The Haunted Hathaways Nickelodeon - 2. Auditions Database. Popular teen network Nickelodeon has announced a new pilot, The Haunted Hathaways for the new upcoming season. The casting directors have not announced the full cast for The Haunted Hathaways but they are now taking applications for kids of all ages for several extra and feature roles. They are looking for kids of all ages with acting talent to be on the show, and this is your chance to apply. It centers on a mom (Ginifer King). If you are interested in auditioning please submit your application along with a photo and a basic resume. The World's Most Haunted Places, America's Most Haunted Places, WHAT DO YOU WANT MOST IN THIS HAUNTED WORLD, GHOST, HAUNTED REVIEWS, WALKING TOURS GHOST HUNTS, BOOKS.A collection of history, folklore, and true ghost stories from the world's most haunted places. The World's Most Haunted Places. Warning Any places listed in the Haunted Places requires permission to visit or investigate. Many of the places are patrolled by the authorities, trespassers will be. Our film critics on blockbusters, independents and everything in between. Please keep checking back for more information on casting dates and locations and as always leave us a comment and let us know what you think about Nickelodeon and their latest pilot additions. New York International Fringe Festival, a Curtain. Up Report. A Curtain. Up Report. 20. 16 New York International Fringe Festival. August 2. 9, 2. 01. Final Update. List of awards can be found here. Click on Show Title Below, the Photo Above or Scroll Down Page to Browse. EDITOR'S NOTE: Now in its twentieth year, Fringe. NYC runs August 1. This year's festival has scheduled almost 2. We will report on a healthy dose of this year's offerings in the reviews below. Started January 1, 2015. The link to the previous forum is Forum 2014. Forum 2016 Posts should be related to the Model T. Off Topic - OT - posts are. The Haunted Hathaways on Nickelodeon castings and auditions. Information on how to cast for the new nick pilot The Haunted Hathaways and other nick shows. Information and schedules are available at. Tickets will be emailed and then scanned from your smartphone (or from a printout). Lounges are open 1- 8. PM from 8/5 until 8/1. Fringe from 1- 1. PM M- F, 1. 1: 3. AM- 1. 1PM Sat- Sun). There are also passes: 5 shows for $8. In addition, groups of tickets for the same performance are entitled to a discount price (online only) of $1. A complete list of venues (with addresses) can be found to the right. The last name of the author of each capsule review is indicated at the end of the review in brackets. Reviews. Tom Stoppard brilliantly imagined the back story of Hamlet's childhood friends Rosenkrantz and Guildenstern in Shakespeare's play and how they were affected by the tragic hero's mission for revenge. Not quite so brilliantly but rather deftly and intelligently Andrew Bergh has done somewhat of the same thing for Rolfe, the young (. Getting comic mileage with just a few choice bits of song, lyrics and dialogue from its source, Bergh's play is otherwise soundly and commendably rooted in its serious depiction of Nazi indoctrination of youth, or as German recruiter Herr Zeller (Dominic Comperatore) puts it to the impressionable handsome Rolfe . The stiff- necked butler Franz (Jay Patterson) has also been engaged to spy on the household although the wise but increasingly wary housekeeper Frau Schmidt (Polly Adams) soon enough gets wind of what's going on. Gould ) is Rolfe's lover adds to the play's clever convolutions.) It only takes five chairs, one table and five fine actors to create the dispiriting ambiance of late 1. Salzberg under the smooth direction of Abigail Zealey Bess, who moves things forward with short and snappy confrontational scenes that afford increasingly emotional content, leading to a sudden and heartbreaking resolve. The play would gain much if Rolfe's behavior was less pointedly gay, while letting his guard down only during his romantic interludes with Johann. His kitchen table chatter with Frau Schmidt get the play's biggest laugh. As it is, the story that feeds Rolfe still cuts deeply. The Theatre Made in Paradise isn't awful, but it's a shame to see something with potential end up as eminently forgettable. The production, efficiently directed by Alberto Bonilla, includes a few sequences of believable emotion, which may be credited primarily to the sensitive, well- calibrated performances of John Isgro as Jab and Elizabeth Alice Murray as Mac. But those moments are frequently undercut by dialogue riddled with movie- of- the- week banalities. This is regrettable, since the conflict of conscience at the center of Doble's play is consequential. Neither Mac nor Jab is inclined to compromise, and their promising romance appears doomed by irreconcilable convictions. To emphasize the ill- starred nature of the alliance between Jab and Mac, Doble includes classroom scenes in which Mac (a bookish foil to Jab's earthiness) discusses Romeo and Juliet with three students in the GED- preparation class she teaches. The students lend comic relief to what otherwise is a pretty solemn two hours. Doble's thumbnail sketches of the three, embodied by the talented Joy Donze (Courtney), Ariel Kim (Mingzhu), and Deshawn Wyatte (Jamal), have a vividness that's lacking in his depiction of the leads. The students' performance of the balcony scene from Romeo and Juliet (enhanced by their commentary) is at once funny and moving. Their streetwise, up- to- the- minute interpretation of Shakespeare underscores the insight, offered by Mac in an early exchange with Jab, that wisdom doesn't require great book- learning. At the play's end, it's unclear whether either of the leading characters has learned anything from the other or from their love affair; but the silence that precedes the final curtain offers a little hope (the exact nature of which won't be disclosed here) that at least one of them is developing in a promising direction. In that moment of ambiguity, To Protect the Poets ceases to resemble a platonic dialogue and becomes, however briefly, genuinely dramatic. Doble is fortunate in his cast and director; but, with or without this particular group of performers, the play deserves further work and a future life. But if what I've just said reminds you even remotely of the television show Smallville, or indeed any and every Superman origin story, then A. Played for parody, sort of Adam West plays Batman redux, it could have made a virtue out of the derivative and low- quality level of the production- but I suspect writer and composer Aaron Michael Krueger is trying to be serious, and the show simply can't sustain that when the execution is this amateurish. Two hours with intermission. But there are some shows which I'd like to see make the jump even if I can't quite see how a traditional theater would manage them, and the production of Richard III (A One Woman Show), which previously played in the Prague and Edinburgh Fringe Festivals, fits into this category. Welcome to the Sutherby household, where matriarch Anne (Wende O'Reilly) has put together a birthday party for her husband (Timothy Scott Harris) as a way of bringing together the entire family (it's not actually his birthday, but she assumes the children won't realize). Sammie (Rich Wisneski) shows up with his fiance Regina (Melissa Farinelli) sporting a subdued- verging- on- somber black outfit and the new preferred moniker . The farce that ensues as the Sutherby's attempt to sort through various family dramas past and present, all the way from the excess of squirrels on the deck to the time Sammie lit the house on fire. The Sutherby Triplets gets off to a slow start that pulls on the rest of the show—it could be condensed and made tauter, especially in its introduction—but when it hits it stride, there's fun to be found in writer/director Kelly Barrett- Gibson's play. The tensions between the Triplets manage to yield both humor and warmth, and while the siblings' quick toggles between zanier and more human modes can seem a bit manufactured, this ultimately serves to make them feel more like humans than if they existed as heightened jokes throughout. Patterson, Wallace- Deering, and Wisneski nicely embody different types of . Meanwhile, Barrett- Gibson demonstrates her skill with the classic elements of the farce as a genre, teeing up little moments that become consequential later and setting up precarious relationship structures just begging to be knocked down. In fact, The Sutherby Triplets is probably much like the family sitcom that Anne Sutherby starred in (something like Leave It to Beaver or The Brady Bunch): a silly show that consciously flirts with treacle but stays just clever enough to avoid feeling too saccharine. A cobbled together company, trying to lure investors, claims to have signed Christopher Walken to star in their not- yet- written film. In order to fool the producers they fake their missing star and manage to make an impossible task harder. The paper- thin premise is milked for all it's worth, embellished with twins (who happen to be black and white), jokes, songs, impersonations, various trajectories, and references to an old SNL sketch that featured Christopher Walken. Writer (and lead actor) Dave Droxler, who conceived the piece as a film some time ago, more recently adapted it for live performance at the Fringe. Pianist James Rushin's original music shifts gears right along with the action, and comments on the nutty things that transpire among the appealing cast members. Clever use of props creates non- existent space on the small Soho Playhouse stage. This good- natured, high energy show is very fringe - -fast, frenetic, and loose. It's just that in invoking Christopher Walken's peculiar menace and idiosyncrasy, you might expect a tad more sophistication. John Mc. Donagh comes across as someone who's never missed an opportunity for media exposure. But you realize that it takes guts for him to lay out his convictions, grab life by the horns, and take on its adventures the way he has done - all while working as a New York taxicab driver. Mc. Donagh's standup is rife with outrageous tales, and he has pictures and videos to prove it. Blessed with the Irish gift of gab and disarming humor, he peppers his story with facts that are not necessarily widely known, like that Central Park horses, who are unionized, get two weeks' vacation, while cab drivers get no vacation. He gives a kind of social history of the city as he describes his careers as a cabbie and an activist. Along the way he quotes some bits from his poem, What Happened to My City?, which was selected as part of a PEN festival that included working people's poems along with the work of literary stars. Wouldn't you know, he ended up on stage with the likes of Salman Rushdie. And he took English celeb Stephen Fry on a televised tour of the South Bronx, and I won't even go into the Times Square sign. You'll have to see the show for yourself if you want to know everything. Contributions by Gretchen Cryer, Lynne Halliday, Isaac Himmelman, James Hindman, Arlene Hutton, and Craig Pospisil run the emotional gamut from estranged families to anxiety over an upcoming wedding to a drone accident. Ably acted by a cast of seven actors (Dustin Charles, Jody Flader, Ryan Wesley Gilreath, Ilene Kristen, Cynthia Mace, Brian Sheridan, and Amanda Sykes) playing eighteen roles, many of the scenes have an aura of mystery—of pasts we haven't seen and of things left unsaid. The composite structure of the play has its ups and downs.
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