Jesuit's Philelectic Society Presents...

Directed:  Marc Belloni, ’83 Assistant Director: Tracey Collins Technical Director: D.J. Galiano, ’07 The play runs from Wednesday, April 14 through Sunday, April 18. Performances begin at 7:30 p.m. each evening except on Sunday when the show concludes with a 2 p.m. matinee curtain. Ticket Prices Adults - $12; Students - $5 Contact the Phils: 483-3877 (Ticket Info) jayphils@jesuitnola.org Jesuit’s Philelectic Society will stage the musical Evita this spring in the Jesuit auditorium. The cast includes the following performers: Eva:                 Katharine Harris Che:                Barron Burmaster Peron:             Sam Morel Magaldi:          Jason Giaconne Mistress:          Emily Classen/                         Erin Hildebrand Young Girl:      Emily Bagwill Chorus : Kyle Adam, Michal Bordlee, Logan Breaux, Andrew Burmaster, James Burvant, Dominic Lloyd, Timmy Harris, Michael Mentz, Ian Morel, Daniel Rigamer, Joe Signorelli, Mark Tortorich, Kyle Vogel, L.G. Williams, Emily Classen, Niki Collins, Sara Donnes, Gabby Galeano, Natalie Guillot, Erin Hildebrand, Megann Jones, Savannah Lloyd, Greer McKendrick, Sarah Moore, Meredith Morphy, Emily Owen, and Maddie Priest   Check out the Evita Photo Gallery! Watch the cast of Evita singing “New Argentina” on WLAE’s Greater New Orleans. Evita Synopsis Evita (7 Tony Award winning musical 1980) is the Andrew Lloyd Webber and Tim Rice rock opera telling the story of the controversial First Lady of Argentina, Eva Peron.   In Act 1, Evita’s ambition, her rise to prominence, and her extravagance are the subject of scrutiny by the narrator character of Che (Oh What a Circus). As she is from a broken childhood, she longs for the big city life (Buenos Aires) where she gains recognition as an actress and radio activist. As the story continues, she meets Col. Juan Peron (Charity Concert) and becomes a great treasure to the working class and poverty stricken of the nation, as well as the subject of scorn and contempt of the aristocracy and the formal military (Peron’s Latest Flame). Through the support of the “descamisados,” the shirtless ones, Col. Peron and Eva win the backing of the nation (A New Argentina) and become the President and the First Lady.   In Act 2, Peron takes office; and Eva delivers the famous soliloquy in Don’t Cry for Me Argentina. She then raises enough capital from the upper-classes (And the Money Kept Rolling In) entrenching her into the hearts of the masses (Gentle Eva/Santa Evita). She embarks on a world-wide venture to sell the news that Argentina is ready to be a player in international affairs (Rainbow Tour); however, Eva, as the spirit of the endeavor, is slowly being taken by cancer (She’s a Diamond) which leads to her untimely demise (Lament).   This play and music inspired pop-star Madonna and Antonio Banderas to bring this show and story to the movie screen in 1996. Jesuit Theology Teacher (and Times-Picayune Contributing Writer) Ted Mahne Gives Evita Two Raving Thumbs Up Jesuit’s Philelectic Society began its spring production — Evita — on Wednesday, April 14 to a packed house. There is still a window of opportunity to catch one of the spectacular performances before the play closes with a 2 p.m. matinee performance on Sunday, April 18. Jesuit’s Barron Burmaster ’11 plays the role of Che and Ursuline senior Katharine Harris is Eva. Evita features “some of the brightest talents in New Orleans on our stage,” says Jesuit theology teacher Ted Mahne, who caught the final dress rehearsal. “Samba or tango on over to the Jesuit Auditorium and catch the Phils’ production of Evita. I last saw Evita some 25 years ago, and have never particularly liked the show. However, the Phils’ current production is astonishing and changed my mind about the show itself. (Jesuit teacher and Phils’ moderator) Marc Belloni ’83 has put together and directed a fine cast that sings, acts, and dances superbly, bringing insights into the show that have been previously lost to me. “The production is lavish and exciting to look at, while never overwhelming the story of the individual characters. The detailed performances that Marc draws from his actors make this a work that he should be extremely proud of. He clearly will have left his own special mark on the rich legacy of the Phils.  “Blue Jay Band moderator and music teacher Joe Caluda ’79 leads the Phils’ orchestra, making one of contemporary musical theater’s toughest scores sound amazing. “Theater enthusiasts should not pass up the chance to see the stellar lineup of Jesuit faculty guest stars. You'll never quite look at (music teacher) Jason Giaccone the same way again after hearing his rendition of “Night of a Thousand Stars.” “I've said this many times before but it bears repeating,” says Mahne, who is a contributing critic writer for The Times-Picayune, as well as moderator of the Blue Jay student newspaper. “I have the opportunity to see most major pieces of theater staged in this town. The work of the Phils easily holds its own against anything else I have seen and reviewed this season at any community or semi-professional theater. Don’t miss this show!”

A Plot Summary for the Play Noises Off

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful comedy titled Nothing On.

Nothing On is set in a delightful 16th-century posset mill that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.

Act One is set at the dress rehearsal, the night before opening with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.

Act Two portrays a Wednesday matinee performance one month later. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.

In Act Three, we see a performance near the end of the ten-week run when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.

Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.