Eenie Meanie

1420680789 tmp Eenie  Bunbury Feb13-Mar1

This play replaces A LIFE IN THE THEATRE

 

Bunbury Theatre Company and Alchemy Productions present

EENIE MEANIE

written and performed by Teresa Willis

Feb13-March 1, 2015

Bunbury Theatre Company is proud to partner with Alchemy Productions to present EENIE MEANIE. Teresa Willis, a native Kentuckian is bringing her acclaimed autobiographical show to The Henry Clay Theatre for 12 performances. This solo performance piece is a white woman's touching and comedic look at conditioned racism within the well-meaning heart that is often deeply affecting for the audience.The show has toured Southern California extensively, as well as appearing at the Edinburgh Fringe Festival in 2005 and the New York & Cincinnati Fringe Festivals in 2006.  Her performance at the Cincinnati Fringe garnered an Acclaim Award for Best Solo Script, presented by the Cincinnati Enquirer.  Eenie Meanie was most recently produced by the Slant Culture Theatre Festival in 2013 and was received by rave reviews and sell out crowds. 

FEBRUARY

13 7:30

14 7:30

15 2:30

 

19 7:30

20 7:30

21 7:30

22 2:30

 

25 7:30

26 7:30

27 7:30

28 7:30

March 1 2:30

Ages of the Moon

Ages of the Moonby Sam Shepard

February 7-23/ 2014

On the night of a lunar eclipse; on the porch of an isolated Kentucky fishing shack, Ames has summoned his best friend Byron from out west to console him after his wife finds a note from a young girl scrawled on his Montana fishing map. Over shots of Woodford Reserve, they hash out a hilarious shared past, in which neither man seems to clearly recall the other’s presence.

 

Emmy nominated actor Patrick Tovatt comes out of retirement to reunite with director Steve Woodring and the Dean of Louisville actors Matt Orme for what will surely be a tour de force fit for the most discriminating audience.

Ages of the Moon was previously presented by : The Abbey Theatre in Ireland and Atlantic Theatre  in New York City. 

READ THE REVIEWS BELOW: 

PERFORMANCE DATES AND TIMES
 
FEBRUARY
 
FRIDAY            7- 7:30
SATURDAY       8 - 7:30
SUNDAY           9 - 2:30
 
WEDNESDAY   12 - 7:30
THURSDAY     13 - 7:30
FRIDAY          14- 7:30
SATURDAY     15 - 7:30
SUNDAY         16 - 4:30
 
WEDNESDAY   19- 7:30
THURSDAY      20 - 7:30
FRIDAY           21 - 7:30
SATURDAY      22 - 7:30
SUNDAY          23 - 2:30
 
 

Nearly two years ago Bunbury Theatre brought Sam Shepard’s gripping play “BuriedChild” to the stage — marking that play’s first staging in Louisville. That fall, Actors Theatre of Louisville followed with a production of the playwright’s “True West.” Both are considered hallmarks of American theatre.

Now, Bunbury has opened a production of Shepard’s “Ages of the Moon,” his most recent play written for actors Stephen Rea and Sean McGinley who appeared in its 2009 premiere in Dublin and in the 2010 American premiere in New York.

In Louisville, director Steve Woodring, who also directed “Buried Child,” has a proficient cast with guest artist Patrick Tovatt, an actor who had a long history of appearing in plays at Actors Theatre of Louisville and in several soap operas, and Matt Orme, a longtime Bunbury actor. Both portray two older men in a play written by an older Shepard, who is now 70.

Like Shepard’s earlier plays, this one explores the power of memories, no matter how imperfect. While memories have the ability to connect people, Shepard shows their power to alienate people.

In “Ages of the Moon,” the protagonist, Ames (Tovatt), has already alienated himself by moving to a remote cabin in rural Kentucky. There, the setting is simple — the porch with two Adirondack chairs and a table. There Ames reunites with Byron (Orme) while both drink bourbon from jelly jars and struggle to connect retelling their memories from youth.

But the two have not seen each other for decades. Byron only came to Kentucky by bus because Ames called in desperation after a split with his wife following his fling with a much younger woman.

Byron, having found Ames alone and in a self-imposed exile, struggles to pacify his old friend. Despite his efforts, disagreements about what actually happened rub the impulsive Ames the wrong way, giving way to gunfire and blows. This is a Shepard play, by the way.

Tovatt’s gives a subtle and heartfelt portrayal of Ames as a defensive man who is set in his ways while struggling to change and not knowing how. His outbursts, lead him to regrets and confessions of his own failings while Orme’s Byron seems more at peace with himself.

By the end, there is a powerful connection between the men that occurs not only through the sparse dialogue but through Woodring’s direction and Tovatt’s and Orme’s performances.

The play, which runs about 90 minutes without an intermission, is short but powerful. It’s bound to stew in the mind long after leaving the theater. / Elizabeth Kramer...The Courier Journal

 

Ages of the Moon

Written by Sam Shepard
Directed by Steve Woodring

Review by Keith Waits

Entire contents are copyright © 2014 Keith Waits. All rights reserved.

Ages of the Moon occupies unusual territory in Sam Shepard’s body of work. Surprisingly gentle and tender-hearted for the mind who wrote Curse of the Starving Class,True West, and Buried Child, the Pulitzer Prize-winning play that received its Louisville premiere from Bunbury and director Steve Woodring less than two years ago.

Woodring is back in the director’s chair for this production of the not-yet-published play about two aging friends, Byron and Ames, spending an evening on a cabin porch in Kentucky drinking Woodford Reserve and reminiscing about old times and current states-of-mind. This is only the fourth full-stage presentation of the script, but whatever witchcraft Bunbury Producing Director Juergen Tossman conjured to secure the rights, it was worth it.

Not that it stands as Shepard’s finest. Far from it. It never develops the deep, dark currents of family dysfunctionality that characterize his strongest work, limiting itself in scope to a very personal relationship between two men with no blood ties. It might be that those humbler goals position Ages of Moon as one of his more accessible plays, and the genial, eccentric interaction between the two men easily engages the audience. If it lacks a grander ambition, it nonetheless is rich with introspection and an exploration of identity that is cast in far less epic terms than True West.

In a talk back session following the play, Patrick Tovatt, who plays Ames, suggested that Shepard is here exploring two sides of his own personality, so that the conflict and resolution on display are a reflection of the author’s own personal struggles late in life. Such a reading emphasizes the intimate and yet confounding dynamic between the two men and and how choice an opportunity it becomes for the right two actors.

In Tovatt and Matt Orme, who plays Byron, Bunbury is fortunate to have found a worthwhile pair who are more than up to the task. Tovatt is a volatile Ames, perfectly navigating the sudden emotional transitions of the character with care and feeling, while Orme confidently uses Byron’s wry sense of humor to stabilize the interaction. At least that is how the play begins. Before they are done, these two veterans manage the transference of the two personalities with such subtlety and detail as to seem entirely organic and natural. These are two of the most likable characters in Shepard’s work but Tovatt and Orme avoid pandering and cheap effect by trusting by playing these men honestly.

It is also one of Shepard’s funnier plays, and no laughs are squandered. If the more sombre moments of the play seem to not move us as much as the humor, I think it is because the playwright is characteristically judicious in avoiding sentimentality and allows it here in such careful measure. Still, it is ultimately a touching story.

The design work is striking, with a beautifully realized set by Tom Tutino and costumes by Teresa Greer. Jesse Alford’s lighting was well-judged except for one over-emphatic moment towards the end, and the sound, which had no credit in the program, also displayed inconsistency in how volume and density were overstated at a key moment. Although the moments were slightly distracting, they are but quibbles. This is a first-class production.

 

 

 
 

Lady Day at Emerson's Bar & Grill

Lady Day at Emerson's Bar & Grillby Lanie Robertson

April 4-20

The time is 1959. The place is a seedy bar in Philadelphia. The audience is about to witness one of Billie Holiday's last performances, given four months before her death. More than a dozen musical numbers are interlaced with salty, often humorous, reminiscences to project a riveting portrait of the lady and her music.

"Hurts and exhilarates in just the right proportions." - New York Magazine
"Original and riveting." - London Times

 

 

PERFORMANCE DATES AND TIMES
 
APRIL
 

FRIDAY           4 - 7:30

SATURDAY      5 - 7:30

SUNDAY          6 - 2:30

 

WEDNESDAY  9 - 7:30

THURSDAY    10 - 7:30

FRIDAY         11- 7:30

SATURDAY    12  NO PERFORMANCE-  Thunder over Louisville 

SUNDAY        13 - 4:30

 

THURSDAY     17 - 7:30

FRIDAY           18 - 7:30

SATURDAY     19 - 7:30

SUNDAY         20 - 2:30

 

 

ART

ARTby Yasmina Reza

Translated by Christopher Hampton

 

June 6-15 / 2014

How much would you pay for a white painting? Would it matter who the painter was? Would it be art? One of Marc's best friends, Serge, has just bought a very expensive painting; it's about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn't have the proper standard to judge the work.

Winner of the Tony Award for Best Play. Winner of the Olivier Award for Best Comedy. "…wildly funny, naughtily provocative…" —NY Post. "…a nonstop cross-fire of crackling language, serious issues of life and art ……..Newsweek

 

 

PERFORMANCE DATES AND TIMES
 

 JUNE

FRIDAY            6- 7:30

SATURDAY       7 - 7:30

SUNDAY           8 - 2:30 / 5:30

 

WEDNESDAY   11: 7:30

THURSDAY     12 - 7:30

FRIDAY          13- 7:30

SATURDAY     14 - 7:30

SUNDAY         15 - 2:30

 

 

 
 

The Bunbury Dramedy Festival

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The Bunbury Dramedy Festival

by Various Playwrights

October 4-13 2013

DRAMEDY Origin: A blend of drama and comedy. In keeping with our tradition, we present an ecclection (made up word) of new works that tickle and tear their way into your hearts! Humor, pathos and a glass of Cabernet; that’s an evening you can’t resist! 

 

 

PERFORMANCE DATES AND TIMES
 
OCTOBER Fri      4 -        7:30
               Sat     5 -        7:30
               Sun    6 -        2:30
               Wed   9 -        7:30
               Thur  10 -       7:30
               Fri     11 -       7:30
               Sat    12 -       7:30
               Sun   13 -       2:30/ 5:30
 
Unwrap Your Candy and Wildwood Park - By Doug Wright
For Whom The Southern Belle Tolls - by Christopher Durang
The Chalky White Substance - by Tennessee Williams
I'm Herbert - by Robert Anderson
 
UNWRAP YOUR CANDY and WILDWOOD PARK open a delectable evening examining the terror of being an adult and the perils of being an unsuspecting audience member.
 
FOR WHOM THE SOUTHERN BELLE TOLLS (or "The Further Adventures of Amanda and Her Children") is Christopher Durang's spoof on The Glass Menagerie. This hysterical play This light-hearted parody of Tennessee Williams' The Glass Menagerie is one of Durang's most popular one acts. Though knowledge of Williams' classic play helps with enjoyment of the Durang parody, audiences unfamiliar with the Williams play can enjoy this crackpot comedy of parent-child tensions. 
 
THE CHALKY WHITE SUBSTANCE  Two haggard male figures meet at the edge of a vast canyon, overlooking a dried-out riverbed, in a future where the fallout from unnamed and uncountable nuclear wars continually floats through the air. It is the chalky white substance that covers the few inhabitants as they scramble in darkness and fear, fighting for the scarce, but indispensable, resources of water, food, shelter and human warmth.
 
I'M HERBERT is a sketch about two old, old people sitting on a porch in a pair of rocking chairs and talking. Just talking-and of course they don't know how funny they are. Each has had one or more previous marriages and perhaps a few flings, but they are hazy as to details. In fact, they don't always know which one the other one is.