After a long hiatus, the KAT's Meow is back with another fun-filled issue. We have two productions opening next weekend, a fantastic(k) fundraiser in June, and our 2005-2006 season has been finalized. Now, on with the news.

Opening in May...Kiss of the Spider Woman

Book by John Weidman Music by John Kander Lyrics by Fred Ebb Directed by Craig Pettinati Music Direction by Alvin Smithson Choreography by Pam Mueller Opens Friday, May 13th. Runs Fridays and Saturdays, May 13 through June 4; Thursdays, May 26 & June 2. All at 8pm. Based on El Beso de la Mujer Arana, a novel by Manuel Puig, KISS OF THE SPIDER WOMAN explores the complex relationship between two men caged together in a Latin American prison. One of them, a gay window dresser, has been imprisoned for allegedly making sexual advances to a young boy. In order to escape the brutality of prison life, he spends his days dreaming of Aurora, a B-movie actress from the 40s who once played the role of the sinister Spider Woman. His dreams, however, become more complicated when the warden asks him to spy on his cellmate, a political activist jailed for his involvement in the Argentinian revolution. Click here to go to the Kiss...Spider Woman page »

Also Opening...The Fantasticks

Music by Harvey Schmidt Book & Lyrics by Tom Jones Directed by Stephen D. Welsh Music Direction by T.J. Cannady Opens Friday, May 13th. Runs Fridays and Saturdays, May 13 through May 29 (8pm); Sundays, May 15, 22, 29 (3pm). THE FANTASTICKS' charm is undeniable with its sweet and wistful story. The ingredients are simple: a boy, a girl, two fathers, and a wall. Its stage is a wooden platform, its scenery a tattered cardboard moon. The fathers build a wall between their properties, forbidding the young lovers to speak with each other. They secretly want the two kids to fall in love and marry but know the couple will resist an arranged marriage. They enlist the help of the proprietor of a traveling carnival, the mysterious El Gallo, to end their faux feud. El Gallo pretends to kidnap Luisa with the help of his traveling troupe which includes an elderly Shakespearean actor and his silly sidekick Mortimer. It seems everyone will live happily ever as act one closes. But that never is the case, for many things happen in the second act as the young lovers go their separate ways into the outside world. After a dose of harsh realism the two learn a more realistic understanding of love. Click here to go to The Fantasticks page »

Announcing KAT's 1st Summer Spectacular Fundraiser

June 24, 8pm, at the Glenview Mansion in Rockville The theater group is growing and we have new ideas and concepts to bring to our audience. We have decided to hold a fundraiser that will help bring light to these visions. This fundraiser is designed to raise money so that we can create the most cutting-edge musical theater in the area. At present, we are faced with constraints, as we have only been in existence for three seasons. We have certain standards for artistic design, set design, costume design, and orchestral demands that prevent us from producing certain stories that we feel are worthy of being told. This is an affair to celebrate KAT's direction and to assist us in reaching our goals. The night will include a silent auction featuring high-ticket items such as vacations, dinners at exclusive restaurants, first class tickets to theatrical and sporting events including the Washington Nationals, an open bar, light fare, and live piano and chamber music. Best of all, the event is tax-deductible as we are a 501(c)(3) group. You can help a theater group dedicated to creating meaningful work and receive a tax break to boot. Join us. We look forward to seeing you. Click here to go to the Summer Spectacular page »

In Good Company

After thoughtful consideration, KAT's Board of Directors has decided to change the Fall 2005 show. Our selection is more conducive to the goals of KAT, it is lighter and fun, and best of all...it's Sondheim. Winner of the 1971 Tony Award for Best Musical, COMPANY uses the clashing sounds and pulsating rhythms of New York City as the underscore in this landmark "concept" show, considered by many to have launched the modern era of musical theater. We follow confirmed bachelor Robert, as he makes his way through a series of encounters with April (the stewardess), Kathy (the girl who's going to marry someone else), Marta (the "peculiar" one), as well as five married couples where he explores love, commitment, fear and the joy of being alive. On the night of his 35th birthday, Robert contemplates his unmarried state. In vignette after hilarious vignette, we are introduced to "those good and crazy people," his married friends, as Robert weighs the pros and cons of married life. An honest, witty, sophisticated look at relationships, COMPANY is as contemporary and relevant as ever (witness the recent hit revivals on Broadway and the West End). It features a brilliant, energetic score containing many of Sondheim's best-known songs -- each song revealed outside the scenes rather than part of them. Guessing in advance when dialogue is building to a musical cue is difficult at best. The ensemble of quirky, memorable Woody Allen-esque characters doubles as the show's chorus. Click here to go to the Company page »

Tom-Katting Around

Before I start in on this issue's topic, let me apologize for somehow failing to transmit the last paragraph of my previous column. It was the conclusion of my two-parter on auditioning advice. Please read the complete version of my column in the online version of the January issue. Now that I have finally told you all about getting yourself cast, let me address this column to my somewhat older readers who may have children they would like to help get into a show. Of course, I am talking about minor children here. In one of my early shows, an older member of the cast had a daughter who wound up being in the same show, but the daughter was 37. I am guessing she did not need her mother's help to get the part. If your child is interested in being part of a show, there are three different and distinct venues that he or she may look to for a role. The first one is to be part of an adult community theater production. Some of these definitely call for children, such as The Music Man, while others may or may not feature them, such as The Pajama Game. In that situation, you need to learn whether the show is looking to cast children. Generally you will have to know someone who is part of the production. Where children are essential, it will so state in the audition notice. The biggest contribution you can make to this type of effort is to realize that your child will be working among adults, and to ascertain whether he or she is emotionally ready to do that. Your fifteen-year-old almost certainly is; your seven-year-old, maybe, maybe not. One other factor you should consider is whether you want your child exposed to the material in the show itself. There is a children's chorus that is essential to Evita, for example, but the children in it are going to have to hear the title character being called a number of names you might not want them to learn at such an early age. Beyond that, your support should be in the area of ensuring your child is transported to rehearsals and performances (on time) and picked up when they are over. Also, as with the other venues, you need to trust the director to know how to direct your child and not interfere. If you do, it will almost certainly be humiliating for the child and serve to make it more difficult for him or her to get cast in another show. That is true, straight across the board. The second venue for your child is a community theater show that is geared towards children, such as Alice in Wonderland or Charlotte's Web, where children will play all or most of the parts, including the leads. On one hand, you will be spared any concerns you might have about your child working in an adult atmosphere. On the other hand, where there is the possibility of being Alice or Charlotte or the Velveteen Rabbit, your child may feel a stronger sense of rejection if someone else gets the part instead. None of us like to get beaten out for a part we wanted, but as adults, we have been slapped around enough by life that we are a little more used to it. The best thing you can do for your child in this case is to help put things into perspective, which, as the great parent you undoubtedly are, you have been doing all along. Finally, there is the school production. As in the other areas of opportunity, your child must have the talent for the part. As in the children's show outside the school, there will probably be a good deal of competition for the best parts. There are some differences. First, unlike the community production where the director may be meeting your child for the first time, the director of the school play will be a member of the faculty and as such, may be thoroughly familiar with your offspring. All things being equal in the talent department, then who do you think will get the desired part, the bright student with straight As in deportment and citizenship or the insufferable brat? If your little angel really, really wants a certain part in the upcoming play, you might want to advise him or her not to perturb the director too much in the other areas of school life. Second, keep in mind that very few (if any) schools have a faculty member whose sole job is to direct school shows. These directors have regular teaching jobs, just like all of their colleagues. Again, all things being equal between your child and some other child, the parents who are more willing than others to help the director in support functions (costumes, props, box office, you name it) are more likely to see their child get the nod. That is not so cynical as it sounds, for you see, the show must go on. Break the leg--tcl – Tom Lane Click here to read about our next auditions »