Dreamcatcher Theatreworks brought Vaudeville back like whoa.
Vaudeville was a type of variety theatre popular between 1880 and the early 1930's. Each performance was made up of a series of separate, unrelated acts grouped together on a common bill.    Complete with hand-delivered beer, wine, and mixed drinks during the show, this Vaudeville of the new millennium was truly an incredible experience.


        Return of Vaudeville                   May 2010                        G        Producer's Club

N. Lugo

                       The Amazing Amy  


Broadway Singer Catt John

__________________

                   

                         Words                                          July 2009                          Gene  Frankel  Theatre

D. Sanxiun, J. Brunner, E. Gordon, M. Dalts, N. Meditz, L. Mammone

E. Gordon, L. Mammone, M. Dalts

E.Gordon, J. Brunner, M. Dalts




Performers:
Honor Amongst Thieves; Tony Grend;
The Amazing Amy; Michael Matson & Noel-Marie;  
Catt John; M.C. Nelson R. Lugo


Starting off the evening our M.C., the delightfully
ostentatious Nelson Lugo, warmed the audience up by p
erforming an act  called “The Human Blockhead”. It consisted of a 6 inch spike, a hammer, and the man’s nose. The act itself
forced more than a  few bodies to squirm in their seats
while simultaneously laughing hysterically at the strangeness
of it all. The fact that Mr. Lugo performed this feat it was no t
rick with such showmanship and glee set the tone for the
next 90min of amazingly entertaining spectacle. “The
Amazing Amy” performed an act called “Jedi Yoga: Stretching
from a Galaxy Far, Far Away”. Not only was this an incredible
act that would be right at home with any "Cirque Du Soleil"
show, but it was inspiring. “The Amazing Amy” truly lives up to
her moniker. Over 55 years old and in as good or better
physical shape as anyone I have seen, this woman is a
testament of what one can achieve with the human body, and
 the best argument on the practice of Yoga I have ever
seen or heard. Plus the entire routine was choreographed to the
score of “Star Wars”, making Jedi Yoga a memorable piece
 indeed. Much could be said of every act. The singers had
 the audience enthralled, clapping along with the music.
The sideshow of “Honor Amongst Thieves” had us stupefied
with each member of the troupe presenting his or her own
peculiar talent. A man escaping from a Straight Jacket the
way Harry Houdini used to. A woman walking, barefoot,
up a ladder made out of razor sharp swords, and another
man juggling two pins and an actual Machete that he
used to shave himself with while Juggling. All this and I
haven’t even mentioned the “Bed of Nails”. It was a great
night filled with things that I imagine no one in attendance
had seen before. The combination of so many different
acts together on one stage was truly a Return to the
Vaudeville of old. It felt like lightning in a bottle.






T. Grend




Honor Amongst Thieves with Audience Member






Performers of "Return of Vaudeville"









____________________________

Written by:
Jaqueline Brunner, M. Dalts, Kelly Feustel, Eric Gordon, Olivia Mammone, Nolan Meditz, Derj Sanxiun
Directed by:
Kelly Feustel


A unique look into the process and creativity of the modern
poet, "Words" follows the fateful night of a poet who suffers
from writer's block and the pressure of success.  On the edge of
his sanity, the Poet is visited by his five Muses: Time,

Mentor, Nymph, Romantic, & Aggressor.  Each Muse competes
for attention, slowly chipping away the Poet's patience. 
Told in choral poem format, "Words" features the original
 works of the poet/actors that performed them: M.
Dalts, Jacqueline Brunner, Eric Gordon, Olivia Mammone,
Nolan Menditz, and Derj Sanxiun.  The poetry was arranged
and directed by Kelly Feustel, creating a cohesive story that
was easy to follow and heart-wrenching; a true transformation
from your typical poetry reading.

D. Sanxiun & N. Meditz

D. Sanxiun, N. Meditz, M. Daltx, E. Gordon, L. Mammone, J. Brunner

D. D. Sanxiun

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                   Le Cid                                              July 2009                        Gene  Frankel  Theatre




C. Titus, B. McNamara, W. LeClair 


                 W. LeClair




W. LeClair, L. Aquiler, C. Titus

Written by:
Pierre Cornielle; Translated by: Ranjit Bolt

Directed by:
Richie Pepio

Pierre Corneille’s Le Cid has become largely forgotten by American audiences because of its genuine simplicity. As the centuries passed since its first production (France, 1637), popular drama begun to focus on the more internal, subtle inner workings of the characters minds; causing the subtext to drive the play rather than the text alone. 

What distinguishes Le Cid is that the characters free-willed actions bind them to a tragic fate rather than an act of god, as is common in other neoclassical theatre. In adjusting the script, pacing the scenes, and staging the overall production, Pepio retains the traditional intentions of the characters and the romantic chivalry of the piece while still being fast-paced and exciting enough to appeal to the modern audience.  

Keeping the melodrama to a minimum, Pepio emphasizes the speed and magnitude at which the events are spiraling out of control.  A unique overlapping of scenes keeps the action rolling and the audience engaged.  In this distinctive interpretation, the usually offstage battles unfold chronologically between scenes and three artfully potent tableaus serve as chapter headings emphasizing the ever-changing relationship between the lovers.  The clever set up forces the two areas of the audience to face one another, creating an edgy illusion that not only are you part of the action - but you must choose a side.



C. Frati, J. Benson, W. LeClair,


           C. Titus



C. Titus, B. McNamara, W. LeClair



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                       Peter                                                July 2008                        Queens Theatre in the Park

 
             


W. LeClair, A. McIntyre



                W. LeClair, B. McNamara




B. McNamara, W. LeClair, A. McIntyre



C. Rohlfs, P. Harman


            C. Rohlfs, W. LeClair


L. Henry, C. Rohlfs
 
Written by:
Kelly Feustel

Directed by:
Jordan Hue

“Peter” is a prequel to the J.M. Barrie classic, “Peter Pan.” Drawing from a variety of Barrie’s stories, Kelly Feustel’s work details the dark and mysterious circumstances surrounding a naïve, innocent boy’s transformation into the tragic figure who refuses to grow up. First performed in April, 2008, “Peter” served as Feustel's senior practicum presentation at Hofstra University.

"Peter" charmed, shocked, and captivated its audiences by concentrating on the adult themes provided by J.M. Barrie's imagination.  This unique story bridges the gap between "The Little White Bird" (J.M. Barrie - Peter Pan's first literary mention) and "Peter and Wendy."  This story surfaces the largely forgotten demons that have always been present in Peter Pan's past.  Clever costuming (design by Sarah Reeb & Alexandra Rubin) easily lent audiences to connect with fairies, children, birds, and the Greek god, Pan.  A series of epic fights (Robert Westley - Fight Director, Charlie Rohlfs - his assistant) brought battles between timeless characters to life.  Jordan Hue's direction personified the most fantastical characters that kept the audience on the edge of their seat throughout both acts.  All-in-all this tale of love, loss, friendship, and determination touched the audience's heart by surfacing the horrific past of this classic character.


P. Harman, W. LeClair, L. Henry






C. Rohlfs, R. Benoit, A. McIntyre




C. Rohlfs, W. LeClair, A. McIntyre, R. Benoit



W. LeClair, C. Rohlfs





W. LeClair, P. Harman





B. McNamara, W. LeClair