Rising Action Theatre Presents First Senior Readers Theatre Performances

Oakland Park – Rising Action Theatre, Inc. is presenting the first public stage readings by their new Senior Reader’s Theatre at two venues on November 23^rd and 24^th. 

The program will be a double bill of the first act (“Ravenswood”) of Terrence McNally’s comic classic Bad Habits, plus a short one act written by one of the Readers Theatre members, Harry Wagner, entitled The Cruise. 

The performances will be:

Admission for both performances is free. 

Rising Action’s Senior Readers Theatre is a new outreach program made possible by a generous grant by the John C. Graves Foundation of the Community Foundation of Broward.  The program has two goals: 1) offers seniors interested in expanding and utilizing their performance skills the opportunities to work with professionals to put on quality theatre readings to the public, and 2) enables Rising Action to present an expanded repertoire of works which promotes understanding among the GLBT and straight senior communities.   

The Readers Theatre is continuing through this winter, and seniors are invited to join by contacting program director Jerry Jensen at 954-456-9071 or 248-977-7500.

 

Direct from sold out shows in Key West, Rehobeth Beach, Palm Springs and Las Vegas, Rising Action Theatre presents Chris Peterson in Eyecons- Nov 6 - Nov 23.

Christopher Peterson, North America's foremost Female impersonator is amazing in his one man many women extravaganza "Eyecons."  He brings to life both visually and vocally (no lip synching here)  the greatest female stars of the 20th Century.

Performances are Thursday at 8 pm, Fridays and Saturdays at 9:30 and Sundays at 7 pm. Saturday November 22 show is at 10 pm. For tickets go to www.risingactiontheatre.tix.com or call 1 800-595-4849. Groups call 954 815-8826.

 
Audiences are awed as Marilyn Monroe appears from a cloud to coo "Diamonds are a Girl's Best Friend", they roar with laughter at Joan Rivers rapping, Lucille Ball mugging, Bette Midler kvetching, and are enthralled by Barbra Streisand's soaring voice. That's not all; there are also appearances by Reba Macntire, a sing along with Julie Andrews, Liza and Judy,  a wicked Bette Davis and the whitest Tina Turner you ever saw.

And, by the way, all of this is achieved by him never leaving the stage, changing right in front of you! It has to be seen to be believed!
 

Peterson's rendition of Streisand is a show stopper....like buttah -Toronto Star


Peterson actually sings the Streisand and Garland better than JIm Bailey. -Desert Sun

The last Hairdresser

Written by Doug Holsclaw

Directed and Produced by David Goldyn

by Stephen R. Lang, July 17, 2006  

Once again, it is amazing to see that there are people out there willing to take a chance on making sure that the arts are still alive and kicking.  David Goldyn of the Rising Action Theatre Company and his cast of very talented and extremely believable actors have brought the play The Last Hairdresser to life. 

Act One of the play is all about the history of all three main characters, their childhoods, and gay experiences.  Guy, played by Dwayne Tuttle, tells his story through short vignettes intermingled with that of Pere—played by Thomas S. Ford (and later will be switching with Brandon St. John), and also Foley, played by Eston Dunn.  All three stories are semi-similar in their experiences as far as knowing that they were different, being ostracized for femininity and quirkinesses, and personal coping mechanisms—one becoming Betty Davis.  All deal with the thoughts of disgracing their families, fear of being “outed” by local over-the-top gays, and fictitious reasons why they are in fact gay…”Suzie sells seashells by the seashore.”   

There are many important thoughts brought up within this play, Why does being gay bother people—especially other gays?  Which is funny to me, being the fact that I personally go from one subculture within this gay community of ours to another, and yet very few can.  I do not know about others but I can say from experience that I have heard the sentence, “I don’t like fags but I like you so I’ll make an exception.”  Or how about my favorite, “I don’t think I would have had sex with you if I knew you were gay.”  How about not getting a lead in a school play for not being convincibly masculine when it’s an all-white school doing “Flower Drum Song” with 26 whites playing Asians?     

This play deals with many subjects relevant to the young budding homosexual, how about being caught?  Foley is caught by his Boy Scout Troop Leader making a macramé headdress for someone and then years later by his brothers cutting hair on the beach for extra money at age 15?  Guy wants to be truly accepted, even when he goes away to college and lives with two hippies—even when he tried to be unwashed and unkempt he still was considered homosexual.    

This play also deals with the variety of occupations of these characters.  Foley, dead-set   on becoming Hairdresser to the Stars wants nothing more than do just that while Guy spends years becoming a bitter Flight Attendant.  Pere sweet Pere, wants nothing to do with being gay and has girlfriends and works for Starmucks and half-heartedly checks out girls with his Australian co-worker.  With simple small set changes you are whisked away to different locations and scenes clearly depicting what and where you are supposed to be.  Guy makes an interesting point, homosexuals—as a whole, many leave college before graduating due to pressure from being gay.  This leads to underpaying jobs which they are clearly overqualified for that leads to bitterness.  “It wasn’t decaf.”  After many years at being the Bitchy Stewardess, Guy finally cracks, “I’ve got a bomb in my ass and if you don’t watch out I’ll blow everyone away!”   

Cut to Guy trying to get out of the Psyche Ward and be deemed Fit for Society for Act Two and all their lives thus far.  An interesting aspect of gay life is brought to our attention, The Gay Guardian Angel.  One helps him inside and directs him to one on the outside—Huey played by Troy J. Stanley.  Huey is pretty much the Happiness Guru and becomes a beacon for Guy as he travels through life trying not to be a Bitch.  “Love the Bitch.  Cradle the Bitch.”  “Being nice is a journey.”   

Huey guides young Guy as he goes about his Court-Ordered Education process that was either Air Conditioning Repair, Diesel Mechanics, or hairdressing school.  Which one do you think he chose?  While there, he meets the wonderfully tacky Renata (played by Emily Ocheltree) who tells us over and over how much she thanks them from the bottom of [her] heart, Pere—whom himself is there as a result of legal ramifications, and of course, Foley, as the hardnosed and very bitter teacher.  These people go on the journey of learning to do hair, how to cope with life, and how to interact with others.  This is far from Truvey’s Salon on Steel Magnolias, but still quite fun none-the-less. 

I would love the opportunity to mention the other great cast members, for without their seamless efforts this play would have been choppy and unbelievable.  What you have to realize is that there are literally at least 50 scenes in this play.  Some scenes only last 30 seconds, but without the help of costumes, changing characters, and minor set changes by the cast, it could have been disastrous!  Every person was a professional, able to get their cues and glued everything together.  It did not seem odd that Steve Woolett would play a bully in Guy’s gradeschool class then in Foley’s Boy Scout Troop, and then later an “Straight Actor” for training films with Guy.  Also, it did not seem strange that Viviene Dawson should play Guy’s teacher, news Anchor Karen O’ Quinn, and Pere’s “girlfriend.”   Finally, a cast member from Southern Baptist Sissies alum was Noah Levy who played Hippy Rick, Sloan, a horney dog, and a guy forced to sit next to the very loud, drunk, and obnoxious Mr. Foley—Foley’s Dad, whose actions lead to Guy’s demise within the travel industry.   

This play is to be enjoyed by all:  gay, straight, single, married, old, young…everyone.  I would say, I have seen the writer Doug Holsclaw who has a stand-up comedy show for LOGO and spotted the key words sheer ambrosia, despise, detest, and loathe and talking about growing up where he did I could easily imagine he himself in many of these situations.   

Lastly, I would like to thank David Goldyn for bringing this play and Southern Baptist Sissies to the Boom Theatre through his company The Rising Action Theatre to bring us great gay-themed plays to Wilton Manors and I say that from the bottom of my heart.  I cannot wait to see what he has next.  If you take one thing away from this play, I would hope that it would be, “Love the bitch/Cradle the bitch” but, when necessary, “Frost the bitch!”