September 2008 – Macavity returns disguised as Old Deuteronomy. When revealed by Demeter, he fights with Munkustrap and the other Jellicles.

Macavity – Matiwane Matthews
Munkustrap – Dylan Hall
Demeter – April Hayes
Alonzo – Kevin Trippe

Artistic Director – Eric Shephard
Music Director – Elaine Garcia
Choreographer – Ashlee Jones
Costumes – Erin Shephard

Duration : 0:2:8

[youtube uWcbdqyssZU]

In this video, Mark’s outlines in 90 focused seconds the dynamics of targeting the audience, making the mission clear and important personally for the viewer, and providing direction for Blowing Rock theater’s meteoric success. His infectious enthusiasm and authoritative positivity was credible and sincere. (But what was he thinking with that “mullet” hair back in ‘94? …Cue the old Magnum PI theme song!)

Mark was a powerful promoter, communicator, salesman, educator and motivator. He articulated the mission of the theater in a manner inclusive of rich and poor, residents and tourists, those who sought art and those seeking just an occasional good-time entertainment. He mobilized the Town of Blowing Rock and appealed to the greater Watauga County and Blue Ridge region, embracing and giving ownership to the community at large.

Under Mark’s artistic direction and fiscal leadership, the theater proceeded to sell out 6 consecutive seasons, establishing the first union professional theater in northwest North Carolina, rapidly growing a reputation for the newest, best and newly-developing shows, Off-Broadway style. By 1989, Wilson was appealing to his audiences in his popular nightly curtain speeches the instability and at-risk community status of being an orphaned company as temporary summer theatre residents of Blowing Rock’s school auditorium.

From the first season in 1986, Mark understood that casting professional actors made the difference in his success. These artists made a full-time career commitment to perfecting their work. They were not locals, students, academics or marginally talented entertainers, and the Blowing Rock audiences appreciated and embraced this bold initiative for distinctive excellence. In fact, audiences expected it.

“We understand where you’re headed – stay on track and we will support this,” said one committed patron during the inaugural 1986 run. “We have plenty of community and college theatre choices here already.”

Within three years, Mark adopted a union contract, gaining access to the nation’s greatest resource of top-level professional talent, bringing a meager but dignified personnel wage, and more importantly: retirement and health benefits to adult professionals. Within the the theater’s first decade, Blowing Rock summer theatre became a reputable and cherished destination in the New York professional network.

The Blowing Rock Stage Company produced 24 consecutive seasons, establishing the regional standard for professional excellence AND providing the seminal inspiration for Blowing Rock North Carolina’s lavish permanent performing arts center.

Tim Baxter, veteran broadcaster and local personality, conducted this 15 year old VHS interview for local cable promotion. He was easy-going, and easy to talk to, bringing the best out of his varied community guests, and he was a generous promoter of all community events.

Tim was an enthusiastic supporter of this theater, and a driving force for the broader tourism economy of Boone, Banner Elk and Blowing Rock. He was a huge factor in bringing community information to the year-round residents of the region, and a vital force in making the Blowing Rock theater project a success.

Tim remains an asset in the hearts of the Boone Blue Ridge Mountain community today with Baxter Mountain Properties. http://baxtermountainproperties.com

Duration : 0:1:40

[youtube r-U1-p3BTf0]

Born in Dar-es-Salaam, Mr Verma grew up in Nairobi before moving to Britain in 1968. He graduated in history from the University of York in 1976. The following year he founded Tara Arts, the first theatre company to emerge from the then recently migrated South Asian community.

Duration : 0:6:46

[youtube FeVnFD_2c40]

Bat Boy – Adam Carter

Dr. Parker – Chas Lowery

Shelly – Lauren Zakrin

Meredith – Carol Zombro

Duration : 0:6:1

[youtube uW8xGtESTM8]

Miss Sandra falls for Ed/Natalie.

Miss Sandra – Erin Shephard
Natalie – Kristin Kerr

Artistic Director – Eric Shephard
Music Director – Tonya Miller
Choreographer – Ashlee Jones
Costumes – Erin Shephard

Duration : 0:2:32

[youtube 9RePelrdqK8]

Wilson was the first person privileged in the Hardwick/Craver creative cycle to read an early draft of RADIO GALS, sitting alone in a country restaurant high in the North Carolina Blue Ridge Mountains. He told the writers it was like gazing into some antique Christmas tree ornament as a child, only to find an entire world magically at play in miniature. The sweet innocence of the concept, neighbors gathered daily around a radio transmitter live on the air (WGAL) in the early 1900s, was overwhelming. Wilson pled his case humbly to produce the show.

Cliff Baker, the legendary director of Arkansas Rep was to have the honor of the world premiere, and Wilson traveled out to Little Rock to see it. The production was a triumph, and Wilson believed it should have gone straight from that stage to Off-Broadway, so enchanting was Baker’s realization of its spirit.

The play continued in development, and Blowing Rock Stage Company in Blowing Rock, North Carolina was destined to be the second production. This time, writer Mark Hardwick was both to direct the production, and play the piano as one of the Swindle Sisters (one of the show’s charming gags). Some of the choreography came directly from the writing team watching old black and white Follies movies of the 30s at Wilson’s home, where they camped out tweaking the script. That is Mike Craver as Azilee Swindle that you see on upright bass in this show, which requires the actors to play a variety of instruments, providing all of the live musical accompaniment from the stage.

Very few of the theater family knew that Hardwick was terminally ill. He completed staging the show – his last public performance was at dress rehearsal – and his understudy went on for him opening night and completed the run. As you watch this video, Mark Hardwick is watching with you, in the back row of the theater, huddled under a blanket as the theater’s eccentric air conditioning unit rained frigid air down the back wall, icing all who had those back row tickets each performance. And they did – every performance was sold-out. Handing out Blowing Rock blankets for those ticket-buyers was standard procedure for the House Manager. Show business…

The Blowing Rock production of RADIO GALS was to be Mark Hardwick’s final earthly artistic endeavor. It was the greatest honor of Mark Wilson’s twelve years’ leadership to be of service to the legacy of these brilliant writer/performers. RADIO GALS made its way to Off-Broadway, and is often performed at both professional and community theaters worldwide. It included many of Wilson’s favorites: Egyptology, early radio, spiritualism, flying saucers, time travel, exotic women, and talent beyond comprehension.

The Blowing Rock Theatre production cast included Klea Blackhurst, Candyce Hinkle, Emily Mikesell, Vivian Morrison, Joel Spineti, Bob Birdsong and Mike Craver. Direction, Choreography and Musical Direction by Mark Hardwick. Designer: Jennifer OKelly. Costume Designer: Yslan Hicks. Properties: Patricia Quinn. Technical Director: Curt Hardison.

Klea Blackhurst, the great New York cabaret performer, premiered the performance of DEAR MISTER GERSHWIN heard here. She is the standard by which all others are measured. That song has become one of the most frequently heard tunes performed by young auditioning actresses (ask any theatrical producer – it should be in the Guinness Book of Records!)

Dear Mister Gershwin,
Why were you staring out into space …
That look on your face was ever so odd to me.
Was it hunger or grief … Or just plain relief …
Mister Gershwin, what did you see?
Another world so free …
…A flying saucer?
or a prettier girl than me.
…And that’s how I met Mister G.

- MARK HARDWICK & MIKE CRAVER
http://www.mikecraver.com/gershwin.html
(Sheet Music and much more available here.)

It all makes sense, from this old video tape, lovingly restored 16 years later for archival joy. Everything in life is allegory in the hands of artists. What a gift.

Mark Hardwick on Tony Awards 1982: http://www.youtube.com/watch?v=SG6LA9UsJQ4

Duration : 0:4:3

[youtube ILUB6oW51kY]

But for the past three years I have been a part of a local theatre group for high schoolers- YES Company/ yescompany.org
Check it out!
I have been apart of 3 summer shows performing in a state of the art 1200 seat theatre in my city. Very lucky.
Wizard of Oz- Ensemble
Bye Bye Birdie- Hugo Peabody
Music Man- Tommy Djilas

And on top of that, there is a smaller group of that company which performs themed medleys to parties, meetings, and such around town. I have also been a part of that. 3 years. Pretty sure over 100 performances.

This company has been my learning tool and has taught me a LOT! But is that enough?
Next year I will be taking theatre classes at a community college for college and elective credit.
And I have mentored/volunteered/worked backstage for 6 shows which are the Junior/younger performer shows.

No formal dance/voice/acting training except for this company. I have depended on raw talent and I’m proud of what I have achieved so far. I am not a horrible dancer (I got Tommy Djilas ) nor singer, but just haven’t received technical training.

My number one college of choice is University of the Arts in Philadelphia and I wanna know what more should I do, specifically, to feel more confident in my talent.

Ideas? Comments? Questions? Answers?


You should check out NYU Tisch. They have a great MT department that could boast an alumni in every show on Broadway in recent years. I believe they have a drama summer program for High school kids.
http://specialprograms.tisch.nyu.edu/page/hsStudents.html
You should also audition for summer stock. Pick up a copy of Backstage and see what non Equity shows are being cast. It is a way of getting professional experience which will be helpful getting into school. If at all possible, you should attend a performing arts H.S. (it may be too late because you would only have a junior and senior year left.) You should take some singing and basic beginning dance classes too. To get on Broadway you must be a triple threat, because most people who get there are.

Tribal Bridges Crew

“TRUST+TEXT”
Anonymous tips to prevent and solve crime
Talk: 1-800-222-TIPS (8477)
Type: http://222tips.com
Text: TOR and your message to CRIMES (274637)

Duration : 0:3:0

[youtube yp9b8EWkCBw]

The 2007 Saskatoon Fringe Theatre Festival celebrates the presentation of innovative theatrical art. Theatre companies from across Canada and around the world will present 300 unique and affordable theatre performances

Duration : 0:2:54

[youtube O_yGcGJgFuo]