Archive for Uncategorized

Congratulations to the cast of the 7th Annual One Act Play Festival

OLT would like to thank all of the performers who auditioned for the upcoming production of The 7th Annual One Act Play Festival! We saw some extraordinary talent, which made casting very difficult. Congratulations to those cast!

Margins
Playwright, David Susman; Director, Beatriz Esteban-Messina
Ashley- Abigail Stokes
Professor Hoffman- Jack Pignatell

Split Decision
Playwright, Kitty Dubin; Director, Bill Kaufman
Marsha Klein- Florence Pape
Marty Klein- David Silberger
Skipper Crane- James Perlas

Suggested Donation
Playwright, Duncan Pflaster; Director, Cynthia Smith Barry
Doreen- Hayley Pass
Bill- Matt Haines
Joey- Dylan Zafran

The Callback
Playwright, Leland Frankel; Director, Marilyn Schilkie
Lewis Ashford- Paul Bettys
Molly Bates- Debra Carozza Lynch

The Quick Start Guide to Booting Your Man-Bot
Playwright, Phil Darg; Director, Thomas Winkler
Amy- Joanna Sigurosson
Man-Bot- Eric Robitaille
Repairman- Dylan Zafran

The Robber Bridegroom Auditions

Old Library Theatre would like to announce auditions for The Robber Bridegroom, our first Main Stage Production for our 2018 season!

Auditions will be held Saturday, November 18, from 11 a.m. to 3 p.m. Callbacks will be held Sunday, November 19, from 2-5 p.m. You can preregister for the auditions here.

The Robber Bridegroom
Performances February 16, 17, 18, 23, 24 & 25, 2018
Fridays & Saturdays at 8:00pm. Sunday at 2:00pm.
Directed By Alyse Neubert. Produced by Craig Tiede
Music Direction by David Sheridan. Choreographed by Alex Acevedo.
Stage Management by Ellie Anderson

​AUDITION REQUIREMENTS
Please prepare either two contrasting vocal selections (32 bars from a musical or classic bluegrass), OR a short character driven and physicality based monologue (60-90 seconds) and ​ONE 32 bar selection of music. Musical selections should be in the in the style of Robber Bridegroom or from a rock musical. Hair, Bloody Bloody Andrew Jackson and Bright Star to name a few. Be prepared to move at call backs and prepare your best Mississippi accent.

**All roles are open.

Set in eighteenth century Mississippi, ‘The Robber Bridegroom’ is a darkly comic Southern fairy tale about a charming gentleman bandit, the rich plantation owner’s daughter he loves, the wicked stepmother who wants her dead, and an evil thief who carries his brother’s head around in a trunk.
We are looking to cast about 15-20 energetic, hardworking and creative people. We are looking for actors who make bold and big choices, both physically and vocally. We will be looking for singers who can move and who exude confidence and fearlessness. Dance ability is not required for all roles, but for some.

We will be running a dance audition before, during, or after the vocal audition. You may be asked to dance at any point during the audition; after you sing, please do not leave until we let you know you are done!

AVAILABLE ROLES

Jamie Lockhart/the Bandit of the Wood – A “gent and a robber all in one,” Jamie Lockhart/the Bandit of the Wood is the show’s main character. His true identity, Jamie, is an honest, law-abiding man who ends up engaged to Clement Musgrove’s daughter Rosamund (though she is in disguise); while his alter-ego, the Bandit, is a swindling robber who comes across the undisguised Rosamund in the wood and becomes her lover.

Rosamund – Clement Musgrove’s beautiful, naive, doted-upon daughter by his first wife. She meets the Bandit of the Wood and falls in love with him; she disguises herself and makes herself undesirably dim-witted when Jamie Lockhart comes to visit, unaware that he and the Bandit are the same person (and he is unaware Rosamund is the girl he met in the wood).

Salome – Clement’s second wife. Older and ugly, she calls herself the “prickly pear” to the “lily bud” that was Rosamund’s late mother, who was just as beautiful as Rosamund. However, she is quite a bit more intelligent than her husband and stepdaughter; detesting Rosamund, she puts her intelligence to use and spends the duration of the show thinking up schemes to kill Rosamund, enlisting the help of the “village idiot,” Goat.

Clement Musgrove – Rosamund’s father, Clement is the richest planter on the Natchez Trace. Clement still harbours longings for his first wife (often he compares his daughter to his first wife, though it always accidentally is in a sexual manner), and this makes Salome, his second wife, incredibly jealous. Clement vows to marry Rosamund off to Jamie, who he doesn’t realise is the Bandit of the Wood.

Little Harp – The most gruesome bandit in the history of the Trace, Little Harp is a horny, dirty man. He is violent and seems to only fear the Bandit of the Wood. He spends the show looking for money to steal and women to rape – particularly helpless girls who are tied up – but through this, he becomes intricately involved in the show’s mayhem. He is the brute half of the Harp brothers duo. However, he does prove to have some of his brother’s intelligence, as he comes up with several ingenious schemes (though they all fail in the end and cause his death).

Goat – The dumb boy with a brain the size of a scuppernong seed, Goat is enlisted by Salome to carry out her plans to kill Rosamund in exchange for a suckling pig, though Goat’s many attempts to do as she asks go awry. In the end, he strikes a better deal with Little Harp. His sister is Airie.

Big Harp – A “cut off head in a trunk,” Big Harp was Little Harp’s elder brother and the brain half of the duo. He was put to death for thieving, but his brother rescued his severed head and carries it around in a trunk. However, Little Harp makes a deal with Goat and exchanges his brother’s head for “Rosamund” (who in reality is Airie, Goat’s sister).

Raven – The Harp brothers’ talking raven. Accompanying the brothers initially in the show, Raven is stolen by Jamie and appears throughout the show advising the characters to “turn back, my bonny.” Little Harp eventually kills Raven.

Airie – Goat’s sister. Just as dumb as her brother, Airie has no lines, but plays a pivotal part when Goat decides to trick Little Harp and put Airie in a sack and claim it’s Rosamund. Airie escapes while Jamie/the Bandit knocks Little Harp out.

Goat & Airie’s mother – Only moderately more intelligent than her children, Goat’s mother all but forces Goat to make a deal with Salome.

Congratulations to the cast of Bridges of Madison County

OLT would like to thank all of the performers who auditioned for the upcoming production of Bridges of Madison County! We saw some extraordinary talent, which made casting very difficult. Congratulations to those cast!

Cast List

Francesca- Lauren Ann Palmeri
Richard “Bud Johnson- Tim White
Robert Kincaid- Craig Tiede
Marian- Emma Love
Michael- Jack Lobley
Carolyn- Sammy Cordero
Marge- Lorraine Ford DeMan
Charlie- Bob Russell
Ensemble-

Julie Galorenzo
Jenn Bedell
Christina Weakland
Michael Patrick Damato
Chris Traina

Congratulations to the cast of Children of Eden!

Thank you to the performers who auditioned for OLT’s upcoming production of Children of Eden! We saw some extraordinary talent, which made casting very difficult. Congratulations to those cast!

Father- Pedro Jimenez
Adam- Aaron Noriega
Eve- DeAnna Choi
Cain- Brian Levario
Abel- Hunter Halliwell
Seth- Matt Cavallo
Noah- Noah Brendemuhl
Mama- Evan Charpentier
Japeth- Bobby Snyder
Yonah- Natasha Gaston
Ham- Ryan Green
Aysha- Matrika Hay
Aphra- Kaitlyn Gandolfi
Shem/ Snake (Baritone)- Manny Dunn
Aidan Mascoli- Abel’s Death Solo
Snake (Alto)/ Generations Solo- Evianna Hawkins
Snake (Tenor)/ Generations Solo- Nick Wager
Snake (Mezzo)/ Storyteller- Allison Macri
Snake (Soprano)/ Wasteland Soloist- Cina Gabel
Wasteland Soloist- Matt Cordero
Wasteland Soloist- Alexa Jimenez
Storyteller- Danielle Bouie
Storyteller- Lisa Kosak
Storyteller- Tabitha Spitz
Storyteller- Tara Perrothers
Storyteller- Leah Feingold
Storyteller- Roger Manzano
Storyteller- Eric Robitaille
Storyteller- Christian Spinella

Congratulations to the Cast of Pippin!

Thank you to the more than fifty performers who auditioned for OLT’s upcoming production of Pippin! We saw some extraordinary talent, which made casting very difficult. Congratulations to those cast!

Pippin – Jack Lobley
Leading Player – Katie Weigl
Charlemagne – Bob Russell
Fastrada – Lauren Rowland
Berthe – Maryanne Delaney-Bush
Catherine – Kassi McMillan
Lewis – Jesse Bush
Theo – Craig Legras

Featured Dancers –
Nicole Boscarino
Tyler Donovan
Elisabeth Erdmann
Paige Erdmann
Chris Gatterdam
Michelle McMillan
Jacob Michael

Ensemble –
Maria Alessi
Cassandra Barckett
Donna Bialkin
Christina Eliades
Leah Feingold
Katrina Fett
Taylor Grbelja
Pearl Hart
Judi Layne Niebuhr
Leigh O’Neill
Frank Riccobono
James Russo
Cynthia Smith Barry

Our Time: OLT Celebrates 50 Years of Musical Theater

On Saturday, June 24, Old Library Theatre will mark its 50th anniversary by celebrating the past fifty years of musical theater. In a concert featuring songs from each Tony Award winning Broadway musical from 1967-2017, more than sixty singers, dancers and musicians will light up our stage with a stroll through our time.

Directed/Conceived by Craig M. Tiede
Music Direction by Cathy Corcoran
Maestro/Orchestrations by Anthony Bevilacqua

Get your tickets today!

VOTE FOR THE BEST OF 2016!

Our 2016 season is a wrap! Now, let your voice be heard: Vote for your favorites by completing the 2016 OLT Awards Ballot.

CONGRATULATIONS TO OUR NOVEMBER 2016 FRIEND OF THE MONTH!

Congratulations to Patt Tanner, OLT’s November 2016 Friend of the Month! Patt

See all our Friends of the Month and visit our Become a Friend page for more information.

Budgeting a Season at OLT – An Open Letter from Our President

Friends,

At our November Monthly Meeting, I facilitated a discussion about how the executive board approaches planning and budgeting a season at OLT. For those not able to join us in person, here’s what you missed!

When first elected president, I encouraged the organization to conduct an open assessment – asking patrons and members to provide feedback on their experiences with, and perceptions, of OLT. The results of this 2013 community satisfaction survey gave us many valuable insights, from which we enacted a few substantive changes.

A leading piece of feedback received indicated that, though the talent on-stage and off was of a high caliber, OLT was not investing financially in them (production teams and musicians), nor in the visual components patrons looked most forward to enjoying – namely set and costume design. As a result, we began a years-long process of reallocating resources, fundraising and other initiatives that would allow us to provide our productions with additional funding for those production aspects. We increased stipends for members of the production team, added a set designer to all main stage productions, and increased budgets for sets, props and costumes.

At this same time, we began collecting and logging data – a must for any business. It’s important for us to understand who our patrons and performers are, what shows they want to see and participate in, and how our productions perform over time. We’ve used data from the past four seasons to help us plan season selection and budget productions selected. This has allowed us both to raise the quality and quantity of our productions. In fact, it’s that very relationship – quality and quantity – and the public confusion about how each relies on the other, that prompted me to discuss our internal planning at our November meeting. It’s important to me and all members of the board that our performers, production teams and members have a full understanding of how, and why, we operate as we do.

First, let’s start with some numbers that will be important to keep in mind:

– We perform in a space that has a maximum capacity of 170. For each performance, that’s the maximum number of tickets that can be sold.
– We have a staggered ticket pricing structure, which at our patrons’ urging we have not changed. We remain committed to not raising ticket prices – which currently are $20 (Adults), $18 (Students/Seniors), $15 (Groups), $10 (Children Under 12/Members) and $5 (House Staff). Over the past four seasons, our average ticket price has been $17.87.
– Over the past four seasons, our average ticket sales across all productions is 91 seats per performance. That’s an overall sales percentage of 53.89%.
– As part of our relationship with the Borough of Fair Lawn – we’re the resident theater company! – we give 20% of all ticket sales to them, following each production.

OLT productions run for one or two weekends, for a total of 3, 4 or 6 performances. Six performance runs are given to main stage musicals, four performance runs are given to one-weekend special event musicals, and three performance runs are given to plays. These performance numbers are based on projected ticket sales balanced against the cost to produce and license each specific show. Plays are much cheaper to produce than musicals – both because they don’t require musicians and because licensing fees are much lower.

For a main stage musical, the maximum ticket sales intake for a sold-out six performance run (170 seats x 6 performances x $17.87) would be $18,227.40. Twenty percent of that would go to the Borough, leaving a maximum net profit of $14,581.92.

As previously noted, we sell an average of 53.89% of tickets. So, likely ticket sales intake for a main stage musical (91 seats x 6 performances x $17.87) would be $9,757,02. With twenty percent going to the Borough, that would leave us a maximum profit of $7805.62 — approximately $3000 below the typical budget currently set for a main stage musical.

In 2016, OLT set a season operating budget of $52,206.65, split across eight productions. As a self-funded, not-for-profit theater, we do not start with that money in the coffers; rather, we set our season operating budget based on what we believe we can make back through our revenue streams. There’s an argument that OLT should return to offering only its constitutionally-mandated four performances each season – one main stage play and three main stage musicals – as doing so would give more money to those productions and benefit the organization overall. But here’s why we don’t–

Let’s assume OLT presents four productions, each running for six performances, and were to maintain the same operating budget ($52,206.62). Given the funding needs of plays and musicals, in a four production season with the same overall operating budget, the starting budgets in this case would be:

– Play – $6425.83
– Musicals – $15,226.94 each

If each of these shows sold at our likely sales rate of 53.89%, the net loss for six performance runs of each would be as follows:

– Play – -$435.73
– Musicals – -$7421.31 each, or -$22,263.96 total

Over the course of one four-show season, this would cost OLT nearly $23,000. As we’re self-funded, not-for-profit and don’t operate from a donor base, this isn’t feasible.

Let’s then say that OLT presents four productions, each running for six performances, but decreased the season’s operating budget – keeping each production’s budget consistent with what was given to each 2016 production, but only for four shows instead of eight. In this case, the budgets would be:

– Play – $5084.28 (adjusted up $500 from 2016 budgets for 6 performance run)
– Musicals – $10,818 each

Under this scenario, if all shows sold at our likely sales rate of 53.89%, the net profit/loss for six performance runs of each would be as follows:

– Play – $1005.82
– Musicals – -$3012.38 each, or -$9037.14 total

Over the course of one four-show season, this would cost OLT more than $8,000.

In order for OLT to project a four-show season that would not lose money overall, production budgets would need to be cut by more than 20% across the board. Rather than increase the budgets for productions, less shows actually ends up meaning less money available for all.

In order to fund more lavish main-stage musicals, it’s proven vital that we also offer smaller, less expensive plays and musicals to help balance out the season financially. Despite all the data detailed above, theater isn’t always a science and what an audience does or does not respond to can’t always be predicted. Through additional offerings like youth productions, play festivals, concerts, original plays and musicals, OLT is able to offer a full season to capture audience’s imaginations – and to fund the bigger shows people want to see and perform in.

Our overall goal is to provide a diverse slate of performance and production opportunities that showcase talented folks in all forms. By offering more productions annually, not only do we ensure we remain fiscally viable, we also present performers and backstage talent with multiple opportunities to become involved. Not a singer? Audition for our plays! Not an adult? Audition for our youth productions! Not free during the school year? Audition for our summer productions! We plan seasons in hopes that everyone will find something that piques their interest – as performer, production team member or patron.

I’m proud of OLT’s growth these past four years and am excited to help shepherd the group into its milestone 50th season. But our growth isn’t about me – it’s about you! It is the community that you all bring to our community theater that has helped it thrive for fifty seasons and counting. As I always say to the cast and crew of each production: Thank you for sharing your time and talents with us. The world is our stage, and we’re very glad you’ve chosen to join us in telling the stories that both reflect, and change, our lives.

Craig M. Tiede
President, Old Library Theatre

Old Library Theatre’s “Sing Me a Story” Concert

Old Library Theatre, The Fair Lawn Recreation Department’s Resident Theatre company, is proud to present:

SING ME A STORY: Musicals Inspired By Books!
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Come enjoy a “catalogue” of hits borrowed from the library, as we celebrate an evening of musicals based on books!

Based on a concept and Directed by Mollie Gash, with Musical Direction by Cathy Corcoran and Produced by Brendan Joel Bartlett, SING ME A STORY promises something for everything, delivering a literary list of classics like Peter Pan, The Secret Garden, Jane Eyre, and Little Women, but the songs don’t stop with the classics – with selections from Hamilton, Fun Home, and Legally Blonde, you might be surprised just how much Broadway owes to Books!

Featuring OLT performers past and present, including:
Brendan Joel Bartlett
Fred Carlton
Debra Carozza
Evan Charpentier
A’ja Desormeau
Elaine Enright
Julie Galorenzo
Mollie Gash
Matt Haines
Evianna Hawkins
Rachel Lichter
Tomo Lovric
Brianna Morris
Eric Parkin
Helene Reiffe
Shayna Rives
Marilyn Schilkie
Bobby Snyder
Craig M. Tiede
Angela Vida
Linda Wielkotz
David Yurch

Put a “bookmark” in your planner for SING ME A STORY: Musicals Inspired By Books!

SING ME A STORY is ONE NIGHT ONLY!
Saturday, June 25, 2016 – 8:00pm

The performance takes place at the George Frey Center for Arts and Recreation, 10-10 20th Street, Fair Lawn, NJ 07410.

General Admission. All seats $25.
Ticket sell quickly, so please reserve early!

Box office voicemail: 973.OLT.4420
Email: info@oldlibrarytheatre.net

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