings and workshops; through educational outreach to the community; and through acting training programs for young professionals, the Antaeus mission remains steadfast and simple: to keep classical theater vibrantly alive in ourselves and in our community. Members of the company and its board span a wide range of age, ethnicity and experience; they have performed on Broadway, at major regional theaters across the country, in film and television, and on local stages, and are the recipients of multiple accolades including Tony, Los Angeles and New York Drama Critics Circle, Ovation, LA Weekly, and Back Stage Garland nominations and awards.

King Lear is the centerpiece of The Antaeus Company’s 5th biennial ClassicsFest. Beginning July 6 and continuing for six weeks through August 15, ClassicsFest offers an invigorating “summer splash” of actor-initiated workshops, readings, and special events on Tuesday, Wednesday and Thursday evenings and Saturday afternoons, including Peace In Our Time by Noël Coward; Les Femmes Savantes by Molière; Puntila and Matti by Bertolt Brecht; The Helen Fragments by Euripides and others; Les Blancs by Lorraine Hansberry; Arcadia by Tom Stoppard; The Malcontent by John Marston; Juno and the Paycock by Sean O’Casey; The Merry Wives of Windsor by William Shakespeare; Faith Healer by Brian Friel; and The Capulets and Montagues by Lope de Vega.  The Festival features over 100 actors, and all readings and workshops have a very accessible $10 ticket price.

King Lear has two openings, each with a different cast, on Saturday, June 26 at 8 pm and Sunday, June 27 at 4 pm. Performances continue through August 8 on Fridays and Saturdays at 8 pm and Sundays at 2:30 pm and 7:30 pm. There will be one Thursday performance on July 1 at 8 pm, and no 7:30 pm performance on Sunday, July 4. Previews take place Tuesdays through Fridays at 8 pm, June 12 through June 25. Tickets range from $30.00 – $34.00 except Opening Nights which are $75.00 and previews which are $20.00. The Antaeus Company’s interim home is located in Deaf West Theatre, 5112 Lankershim Blvd., North Hollywood, CA 91601 (in the NoHo Arts District). For reservations and information, call (818) 506-1983 or visit online at http://www.Antaeus.org.

DETAILS FOR CALENDAR LISTINGS
KING LEAR

WHAT:
King Lear – The Antaeus Company, L.A.’s classical theater ensemble, presents its first full production of a Shakespeare play, the second offering of the troupe’s inaugural subscription season and the opening of ClassicsFest 2010. This timeless masterpiece of domestic tragedy is a tale of fathers and their unloved sons and daughters, of catastrophic change, and of the individual at the mercy of a hostile world. Bart DeLorenzo directs renowned scholar, actor and Antaeus founding artistic director Dakin Matthews and Broadway veteran/three-time Tony nominee Harry Groener, who are double cast in the title role.

WHO:
Written by William Shakespeare
Directed by Bart DeLorenzo
Ensemble: Daniel Bess, Stephen Caffrey, JD Cullum, Kevin Daniels, Ramon DeOcampo, Jen Dede, John DeMita, Francia DiMase, Allegra Fulton, Harry Groener, Morlan Higgins, Gregory Itzin, Thomas Vincent Kelly, Adrian Latourelle, Dakin Matthews, Rebecca Mozo, Robert Pine, Kirsten Potter, John Sloan, Norman Snow, Tessa Thompson
Also featuring: Adam Meyer, Brett Colbeth, Gabriel Diani, Jeff Doba, Drew Doyle, Jeff Gardner, Bruce Green, Jason Henning, John Francis O’Brien, Renata Plecha, Jeremy Shouldis Paige Wilson

WHEN:
Previews: June 12 – June 25
Performances: June 26 – August 8
Tuesdays at 8 pm: June 15, 22 (previews)
Wednesdays at 8 pm: June 16, 23 (previews)
Thursdays at 8 pm: June 17, 24 (previews); July 1
Fridays at 8 pm: June 18, 25 (previews); July 2, 9, 16, 23, 30; August 6
Saturdays at 8 pm: June 12, 19 (previews); June 26 (Opening); July 3, 10, 17, 24, 31; August 7
Sundays at 4 pm: June 13, 20 (previews); 27 (Opening)
Sundays at 2:30 pm: July 4, 11, 18, 25; August 1, 8
Sundays at 7:30 pm: July 11, 18, 25; August 1, 8 (dark July 4)

WHERE:
THE ANTAEUS COMPANY
Deaf West Theatre
5112 Lankershim Blvd.
North Hollywood CA 91601
(one block south of Magnolia – ample street parking)

HOW:
(818) 506-1983 or http://www.Antaeus.org

TICKETS:
Opening Nights* (June 26 & 27): $75
Thursday, Friday and Sunday night: $30
Saturday night and Sunday matinee: $34
Previews: $20
ClassicsFest Workshops and Readings: $10

*Antaeus has two opening nights, as all productions are fully double-cast.

###

The Antaeus Academy: Origins & Curriculum

“The Academy is a door into a wonderful community of actors who truly, wholeheartedly love what they do, and I am honored to be a part of it.” -Chris Pine

ABOUT THE ACADEMY: By Jeanie Hackett, Artistic and Academy Director

At Antaeus, we believe mastering the acting challenges of great classics takes a lifetime. And we believe that wanting to take on these challenges is what makes for great acting. Here, we’re constantly putting young artists-in-training together with seasoned professionals — in the classroom, in readings, workshops and in full productions. So that skills, work ethics, inspiration are not just taught but ‘passed down.’

At Antaeus, you learn through study and by osmosis from some of the most talented and acclaimed actors and directors in the country, as you take part in a program that makes the utmost demands on your instrument: voice, body, intellect and talent. Antaeus is a company of artists who share your passion for great acting, great language, great human stories. The exhilaration of this lifelong collaboration—artist to text, artist to process, artist to artist – is what informs our productions and feeds our hunger for exploration and theatrical truth. It’s why an ongoing ensemble company can make theater that can thrill audiences– and maybe even make a difference in the world.

“Taking classes at Antaeus has been an incredibly illuminating and fruitful experience for me. The unique thing about the Academy that I feel is lacking in other courses in this town, or anywhere for that matter, is the inspirational way we are encouraged to look at the text and our characters. Antaeus does not produce “cookie-cutter” actors but inspires us all to think outside the box and really home in our unique selves, which then creates unique characters and a truly spectacular result, which is captivating theatre.” -Rebecca Mozo


ABOUT THE ACADEMY

Academy training programs are for established professionals and upcoming, early-career actors. Our ability to give students the opportunity to explore complex texts in front of an exciting array of esteemed actors, directors, and instructors makes us unique among Los Angeles acting schools. Created in part so that we could get to know the work of younger actors for company projects, actors in Academy workshops become a part of a community of artists who cultivate and nourish a passion for the greatest (scripted!) hits of all time.

Our astonishing roster of ongoing Academy guest moderators includes some of the finest actors, directors and acting teachers in the country: Annette Bening, Alfred Molina, Daniel Sullivan, Stefan Novinski, Kate Burton, Jonathan Lynn, Tom Moore, Jessica Kubzansky, Dakin Mattews, Brendon Fox, Art Manke, Bart DeLorenzo, Gordon Hunt, Austin Pendleton, Nike Doukas, Olympia Dukakis, Susan Sullivan, Michael Hackett, Barnet Kellman, Sheldon Epps, Andy Robinson, Stephen Wadsworth, Mark Rucker, Simon Levy, Jeanie Hackett, Susan Sullivan, Andrew Barnicle, Jeffrey Nordling, Arye Gross, Armin Shimerman, Jean Louis Rodrigue, Rowena Balos, Stephen Collins, Alan Mandell, Stephanie Shroyer, Blythe Danner and Gregory Itzin among many others are regular guests in our scene study and Shakespeare classes.

We believe that working on great material with a variety of experienced teachers is the best way to create dynamic, flexible actors who can excel, inspire, and amaze, whether working on stage, or in film or television. Actors coming to the classics for the first time have the opportunity to become familiar and comfortable with a wide range of dramatic literature and acting styles. Well-trained actors coming to us from graduate programs have the invaluable experience of testing their technique against real-world scenarios: multiple points-of-view, methods — and directors. Thus, the workshops provide both a safe and supportive atmosphere and one that mirrors the realities of the professional world where actors are called upon to adapt to many different styles and ways of working over the course of a career.

Most Academy workshops culminate in invited presentations of scene work for the company; in doing so we hope to foster a community of artists who share a common artistic language as well as a dedication to a company spirit of working together to create vibrant, moving, entertaining theater.

“The space, the people, the instructors made it so that I dared take my acting to higher levels and push myself to the limit. It made me feel like an actor again – not an auditioner, which is how LA sometimes makes you feel.” — Kristin Proctor Campbell

CLASSES OFFERED

CLASSICAL STYLES
A fourteen-week scene study class for actors from 18 to 35 years old. Each four-week segment focuses on a different aspect of classical theater, including modern classics. In the Fall, each month is divided into Shakespeare, the Greeks, and work on Shaw, Wilde and Coward. The Spring session covers Chekhov, Ibsen and Strindberg, American Classics, and Moliere and Restoration Comedy. Jeanie Hackett (actress, teacher, and author of The Actor’s Chekhov and Towards Mastery) is the principal moderator with a variety of guest moderators leading the class every other week.

Class Details & Requirements
Classical Styles meets Tuesday evenings from 7 -11 pm and culminates in a scene presentation open to Antaeus members and invited guests. Students are eligible for casting in Antaeus Company readings, projects, and productions, and the presentation is the primary way Company members get to know students and their work. 24 – 26 students participate in each session, students do at least three new scenes and two reworks over the three month period. Admission by audition only. We look for strong, classically trained actors, as well as younger actors who show genuine potential for meeting the challenges presented by classical texts.

“One of the best parts of Antaeus is that the class leads to a performance. You get the excitement of moving towards something.” –Ryan Spahn

SHAKESPEARE WORKOUT
Experience the challenges and rewards of playing Shakespeare in sessions moderated by a rotating group of L.A.’s top actors, directors and acting teachers. An ongoing, year-round program, SW features a different guest moderator every month.

Class Details & Requirements
Open to actors of all ages and levels of experience, the workout focuses on text analysis, monologue and scene work. Open to actors in of any age with the discipline and potential skills for classical work. This workshop meets Tuesdays from 2 – 5 pm for twelve (12) weeks. Actors new to the workshop commit to an initial 12-week session; returning actors may join the workshop on by the month. We are looking for actors of any age eager to learn or re-discover the skills required for dealing with Shakespeare’s text.

INTENSIVE IMMERSION

These workshops focus on a single playwright, style, or acting technique, are led by a master teacher and culminate in a presentation for Antaeus Company members and guests. In the past, these workshops have included Dakin Matthews’ Intensive Immersion in Shakespeare and John Achorn’s master class in Commedia dell’Arte. Future Intensive Immersions may include a workshop in myth and mask work led by Andy Robinson, a Russian Theater/Chekhov Immersion led by Jeanie Hackett, and a Language in Shakespeare workshop led by Gregory Itzin and/or Alfred Molina.

Class Details & Requirements
These two-weekend long workshops are open to actors with extensive experience in classical theater, and by audition to actors who have completed Classical Styles. Actors recommended by Company members will be accepted without audition. Workshop fees vary according to program and length.

THE YOUNG IDEA: A Noel Coward Weekend Extravaganze – June 26-28, 2009

What a swell weekend we’re planning for those who love Coward — and who doesn’t?!? Please join us for one or more of these special events!

With the generous support of the The Noël Coward Foundation, Antaeus presents a weekend of events celebrating the master writer in all of his manifestations! Drawing on the title of an early Coward play, dozens of young, upcoming professional actors perform staged readings of some of Coward’s most fascinating, lesser-known work; brought to life by young directors, all mentored by noted, seasoned professionals. Plus, we have workshops on the life and style of Coward. See below for a detailed schedule.

$10.00 suggested donation for each event. Audience members between the ages of 16 – 25 are FREE! 40 seats will be held every night for Young Adult Audiences. Space is VERY limited–make your reservations NOW by emailing events@antaeus.org. All events take place at Antaeus at Deaf West Theatre, 5112 Lankershim Blvd., North Hollywood, CA 91601

xoxo US at Antaeus
~~~~~~~

FRIDAY, JUNE 26

6-7pm
“NOEL COWARD: THE MAN” Roundtable
Who was Noel Coward and why are we drawn to him? Moderated by Kathy Williams,
the West Coast Liason to the Noel Coward Society
Where: Antaeus Library

7:30pm
HAY FEVER Reading
**Reading followed by reception
Director: Douglas Clayton
Mentor: Jonathan Lynn
Cast: Christina Pickles, Robert Pine, Brooke Bastinelli, Etta Divine, Gabe Diani, Drew Doyle, Whitney Hudson, Annie Melchor, Adam Meyer & Adeye Sahran

SATURDAY, JUNE 27

11:30am
AH, SAMOLO Reading
An adaptation of Coward’s novel POMP AND CIRCUMSTANCE
Written By K.M. Williams, Directed By Elizabeth Swain
With Rhonda Aldrich, Antonio Anagaran, Ben Chang, Mark Deklin, Whitney Hudson, Antonio Jaramillo, Lynn Milgrim, Maggie Peach, Ned Schmidtke, Janellen Steininger, Joel Swetow, Kitty Swink, Reba Thomas & Laura Wernette.

3:00 – 6:00pm
“ACTING A NOEL COWARD SONG”
An Interactive Workshop for singers and non-singers to learn how to act a Noel Coward song.
Taught by Harry Groener and Nike Doukas
Reservations required – limited spots available!

6:00pm
Exhibit: “NOEL COWARD: THE SPY”
During WWII, London asked much of its countrymen–how much did Coward give?
Location: Antaeus Library

7:30
PEACE IN OUR TIME Reading
**U.S. Premiere!
Complacency or freedom: Which would you choose?
Noël Coward’s one and only anti-war propaganda play
**Reading followed by reception
Director: Jessica Bard
Mentor: Barry Creyton
Cast: Josh Clark, Lily Knight, Melinda Peterson, Phil Proctor, Janellen Steininger, Josh Ansley, Eric Bloom, Kendra Chell, Brett Colbeth, Etta Devine, Danielle Doyen, Drew Doyle, Karianne Flaathen, Jeff Gardner, Alexandra Goodman, Aaron Lyons, Kellie Matteson, Mark Moore & John O’Brien.

SUNDAY, JUNE 28

3:30 – 4:30pm
Roundtable: “NOEL COWARD: THE PLAYWRIGHT”
Antaeus actors come together for a exchange of ideas on Coward’s themes, world-view, and acting style.

5:00pm
EASY VIRTUE Reading
One woman’s fight against the rigid moralities of her time.
**Reading followed by reception

Director: Kari Hayter
Mentor: Art Manke
Cast: Rhonda Aldrich, Ned Schmidtke, Brett Colbeth, Joe Delafield, Wyatt Fenner, Karianne Flaathen, Amy Hendrickson, Raleigh Holmes, Aaron Lyons, John O’Brien, Jason Thomas, Jocelyn Towne, Rebekah Tripp & Nicol Zanzarella –Giacalone.

Abby’s Wilde Idea: Part 2 – The Crooner

Abby’s Wilde Idea: Part 2 – The Crooner

In which Ms. Abby Wilde describes her obsession with Harry Groener and how the Antaeus Company is 3 degrees of Joss Whedon.