An “i” device is apparently becoming imperative

Big weekend for me: saw “On Golden Pond” and “Antony and Cleopatra” but unfortunately had to forgo “Standup vs. Improv” due to familial obligations. More on that in a second.

Richmond Shakespeare was doing ‘tweet from your seat’ night, which essentially encouraged people to have their cell phones or other digital devices out and to send their thoughts on the show to Twitter and Facebook during the action. Unfortunately, I’m a luddite without a smart phone type device (though I’ve made it known wherever I can that I covet an iPad…) and so could not take full advantage of the event. I did text some thoughts to my wife and such but it wasn’t the same. Which was OK because I enjoyed the tweet-free performance just fine, though I would have been curious, for instance, to know what the particularly lovely young lady in the front row tweeted when she got splashed during the Pompey party scene.

In other iNews, a REAL theater blogger acquaintance of mine (New York variety) dropped me a note about his new iPhone app that provides info on what’s available at the TKTS booth. Here’s a link to the application itself plus a link to a laudatory article in Entertainment Weekly. Just hearing about it made me want to run out and take the iPlunge. Maybe someday soon…

I’ll write more about “A&C” and “OGP” soon but in the meantime, did you catch the Thomas Silvestri editorial on the power of arts in the community? Good stuff. Also out there on the Internets are new reviews of “On Golden Pond” from John Porter and “Rent” by Joan Tupponce (link forthcoming...).

So one daughter saw “Inception” last weekend and loved it, immediately meaning that my second daughter was itching to check it out. Saturday night was the only window for such a thing so I had to kick my pal and colleague Mr. Porter to the curb and submit to the teenager. She didn’t exactly have to twist my arm to get me to go since “Inception” has turned into one of those curious phenomena that transcends just the narrow confines of cinema. Much the same as the popularity of “Avatar” turned into a discussion of how endemic 3D technology is going to become, the cycle of response to “Inception” has led to some conversation about our “everyone’s a critic” culture. Read this piece from an EW movie critic that ends up talking about what distinguishes a critic from a “fanboy” for more, if you are interested.

I would think that this is the kind of back-n-forth that only interests a critic like me, but apparently, given the number of comments, this is something that more than just a few people think about. It might also be assisted by the fact that the ending of “Inception” has so many people talking about the movie in general (here’s a piece on that, as well. Don’t read if you haven’t seen the movie!”

Personally, I thought “Inception” was very entertaining, the visuals were stunning, the story was pretty preposterous (I found myself just shaking my head at different times) and that the last scene makes the whole movie seem better than it is. Regardless of my reaction to the specifics of the movie, I have a wider-ranging reaction that the movie’s popularity shows that people are still open to art that makes them think. As dumbed-down as our culture sometimes seems (“Jersey Shore” anyone?), it’s heartening to think there are still brains out there that want to be nourished and exercised.

How'd I miss this?

There's another great article about Jason on the T-D site today. While browsing that, I clicked the link to get Jason singing the "Mad Attorney General" song. A real hoot! Definitely check it out if you haven't before.

Exodus

People leave town. Sometimes it’s for a little while, sometimes it’s forever. Shakespeare called parting “sweet sorrow.” That phrase only captures a slice of the experience. Depending on the circumstances, it can also be exhilarating, scary, frustrating, or matter-of-fact. The one thing that’s the same regardless of the circumstance is that someone is, or several someones are, left behind.

I’m preparing to be left behind (not in the biblical, salvation sort of way) as half my family heads out of town for a couple of weeks. When I’m not feeling my own little self-involved whirl of emotions about it, I’ve been thinking about the many others who are also leaving town. There are the very public exits – the contest-winning Jason Marks who will open his first New York gig next freaking Thursday! – and the more quiet and private ones (Eric Stallings took off for Chicago shortly after “The Who’s Tommy” closed back in the springtime).

But there are at least four other theater peeps who have recently or will soon hit the road. Neither member of the adorable couple of Ellie Atwood and Jonathan Perez was chosen as the Big Broadway Break winner but my understanding is that they’re still heading to the Big Apple to try their luck up there. Ellie and Jonathan lent their considerable talents to a number of great local productions.

In particular, their roles in Stage 1’s “Summer of ‘42” and Theatre IV’s “Sideways Stories from Wayside School” will live on fondly in my memory. Jonathan has a great propensity for creating slightly nerdy characters that are not caricatures and, thanks in part to his natural charm, remain compelling even if they are doing somewhat silly things on stage. Ellie is beautiful, of course, but also brought a nicely sassy attitude to her roles. I wish them the best of luck in their future forays both onstage and off.

Also, as most everyone has probably heard, both Brett Ambler and Audra Honaker will be leaving Richmond this fall (Brett to Colorado, Audra to Chicago, I believe). Whether either of them is planning to be away permanently or temporarily, I’m not certain but regardless the blow to the local theater scene will be substantial. These are two actors who have had a significant impact on Richmond both individually and as a couple (as they are currently playing in the Mill’s “Moon Over Buffalo.”) The Stage 1 production of “tick, tick..Boom!” may have been a highlight of the two working together but it was only one among many exceptional performances each turned in.

The first time I believe I spoke to Brett was during an interview for Barksdale’s “The Drawer Boy” back in 2005. The way he held his own amongst the prodigious talents of David Bridgewater and Joe Inscoe was impressive; it may still be my favorite of his performances (though his awesome musical turns in the Mill’s “Joseph” and Theatre IV’s “Seussical” can’t be overlooked). My favorite memory of him, however, will always be his inspired ad-lib to cover a missed voice-over cue in “Children’s Letters to God.” Sometimes a drummer who also happens to be a great actor is an unexpected godsend.

Audra seemed to be in virtually every show in town for a while there and was often most memorable when unleashing bundles of energy on stage (as per “There Goes the Bride” or “Once Upon a Mattress” out at the Mill or “I Ought to Be in Pictures” at the Tavern). She has a delightful facility for somewhat extreme characterizations (the driven champion speller in “25th Annual Putnam County Spelling Bee” or the ragamuffin girl in “Urinetown”) but she is also a treat in less flashy roles – her “nice girl” ensemble role in “Summer of ‘42” being the only example that comes immediately to mind. I’d always hoped to someday see her take a shot at sublimating her energetic tendencies in a role like Marian the Librarian in “The Music Man.”

Richmond will miss all of these folks but it’ll also be a kick to have an excuse to travel out of town to see them in some new production in some far-flung locale. Also, as the recent return of Susan Sanford and Foster Solomon proved, good people sometimes come back. In the meantime, I hope they find whatever it is they want to find out there in the big wide world. And I’ll look forward to the new young local actors who may be itching to step into their shoes.

Three sentences

Rich Griset’s review of “Antony and Cleopatra” is in today’s Style. Also, I missed this article on the Sycamore Rouge “Midsummer” production last week. Nice background if you intend to attend.

Just a Click Away

Though I’ve been out of town intermittently over the past couple of weeks, I have been able to keep at least vaguely in touch with what’s going on stage-wise in Richmond thanks to the Internets. Facebook was alight with links to the Times-Dispatch review of Barksdale’s “On Golden Pond” on Sunday. Ms. Haubenstock also weighs in on Sycamore Rouge’s “A Midsummer Night’s Dream” in today’s paper.

And like Fleetwood Mac famously wrote in song, we can’t stop thinking about tomorrow thanks in part to the Swift Creek Mill season preview that was also in the Sunday T-D. Thinking about future productions shouldn’t inhibit anyone from checking out “Moon Over Buffalo,” however, which plays there this weekend and next.

I’ll be unpacking today but hope to come back with something more cogent commentary-wise in the next day or two. A little more hopping up and down to get all of that lake water out of my ears might knock a moderately interesting idea into my head.

Coverage

Melissa Rugieri at the Times-Dispatch wrote a nice piece about Jason and his Big Broadway Break win for today's paper. I'm glad to see the coverage and also to learn that Jason will be blogging about his NYC experience. I'll be reading with rapt attention!

The T-D also did a short preview on Sycamore Rouge's "A Midsummer Night's Dream" at Battersea. I heard there was intermittant rain through opening night's performance. Was that just a Facebook rumor? Did it still go on? I'm curious. I'm also making my plans to come see the show next weekend. It sounds like a beautiful location.

JASON WON!!!

Yes, I'm shouting. If you haven't heard already, Jason Marks won the Staybridge Suites Big Broadway Break contest! Six months in a Times Square hotel plus $5,000 plus an interview with Seth Rudetsky and meetings with casting directors, etc. etc. It's an awesome opportunity and it couldn't have been given to a nicer guy. Congrats, Jason!

Double Moon

There's a double-shot of "Moon Over Buffalo" reviews out there in the world these past coupla days. This week's Style has Ms. Burruss's review and Mr. Porter's WCVE review has been posted on his blog. He also took a trip down the road to the Virginia Shakespeare Festival to see "As You Like It." If you want some assistance in figuring out whether it's worth it for you to take a similar trip, check out his review.

And don't forget "Pulp" runs through this weekend at RTP. You can check out the mocked up pulp novel cover showing Jeanie Rule leering at Christy Mullins and you'll have an idea of what you're in for.

Antony and Cleopatra

I had a vague idea about getting back in town in time to see the Sunday performance of "Antony and Cleopatra" but it didn't happen. May try again for next Sunday. In the meantime, I'll be keeping my eyes peeled for reviews, like this one from Ms. Haubenstock that is in today's T-D.

Lots of Territory to Cover

Have you heard about this show currently playing in NYC called “The Grand Manner?” If not, here’s some interesting background on the show and its playwright. I mention it because the whole play is organized around a production of “Antony and Cleopatra,” which Richmond Shakespeare opens this weekend. Take advantage of the tiny break in the heat wave to go check it out.

I’ve been wondering whether I should just leave my review of “Rent” go without further commentary. It seems like I get into trouble when I try to be more forthcoming about my opinions about some shows if everything I say is not 100% positive. I guess that’s the nature of the business. But I should say that I probably thought longer and harder about this review than I have about any other one in a long time. Part of that had to do with timing. I usually write my reviews within 24 hours of having seen a show. But because of having to drive to Kentucky and back over the weekend, I didn’t sit down to write until Sunday, nearly three days after opening night. Luckily (or not, I guess, depending on your point of view), I had plenty of hours looking at the open road to try and figure out what didn’t sit right with me about the show.

There is no question that the performances were fantastic. I’ve already gushed a little about Durron Tyre’s powerhouse version of “I’ll Cover You” and Jaci Camden and Joy Newsome on “Take Me or Leave Me.” I also need to give credit to a couple of fresh faces in the cast that I hadn’t seen before – Terence Sullivan as Roger and Nadia Harika as Mimi. Though costumed a little oddly, Sullivan brings an appropriate amount of angst to his portrayal. Narika is adorable and, in the end, heartbreaking in her inability to break free either from drugs or Benny. My only complaint would be that she is maybe too adorable – I had a little bit of a hard time believing in her as an exotic dancer. But both Sullivan’s and Narika’s voices are grand and they have a distinct and compelling on-stage chemistry (see post below on Chemistry for background).

In fact, that esoteric quality of chemistry is found in abundance here. All of the couples have it and it’s ultimately what makes the show work. One of the most delightful aspects of the production is the somewhat antagonistic / somewhat empathetic chemistry between Nick Aliff’s Mark and Joy Newsome’s JoAnn. Their “Tango Maureen” was a first-act highlight for me.

Other random positivities: I loved Jaci Camden’s rendition of the performance art protest, with a mixture of defiance and absurdity and outrage and that little moment of self-reassurance when the reverb works, etc. Joy Newsome excels in her conflicted role, providing many great laughs – but also revealing a honest-to-goodness soul struggling with her love for Maureen. It took me a minute to warm up to Antonio Tillman as Angel but, when I did, I fell hard for him/her. The Tom Collins/Angel relationship really is the anchor of this show, at least in this production.

So as I was trying to figure out the aspects of the show that didn’t work for me, I reflected on some of the comments my companion for the night made. She had never seen the show before and, as I talked to her, I realized she was very confused about what was happening during much of the show. And when I thought of things in that light, I realized some of the challenges in staging “Rent” that I probably hadn’t thought about before. It’s essentially a one-set show that has to evoke many locations. There are so many ways to make this kind of thing work and not many of them were employed here. The lighting can help a lot with this -- I still remember fondly the Science Museum show about Charles Darwin where Lynn Hartman’s lights transformed a staid study full of books into a wild South American jungle. Instead, here the lights were generally too-dark with occasional flashes of brightness that I think were supposed to enhance the drama but ended up just adding confusion (IMHO).

It’s also a pretty big show that can feel pretty cramped on such a little stage. There are a lot of transitions in the show from one location to another and large influxes and outfluxes of cast members. I know this kind of thing is a challenge to stage but I didn’t notice a whole lot of order or logic in it. The sound engineering ended up being frustrating – for much of the show it was amazing: crystal clear voices with volume pumped high enough to stand clear of the band, some of the best sound I’ve heard in Richmond. But then there were interludes of feedback – always like nails on a chalkboard – and a couple key songs that got fuzzy in parts so that I missed lyrics.

A couple of random questions having nothing to do with the actual performance: no bios in the program? Maybe this was an environmental concern but I missed them. No song list in the program? Can’t think of an excuse for that one. And why does the Firehouse have “JoAnn” but on Broadway and everywhere else the character is “Joanne”?

In the end, what I ultimately came back to was the power of the source material – particularly the music – and the excellent voices employed to bring it to life. As I hope the review communicated, though it had its rough spots, this was a production worth experiencing. I have recommended it to friends who haven’t seen the show before and, when my wife goes to check it out, I may tag along again just to hear the songs and to allow Durron and Antonio to rip my heart out again.

Finally, for something completely different, you should consider checking out “Pulp” at Richmond Triangle Players, opening this weekend. This show was a lot of fun even when it was struggling along in the makeshift space at the Gay Community Center the last time RTP staged it. I expect it’ll be a lot spiffier in their new space.

Irene and Review

My review of "Rent" is in today's Style. I'll be augmenting it soon, hopefully tomorrow. Also, don't miss this piece on the lovely and talented Irene Ziegler, the talented actress whose career as a writer just keeps gaining more and more acclaim.

New Additions / New Voices

I finally have added blogs from Mr. Cole and Theatre in Battery Park to the navigation thingie there to the left. I've also put in Cadence Theatre Company's website link. Sorry for the delay. By the way, have you seen the casts for TBP and Cadence's upcoming shows? Very nice! It's great to see some of my favorite VCU folks (Kimberly Exum who was such a great Roxie in their "Chicago" and the lovely Lauren Hafner from "Tommy") in action. And "The Fantasticks" has some very fine folks as well.

There are a couple of closings this weekend but no pro opening that I know of. It's a chance to sneak out and enjoy SPARC's "Festival of New Works" performances (Friday and Saturday), if you are so inclined. It's a chance to see what the future of theater might include. Also, you're sure to see something you've never seen before.

Chemistry

There have been questions thrown about since the first review came out about the romantic chemistry between the leads in “The Sound of Music.” In the conversations I’ve had on the subject since then, it’s clear to me that “chemistry” is one of those non-descript descriptors that perhaps gets invoked a little too readily. Still, it’s one that I’m sure I’ve used before and I’m sure to use it again. In fact, I plan to use it most distinctly in this post.

Chemistry may be an elusive trait but, like so many things, you know it when you see it. It’s both the ability an actor has to make you thoroughly believe the feelings they are supposed to be having for another actor but also that magic spark that happens between two actors. It can probably be broken down technically – where is the actor looking? What gestures, big and small, is he/she using to indicate affection? How does their voice, their body language, their expressions reinforce the power of their emotions? Is he/she acting like someone in the throes of love would act? And is his/her partner responding in kind? But beyond any technical analysis, there is also usually a secret ingredient, something that can’t be easily distilled from the interaction. For that reason, lack of chemistry may not necessarily be an actor’s or a director’s “fault.” It’s part of the mysterious energy that happens on stage that makes a production work. “Chemistry” is one word used to encapsulate all of this, which makes it both useful and dangerous.

I think back to productions where I thought there was some great chemistry going on. Sycamore Rouge’s “A Streetcar Named Desire” was full of it, with Bill Brock, Terry Gau and Angie Shipley all working the intense emotions of that play for all they were worth. And speaking of Ms. Shipley, I thought she shared some fine romantic chemistry with Brett Ambler in “Urinetown” at the Mill a couple of years back. And speaking of the Mill, chemistry isn’t always romantic: John Moon, Jodi Strickler Smith and Paul Deiss shared a fantastic familial chemistry in “Greetings.” Ronnie Brown and Jimmy Glidden nearly crackled with antagonistic chemistry in “Take Me Out.”

And now I turn to “Twelfth Night,” Richmond Shakespeare’s current production that wraps up this weekend. I really enjoyed this show. In particular, the comic bits with the hilarious trio of Foster Solomon, Stacie Reardon Hall, and David Janosik (and assisted at times by Jonathan Conyers and their foil, Thomas Cunningham) are delightful. These actors are totally going for it – something that must be particularly difficult in the oppressive heat. Whenever any of these folks were on stage, I was happy.

However, the matter of chemistry comes in when I think about the principal love quadrangle between Viola and Orsino, Sebastian and Olivia. Susie Haubenstock called Laurel Maughan charming and I couldn’t agree more. I am also a big Katrinah Lewis fan and I love that she is given so much to dig into with Olivia. Her big beautiful expressive eyes are almost all she needs to convey the many moods of the tempestuous beauty. Both Andrew Ballard as Orsino and Zachary Page as Sebastian do fine work.

But even with all of these actors making the most of their roles, there were misfires among the romantic sparks. Page and Lewis did well together; I think Page’s surprise and delight at his character’s unexpected good fortune provided much of the energy that made that coupling pop. But I had a hard time really believing that Maughan was stricken with affection for Ballard, or that he similarly fell for her by the play’s end. Maughan and Lewis also didn’t click as intensely as I wanted them to. Particularly given that Olivia is supposed to be so disdainful, I did not feel the heat between them that would melt Olivia’s cold demeanor.

As I said, chemistry is elusive and also subjective. Many people may have picked up all sorts of electricity in the performances that they saw. And, if I were writing a review for print with a limited amount of words, I may not even mention this aspect of the show. There is so much that is right with this production, including excellent costumes and consistently exceptional supporting players, that I might not find room for it.

One last note on “Twelfth Night:” Billy Christopher Maupin plays a beguiling fool in a performance that I still find myself mulling over. My first impression was that he brought a little too much darkness and not enough sense of play to this role. I tend to like my fools a bit, well, foolish. But there was a certain genius to making his character somewhat muted, and at times, surprisingly contentious. I’m still not sure I loved the approach but it definitely intrigued me. (I should note that, having to skip out before the very last scene of the show, I apparently missed a final jig that I’ve been told is BC’s finest moment. So my characterization of his performance is therefore incomplete.)

If you want to see what I’m talking about, grab your tickets for “Twelfth Night” soon. Only 3 performances left. And any thoughts you have on chemistry -- good, bad or indifferent -- please share.

Sitting in Judgment

I'm off to be a different kind of theater critic: jury duty! In the meantime, here's Mr. Porter's positive take on "Rent."

Quaffle or Perfection

Though my review is written and out there in the effluvium somewhere awaiting publication, I continue to mull over “Rent.” It took a while for the enthusiastic rave by the T-D’s Ms. Haubenstock to show up online but I finally found it last night. In the meantime, I had been mulling over suggesting to the editors of Style that they hire Ms. Honaker as my replacement, due to her entertaining take on the show.

I must congratulate the casts of “A Servant of Two Masters” and “Twelfth Night” who suffered through some powerfully oppressive heat to put their shows on this past weekend. The old deodorant commercial said, “Never let them see you sweat,” but no amount of Dry Idea could stop the torrents of perspiration I’m sure sprang from these devoted actors. I hope everyone stayed good and hydrated.

Just as “Servant” came and went in a flash last week, so did the revue “A Slice of Minelli” at Richmond Triangle Players. Here’s Ms. Lewis’s review in the T-D for those who want to read about what they missed. And just when you thought it’d be going on forever, “The Sound of Music” comes down this weekend. If you’ve been putting off checking it out, time is running out.

Flash Review

OK, so the week went by and I didn’t have a spare brain cell to devote to CYT’s “Peter Pan” or Richmond Shakespeare’s “Twelfth Night.” Believe it or not, I actually think a little before I write about shows and I wouldn’t want to put anything out there without putting at least a little thought into it. I’ve got 16 hours of driving ahead of me this weekend so perhaps I’ll have some time to think then.

Right now, however, thoughts of “Rent” are crowding everything else out of my brainspace. I was at opening night last night and am still processing what I saw/heard/experienced. I loved this show when I saw it on Broadway so one thing I’m having to do is cleanse myself of the expectations I might have had and, to paraphrase Maureen and Joanne, take this production as it is.

There are some amazing moments in this show. As Tom Collins, Durron Tyre has a searing second act show stopper that is almost worth the price of admission all by itself. The ensemble’s “La Vie Boheme” is a delightful romp and I think I could hear the duet between Jaci Camden and Joy Newsome on “Take Me As I Am” over and over again without getting tired of it.

But great moments aside (are there are many more I haven’t mentioned but plan to highlight in my review for Style), I am also trying to integrate some niggling questions I have about staging, lighting, and sound engineering that veered from crystal clear to fuzzy and full of feedback. I’ll try to bring all of that into something cohesive in the next couple of days but in the meantime, I’ll provide this one sentence flash review: Stoked by the prodigious vocal firepower of a jubilant young cast and sustained by Jonathan Larson’s rollicking rock-and-roll score, Firehouse Theatre Project’s production of the acclaimed musical “Rent” has so much power and intensity that it threatens to explode the confines of the intimate Firehouse stage.

My lovely mom-in-law arrived in town this week bearing a program from “Fences,” the result of a recent New York trip. In the program was a story written by Seth Rudetsky about quick changes and their potential for causing onstage disaster. He highlights a particular incident involving Richmond-born Emily Skinner. I couldn’t find that exact story online but here’s a link to the same story encapsulated in one of Seth’s columns from two years ago:

Speaking of Broadway, here’s an interesting story about the Great White Way in the wake of the recent Tony Awards. Weird how an award can have an impact…or not.

Two for Tues…er, Wednesday

Two reviews in this week's Style, one for "Twelfth Night," and another for "The Sound of Music." 'Nuff said.

Servant / Rent / As You Like It / Etc.

My first big theater-related disappointment of the summer comes this weekend. I’ll be heading out of town for a wedding – that’s not the disappointing part. But because of that commitment, I’ll miss the restaging of “A Servant of Two Masters” at Dogwood Dell this weekend. This delightful little romp produced by Henley Street featured a couple of my favorite performances of the past season: Richard Koch as the lead character Truffaldino and Christina Bellew in a couple different roles. If you missed it the first time, don’t make the same mistake twice!

Seeing the teaser from Firehouse’s “Rent” on Virginia This Morning yesterday really got my blood pumping in anticipation of this show. The looong, awkward pause before they start singing notwithstanding, both these women are powerhouses and I can’t wait to see them tear up the stage, along with the rest of their castmates. (Side note: when I was in the studio for the “Sound of Music” appearance on VTM, they ran the music off of a miked boom box. Not exactly high tech and I expect a glitch with that kind of setup was the cause of the awkward pause.) I’m also tickled that a song about lesbian love got performed so boldly on morning TV. Welcome to the 21st century, Richmond!

I’m glad some folks took the opportunity to shamelessly promote their upcoming work in the comments of a recent post. As I said there: it’s my blog but your forum, if you choose to use it. I know a tiny fraction of what goes on in this town and I started this blog to generate conversation, not to provide a platform from which to expound. My hope has been that it would leak out into the larger community and be another venue for promotion of Richmond theater in general. I don’t know how successful it’s been but that’s still my focus.

Anyway, along those lines, the talented Mr. Carlson has started a blog to talk about his upcoming Theatre in Battery Park production of “As You Like It,” another entry in the local Shakespeare sweepstakes. I know he’s got some good folks lined up to perform so it’s certainly a project that warrants attention.

Buffalo

I’m a little exhausted after a busy weekend including a fun-filled Father's Day and a theater double-header on Saturday where I was able to check out CYT’s “Peter Pan” in the afternoon and Richmond Shakespeare’s “Twelfth Night” in the evening. The big opening of the weekend was Swift Creek Mill’s “Moon Over Buffalo;” you can read Ms. Haubenstock’s measured response to the show in today’s T-D. While you’re reading that, I’ll try to recover enough to write up my impressions of the Saturday shows. Oh, and have you voted for Jason, Ellie and Jon yet? You can do so once a day!

Big Broadway Breakers

As mentioned before, here's the link to Jason Mark's Big Broadway Break audition. Vote now!

And Jason isn't the only local making a play for their big break. The adorable couple, Ellie Atwood and Jonathan Perez, who have done great work together in Stage 1's "Summer of '42" and Theatre IV "Sideways Stories from Wayside School," are leaving for the Big Apple in August. A little boost to their careers wouldn't hurt. Here's Ellie's audition and here's Jonathan's. Support your local faves!