2008 Season Tickets Now Available
Don’t wait! Get your season tickets now so you won’t miss out on a single one of Runaway Stage Productions’ 2008 Broadway Stage musicals. Purchase season tickets for 6 blockbuster shows for the low price of only $90.00(this is 25% off the single price of adult tickets and 16% off the price of Senior tickets.)You will also enjoy all of the following subscriber benefits:
THE BEST SEATS IN THE HOUSE - All season subscription orders are filled before individual ticket orders, giving you the best locations available at the time you make your season ticket holder reservations.
GUARANTEED RENEWAL PRIVELEGES in seasons to come, guaranteeing your tickets before any new subscribers.
BRING A FRIEND FOR LESS - Purchase up to 4 additional single tickets to any show at the discounted "House Seat" price - the lowest price we offer to VIPs (based on availability, limited quantity per performance).
EXCLUSIVE INVITATION-ONLY EVENTS- You're at the top of our "A List" to be invited to special events and parties.
2008 BROADWAY STAGE PRODUCTIONS
ALL SHOOK UP (January 4 – 27, 2008)
Broadway jukebox musical featuring the music of Elvis which tells the story of a young girl with dreams of hitting the road, and a charismatic rebel who brings rock and roll to a town and changes it forever.
CABARET (February 29 – March 23, 2008)
Anything goes on stage in the world of an American cabaret dancer, working at the downtown "Kit Kat club" in Berlin, 1930. "Cabaret has to be one of the greatest musicals of all time if not actually THE greatest musical of all time."
THOROUGHLY MODERN MILLIE (May 2 – 25, 2008)
Millie Dillmount, a fearless young lady fresh from Salina, Kansas, determined to experience Life, sets out to see the world in the rip-roaring Twenties. With high spirits and wearing one of those new high hemlines, she arrives in New York to test the "modern" ideas she had been reading about back in Kansas: "I've taken the girl out of Kansas. Now I have to take Kansas out of the girl!"
NUNSENSE (July 11 – August 3, 2008)
The Little Sisters of Hoboken discover that their cook, Sister Julia, Child of God, has accidentally poisoned 52 of the sisters, and they are in dire need of funds for the burials. The sisters decide that the best way to raise the money is to put on a variety show, so they take over the school auditorium, which is currently set up for the eighth grade production of “Grease.” Here we meet Reverend Mother Regina, a former circus performer; Sister Mary Hubert, the Mistress of Novices; a streetwise nun from Brooklyn named Sister Robert Anne; Sister Mary Leo, a novice who is a wannabe ballerina; and the delightfully wacky Sister Mary Amnesia, the nun who lost her memory when a crucifix fell on her head.
EVITA (September 5 – September 28, 2008)
Loosely based on the life of Eva Peron, the charismatic wife of post-World War II Argentine president Juan Peron, Rice's compelling story of one woman's rise from poverty to power is complemented by Lloyd Webber's colorful music as propelled by vigorous Latin rhythms. The showstopper, of course, is "Don't Cry for Me, Argentina," but the score is full of gems, including "On This Night of a Thousand Stars," "Oh, What a Circus," and "Another Suitcase in Another Hall."
SOUND OF MUSIC (Oct 31 – Nov 23, 2008)
When a postulant proves too high-spirited for the religious life, she is dispatched to serve as governess for the seven children of a widowed naval Captain. Her growing rapport with the youngsters, coupled with her generosity of spirit, gradually captures the heart of the stern Captain, and they marry. Upon returning from their honeymoon, they discover that Austria has been invaded by the Nazis, who demand the Captain's immediate service in their navy. The family's narrow escape over the mountains to Switzerland on the eve of World War II provides one of the most thrilling and inspirational finales ever presented in the theatre.
(All shows and dates subject to change based on performance rights availability.)
For questions or further information please e-mail us at Boxoffice@runawaystage.com, call (916) 207-1226 or visit www.runawaystage.com, click “Get Involved” and then “Become an RSP Member.”
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All Shook Up!
A Sacramento Regional Theatre First!Runaway Stage Productions presents the regional theatre premier of the new Broadway musical
January 4-27th, 2008
24th Street Theatre
2791 24th Street, Sacramento
Start the New Year Right!
Book by Joe DiPietro
Directed by Bob Baxter
Choreographed by Pam Lourentzos
Vocal and Musical Direction by James Lohman
Featuring the Runaway Stage Productions Resident Orchestra
Slick back your hair and lace up those blue suede shoes because there’s gonna be a whole lotta shakin’ goin’ on. Runaway Stage Productions’ 2008 Season gets off to a rockin’ start with All Shook Up.
With a plot based on Shakespeare’s Twelfth Night and a musical score built around the songs of Elvis Presley, this show is sure to please audiences of all ages. This rock-and-roll musical features a jukebox full of Elvis favorites, including “All Shook Up”, “Jailhouse Rock”, “Heartbreak Hotel”, “Teddy Bear”, “Hound Dog”, “Love Me Tender”, “Don’t Be Cruel”, “Blue Suede Shoes” and “Can’t Help Falling in Love”.
Synopsis
It's the summer of 1955, and Natalie (Kay Height – Guys and Dolls), the young female mechanic in a small Midwestern town, has dreams of falling in love and hitting the road. Chad (Joshua James – Jesus Christ Superstar, Jekyll & Hyde), a hip-swiveling, guitar-playing roustabout rides into town and stops at Natalie’s garage because his bike needs repair.
Chad is a charismatic rebel, and Natalie immediately falls for him. She overhears him saying that he's had "a lot" of women but only travels with men. So Natalie covers her hair with a hat and puts motor oil on her face to approximate a beard, becoming "Ed", and becomes Chad's sidekick. Eventually Chad falls in love with Ed/Natalie, and, during a 24-hour period, brings rock-and-roll to the town, changing it forever.
However, before this takes place, there's a lot of he-loves-her/she-loves-him shenanigans going on. Chad falls for the town's lovely museum hostess, Miss Sandra (Andrea St. Clair - Annie). Unfortunately, so does Natalie's father, Jim (Bob Baxter – RSP Producing Director). Miss Sandra falls in love with Natalie, who is disguised as Ed at the time. Meanwhile, the sassy bar owner, Sylvia (Ashley Batte), falls in love with Jim, and Sylvia's daughter, Lorraine (Megan Sandoval), is having a relationship with the boy whom she's forbidden to be with, Dean (James Sgambati), son of the town mayor. Mayor Matilda (Anne-Marie Pringle – An RSP Favorite) is trying to stop all the romantic action going on in the town, with the help of her sidekick, Sheriff Earl (Scott Horsfal). And then, of course, there is Dennis (Kyle Young – An RSP Favorite), Natalie's best friend who has secretly been in love with her since, well, forever.
Near the end, Natalie, still in her Ed disguise, kisses Chad, which leaves the roving roustabout to think he has feelings for... a man?! Earl professes his love for Matilda, Dean and Lorraine are allowed to be together, Jim realizes its actually Sylvia that he's loved, Dennis and Sandra share a moment where they both realize a love for Shakespeare, and subsequently, a love for each other, and Chad falls for Natalie.
Will true love prevail? Will the power of music win the day? Will this small town in the Midwest survive getting all shook up?
Join us for this entertaining and hip-shaking rock-and-roll musical. For tickets, visit us online at www.runawaystage.com or call the box office at 916)207-1226.
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Cabaret Auditions
Runaway Stage Productions announces auditions for our second offering in the 2008 season of great Broadway musicals
Music by John Kander
Lyrics by Fred Ebb
Book by Joe Masteroff
Auditions January 13th & 14th
7 p.m.
24th Street Theatre
2791 24th Street, Sacramento
Show Dates Feb 29 – March 23, 2008
The Master of Ceremonies welcomes the audience to the show and assures them that, whatever their troubles, they will forget them at the Cabaret. Set in 1929-1930 Berlin on the eve of the Nazis' rise to power, Cabaret focuses on nightlife at the seedy Kit Kat Klub and mostly revolves around the English 19-year-old cabaret performer Sally Bowles and her relationship with young American writer, Cliff Bradshaw. A sub-plot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Emcee, who presides as master of ceremonies at the Kit Kat Klub and serves as a constant metaphor for the current state of society in Weimar Germany throughout the show.
For a more detailed synopsis, please visit www.stageagent.com
Further audition information can be found at www.runawaystage.com/audition-criteria.html
CHARACTER BREAKDOWN (All roles are open)
Clifford Bradshaw — A young American writer who also teaches English lessons. He eventually falls in love with Sally.
Role: Lead
Age: 25 – 35
Sex: M
Voice: Baritone
Dancing: N/A
Master of Ceremonies (Emcee) — The odd Emcee of the sleazy Kit Kat Club. Very flirtatious.
Role: Lead
Age: 26 – 40
Sex: M
Voice: Tenor
Dancing: Intense
Sally Bowles — A brash, sexy, youthful looking English dancer at the Kit Kat Club. She eventually falls in love with Clifford.
Role: Lead
Age: 18 – 28
Sex: F
Voice: Alto
Dancing: Moderate
Ernst Ludwig — A nervous yet streetwise German who pays Clifford for English lessons and turns out to be a Nazi.
Role: Supporting
Age: 30 – 45
Sex: M
Fraulein Schneider — A moralistic yet pragmatic German woman who rents a room in her house to Clifford. She is in love with Herr Schultz. Frightened and yet strong-willed.
Role: Supporting
Age: 45 – 70
Sex: F
Voice: Alto
Dancing: N/A
Herr Schultz — An kind, elderly Jewish greengrocer who is in love with Fraulein Schneider.
Role: Supporting
Age: 50 – 70
Sex: M
Voice: Tenor
Dancing: N/A
Bobby — A Kit Kat Boy
Role: Cameo
Age:
Sex: M
Voice: Baritone / Tenor
Dancing: Intense
Fraulein Kost — A German prostitute living in Fraulein Schnedier's house. Tough, lovable and funny.
Role: Cameo
Age: 25 – 35
Sex: F
Voice: Mezzo
Dancing: N/A
Frenchie — A Kit Kat Girl
Role: Cameo
Age:
Sex: F
Voice: Alto / Soprano
Dancing: Intense
Gorilla
Role: Cameo
Age:
Sex: M
Voice: Baritone / Tenor
Dancing: Moderate
Hans — A Kit Kat Boy
Role: Cameo
Age:
Sex: M
Voice: Baritone / Tenor
Dancing: Intense
Helga — A Kit Kat Girl
Role: Cameo
Age:
Sex: F
Voice: Alto / Soprano
Dancing: Intense
Herman — A Kit Kat Boy
Role: Cameo
Age:
Sex: M
Voice: Baritone / Tenor
Dancing: Intense
LuLu — A Kit Kat Girl
Role: Cameo
Age:
Sex: F
Voice: Alto / Soprano
Dancing: Intense
Max
Role: Cameo
Age:
Sex: M
Voice: N/A
Dancing: N/A
Rosie — A Kit Kat Girl
Role: Cameo
Age:
Sex: F
Voice: Alto / Soprano
Dancing: Intense
Rudy
Role: Cameo
Age:
Sex: M
Voice: N/A
Dancing: N/A
Texas — A Kit Kat Girl
Role: Cameo
Age:
Sex: F
Voice: Alto / Soprano
Dancing: Intense
Victor — A Kit Kat Boy
Role: Cameo
Age:
Sex: M
Voice: Baritone / Tenor
Dancing: Intense
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Patrons and Partners Program
BECOME A PATRON OF THE ARTS!
What began as a one-time only show in 1997 has turned into a year-round operation, producing Broadway-style productions, delighting children of all ages with Storybook Children's Theater, and providing performing arts education for hundreds of area youth with the Youth Musical Theater Workshops. RSP has offered some of the highest quality theater in the Sacramento area for over ten years. In 2007 alone, RSP was recognized with 24 nominations and 7 Elly awards from the Sacramento Area Regional Theater Alliance (SARTA).
However, we are at a critical point in RSP history. The cost of producing quality theatre has increased dramatically over the last couple of years, and we are faced with the significant challenge of keeping the “Stage Door” open at RSP and delivering the superior theatrical productions that our patrons enjoy.
HOW CAN YOU HELP? You can become an RSP “Partner” by making a tax-deductible donation of $50.00 or more as described below. In return, we are offering complimentary tickets, recognition in our playbills, etc. Moreover, we are seeking “Sponsors” to help underwrite our productions. If you own or work for a business that is supportive of the Arts, please ask if they will help with a grant to cover some of the expenses of producing a Broadway Style Musical. The business or individual will receive full recognition in our playbills, banners, advertising, etc., giving them great visibility in the community. In an average season, RSP reaches over 10,000 people! Runaway Stage Productions is a non-profit educational organization (501-3c) and any donations are tax deductible.
In recognition and appreciation of the support provided by our ever-growing circle of friends, we are pleased to provide the following to our “Patrons and Partner” sponsors.
STAGE MANAGER $50 - $99
Recognition in all RSP playbills for the 2008 season
Two complimentary tickets to a single show
SUPPORTING ACTOR $100 - $249
Recognition in all RSP playbills for the 2008 season
Four complimentary tickets to any combination of shows
LEAD ACTOR $250 - $499
Recognition in all RSP playbills for the 2008 season
Two complimentary season tickets for 2008
DIRECTOR $500 - $999
Two complimentary season tickets for 2008
Highlighted in all RSP playbills as well as our lobby display as an “RSP Partner”
PRODUCER $1000 - $ 2499
Four complimentary season tickets for 2008
Highlighted in the RSP playbills as well as our lobby display as an “RSP Sponsor”
Complimentary Ad space in our playbills
EXECUTIVE PRODUCER $2500-$4999
Six complimentary season tickets for 2008
Highlighted in our Sacramento Bee advertising, RSP playbills, lobby display, and street banners as an “RSP Sponsor”
Complimentary Ad space in our playbills
Highlighted on our website as an “RSP Sponsor”
Recognition during prerecorded announcement before each performance as an “RSP Sponsor”
Six complimentary Season Tickets for 2008
Highlighted in our Sacramento Bee advertising, RSP Playbills, lobby display, and street banners as an “RSP Sponsor”
Complimentary Ad space in our playbills
VIP Block of up to 100 tickets to a single performance in the 2008 season with a private reception prior to show
Highlighted on our website as an “RSP Sponsor”
Recognition during prerecorded announcement before each performance of sponsored show
MUSICAL DIRECTOR $2500 - $4999
(Funds applied directly to Resident RSP Orchestra sponsorship)
Six complimentary Season Tickets for 2008
We hope you will consider becoming a part of the RSP family through our Patrons and Partners program. For questions or further information, please e-mail us at Boxoffice@runawaystage.com or call (916) 207-1226
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Spotlight On: Bob Baxter
Actor; President, Producing Director, and Co-Founder of Runaway Stage ProductionsHow did you get your start in acting?
When I was in Junior High School a drama teacher that I looked up to asked if I would be interested in seeing a community theatre show he was in, it was Damn Yankees and he was playing Old Joe. I went and I was hooked. He cast me in Taming of The Shrew as Gremio and my first part in a Shakespeare play was as an old man. Very fun and I was bitten, and have been doing theatre constantly somewhere.
Were you formally trained as an actor?
No, I was trained in the school of hard knocks. I took different acting, make-up, direction, on-camera classes, but I have found that most of the valuable knowledge I have is from experience. The most formidable on-the-job training I received was a position at Music Circus as the Assistant to the Director for Leland Ball. I credit him with teaching me how to direct.
Was this were you got your directorial start?
Actually, I started directing at the Roseville theatre when I was 18 years old. Now this was before the Roseville became the Magic Circle Theatre (which I did a lot of directing for in later years). At 18, I directed The Wizard of Oz, taking on kids, animals and special effects in my first show. A lot of fun and an incredible learning experience. We had a hot air balloon that we flew in from off-stage right to the stage floor, which was supposed to pick up Dorothy and the Wizard and fly out. Well, opening night the stage hand untied the wrong rope and down came a light batton crashing to the floor. It barely missed three of our four leads and actually hit the tin man on the shoulder. Luckily for me, the tin man was made of actual tin and was not injured. I was in the back of the house when this happened, and had my first heart attack (not literally). Good training on my behalf of my actors, they continued on and the curtain was closed and the offending baton raised and the show continued. Remember, the show must go on.
What is your favorite role you have played?
Tevye in Fiddler on the Roof. I have played the part twice and love the message, the beauty of the show and it is just a lot of fun for me. Comedy, drama and beautiful music all rolled up in one fantastic piece of theatre. A classic and beloved show.
What is your favorite show that you have directed? What would like to direct?
Let's see, that I have directed...Joseph and the Amazing Technicolor Dreamcoat in 1999 was a kick and I was very proud of that show. Sweeney Todd was also one that I was very proud of, but a director is only as good as his vision and the talent that makes that vision come to life. I have been very blessed to have some amazing talent to work with over the years. It is very gratifying for me to take professionals and amateurs alike and help them achieve a performance that they are proud of and one that also fits my vision. I just simply love it. To answer your other question, one I would like to direct is The Producers some day, I think I could have a ball with the comedy of that show.
What do you feel is the director’s function? What do you bring to the craft that is unique?
The director is the artist that paints the broad picture and assembles all of the puzzle pieces to make the picture full and rich. What a script contains is basically an out line of a full story or character. A novel on the other hand uses many words to create a feeling or visual for the reader, the director in partnership with the actor helps create the novel for the stage. The director guides the actor to fill in the blanks and create a full character and complete a full and lush story for the audience to enjoy. It is a difficult creative process that takes a lot of patience, talent and communication. In addition the director also oversees every other aspect of the production (sets, lights, costumes, props, and choreography, vocal and musical direction) to secure his vision as much as possible. What is unique that I bring to the table? Nothing no one else hasn't done before, but I guess what I bring is a love, passion and communication skills to help make this all happen. Some say magic – I say I'm in love with the process and the completed project.
Who are your directorial influences?
Leland Ball of Music Circus is by far my greatest mentor and teacher. I love his visions and creative style. I have told him before that everything I know is because of him. He said no, everything you learn from me you take and make your own and that is what makes you a good director. Also, Patricia George of Film Industry Workshops in Los Angeles, I credit her with my method for character analysis and how I communicate with actors. A wonderful woman who looked like a gentle grandmother and talked like a sailor, I loved that woman.
You received an Elly Award for Best Director: Musical (Chicago) and an Elly nomination for Best Director: Musical (The Full Monty) from SARTA (Sacramento Area Regional Theatre Arts) in 2007, as well as being named as a finalist for the Arts & Business Council of Sacramento’s Executive of the Year. Are there any additional awards or recognitions, that you would like people to know about?
Only the fact that actors have told me what an influence I have had on them and how what they learned from me made them a better actor...what could be a better award?
What do you think is unique about the Sacramento community theatre scene?
The family atmosphere and the passion that this community shows for the work it is doing and the incredible work we put before our audiences. I have worked in theatre in Los Angeles and there just isn't the heart there that Sacramento has.
What are your future hopes and dreams for RSP?
A home (theatre) of our own. We do good work and we deserve a place to call our own that we can continue to grow and develop actors and produce great theatre and benefit the community even more.
If reviews and revenues were not a factor, what would you like to attempt on the RSP stage?
More edgy and difficult productions, ones that are sexy and controversial and exciting. We have to do some of the classics because they sell and we need to stay alive. I love them, but it is great to do a La Cage, or a Chicago, or a Baby and not have to fear low attendance. I would love to not worry about a budget, which is non-existent currently and do the shows that I think our actors and audience want to see and do. That would be heaven.
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The Green Room: A Behind-the-Scenes Look at the Theatre and Its Traditions
THEATRE SUPERSTITIONSActors are a superstitious lot and the theatre abounds with rituals and routines that have been around for centuries. Many of these superstitions have their roots in practicality, while others have persisted due to the comfort and assurance they bring the actors. The origins of many other superstitions have been lost over the ages.
Pinocchio and the Seven Dwarves may have done it, but don’t be caught whistling in the theatre. Stage hands were originally hired from the ranks of sailors; due to their ability to handle the intricate knots of both ship and theatre riggings. In the theatre, as on shipboard, signals were given through a series of whistles. The actor who offhandedly whistled backstage ran the risk of confusing the stage hands and inadvertently causing them to drop the curtain in the middle of the heroine’s aria.
Woe to the actor who utters the name of Shakespeare’s dark play, “Macbeth”, within the theatre walls. It is referred to only as “The Scottish Play”. If an actor speaks the name Macbeth in a theatre, he must leave the building, spin around three times, spit, curse, and then knock to be let back into the theatre. Several deaths have been associated with early productions and it is said that the original production used actual witches and witchcraft, which terrified King James I, for whom the play was written.
Before a performance, never tell an actor “Good Luck.” Instead, advise him to “Break a Leg.” The exact origin is unknown, but there are several stories that are believed to explain this saying. “Breaking a Leg" is a military term for "taking a knee", or bending down on one knee. During Shakespeare’s time, actors would bend down at the end of a show, firstly to bow and acknowledge the audience’s applause, but also to collect the coins that were thrown on the stage after a worthy performance. Hence, “Break a Leg” meant “may you perform in a manner worthy of praise and financial reward.” Another explanation is that in the days of early vaudeville, performers did not get paid unless they actually performed on-stage. The curtains or drapes at the side of the stage were called “legs.” So "Break a Leg" may have referred to breaking free from the bonds of the wings and having your chance in the spotlight.
Many theatres host a resident ghost or spirit. One of the most well known is Thespis, an ancient Greek who lived in the 6th century BC. It is believed that on November 23, 534 BC, he was the first actor to speak lines as an individual on stage (the term "thespian" is used to refer to an individual actor). Unexplained mayhem and mischief in the theatre is often blamed on this character, especially if it happens on November 23.
Some theatres honor the tradition of leaving a “Ghost Light” burning onstage in the empty theatre. While some believe that the light wards off ghosts, others welcome the visitation and provide the light in order for the specters to perform their own shows. The illumination keeps the ghosts happy and out of mischief. It also serves the practical purpose of providing the stage hands with enough light to see by so that they do not trip over props and scenery when they return in the morning. This practice may have originated when gas lamps were used in the theatre and low-level lights were kept burning at all times to act as pressure release valves.
It is a common belief that a bad dress rehearsal portends a great opening night. This may be due to a healthy dose of fear and adrenaline that work together to ensure an improved performance. It may also be a source of comfort for anxious actors as they approach opening night after an exhausting week of late night rehearsals and last minute changes.
It is unlucky to use real money as a prop. Likewise, only costume jewelry should be worn onstage.
If you wish to give an actor flowers or other gifts, please do so after the show. Giving them beforehand will jinx the performance.
Never bring peacock feathers onstage either as props or in costumes.
Carrying a Bible onstage is considered to be bad luck. Frequently, actors use another book that is covered to look like a Bible.
Many superstitions have developed regarding make-up. It is considered bad luck to carry a make-up box, nor should one use a new set of paints on opening night. And if a makeup box is overturned, the spilled powder should be danced upon for good luck.
Knitting onstage or off is believed to entangle the production and knitting needles also pose a danger to actors and costumes in the close quarters backstage.
The color red was thought to bring good fortune, but blue was long thought to be an unlucky color for a costume, unless also wearing silver. Yellow in sets or green in costumes are often avoided because they represented Satan in medieval morality plays.
An actor or actress should be pinched for luck prior to going on stage – follow this tradition at your own risk.
Cats in the theatre are good luck. But expect tragedy if one should happen to run across the stage. (With, perhaps, the exception of the 18 year run of Andrew Lloyd Weber’s “Cats” at the Winter Garden Theatre.)
In addition, many actors have personal superstitions or rituals they observe before a show, such as special foods they eat or meaningful objects they wear on their person or bring into their dressing room.
But fear not. It is the actors’ responsibility to see that the traditions are upheld and the spirits appeased. All you have to do is sit back and enjoy the show!
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Storybook Children's Theater Presents:
Get your special someone a night out at the theatre! RSP has gift certificates good for any denomination and are available by calling the box office at 916-207-1226 or send the box office an e-mail at boxoffice@runawaystage.com and request yours today! We accept all major credit cards and this is an easy way to show someone you care this holiday season. These gift certificates are good for any tickets to any of our great shows – Broadway Shows, Storybook Children’s Theatre Shows, Youth Musical Theatre Workshop Shows, or even a tuition for that special child who wants to join the next workshop, the possibilities are endless so don’t miss out on this easy way to give the gift of entertainment!