The drama that is theatre

For several months now the battle has raged. There have been accusations and recriminations on both sides as the struggle for control of Le Petit Théåtre du Vieux Carré has persisted. The facts have been disputed by both the Board of Governors and the Le Petit Guild members, but the love of the country's oldest community theater (founded in 1916) is not in doubt. The passions on both sides are fierce and run deep. For those not familiar with the controversy, I shall in a cursory fashion sum up what has transpired thus far. The theater building bordering on Jackson Square has been and still is in great need of repairs. Although several valiant figures have emerged through the last decade to lead Le Petit, the board had found itself in ongoing financial trouble. Damages from Hurricane Katrina and recent improvements to the main stage were costly and a balloon note on the mortgage for the historic property also loomed large. There were indications that the bank would call their loan. With sadness last year, the entire season was cancelled in December of 2010 when it became apparent to the Board of Governors they could no longer afford to put on productions without losing more money. Board members looked at several options from different quarters and eventually decided to invite local restauranteur Dickie Brennan to develop a significant portion of the facility into a restaurant. The agreed upon price would be $3 million. The facility would, for the most part, remain a theater, sharing common space with the restaurant such as the central patio on the property. This led to a number of people in the theatre community crying foul. Some did not want to lose the smaller of the two performing spaces - what had been formerly known as Teddy's Corner or Muriel's Cabaret Theatre - to a restaurant at all. Others stated that to use the space for a restaurant, which it had been previously, would be more judicious and proper. Some liked the Brennan family's track record with restaurants. Others questioned the need for yet another Brennan restaurant in the French Quarter. Meanwhile, the Le Petit Guild, an advisory group made up of friends of the theater for the past half century, took the opposite tack. They argued the board was not looking at other alternatives. Recently, they claimed the valuation of the building was far beneath what had been suggested in pending documents for the lease and that to proceed might not only be criminal, but could put the tax exempt status of Le Petit into question. A vote by the Board of Governors on the subject was called to change the bylaws allowing the sale of a portion of the property to Brennan to take place. The Guild members challenged the vote by taking the matter to Civil District Court. The Board of Governors countered by challenging the order from one court by having another opinion offered by another judge. He decreed the Guild members were to cease and desist their tactics and were not allowed to engage board members in any way. The battle over the last several months was pitched and combatants bound by their love of theatre literally waged war against the other. Last night the board assembled all voting members - season ticket subscribers - and the outcome was a 74-58 win for the Board of Governors. The sale of a portion of the building can now proceed, the mortgage can be retired, new repairs can be made and the healing process over what is now a major rift in the theatre community can begin. As a lover of theatre and a reviewer of most productions seen on the local front, I have taken no side and I do not wish to broker animosity from my friends on either side. Nevertheless, my opinion today is that we urgently need to make strides to bring these two factions together. The hurt on both sides runs about as deep as it can go and I am saddened that such a vibrant and robust community could be split to its core over one issue - albeit a major one. After Hurricane Katrina and the flooding that decimated the city, the first artistic group that returned in force was the theatre community. Even while residents were living in trailers and eating at taco stands, there were actors, singers, dancers and technicians coming together to put on shows to bring some happiness back to a town full of anger and rage. These brave souls took the sting off a horrible chapter in this city's life. Recently, we have lost an invaluable performing venue at Le Chat Noir and several major performers and directors have felt compelled to leave New Orleans and may never return. Now is the time for us all to come together and ease each other's minds. The vote has been taken, a decision has been made and change - the essential part of life - must go on. Acceptance is tough to take when one is on the losing end and the board members should be gracious as plans are made for the future of Le Petit. It would be a real life tragedy if this drama persists any longer.

Two grand ladies pass

Bryan's loving memoir to his mother Gayle

The news before Christmas is not very good for a city that is so closely connected. Yesterday, the city lost two grand dames, the first a gracious, charming and vivacious ambassador for the Crescent City and the other a 95-year-old institution that local actors and the theatre public have referred to as "the old girl." Gayle Batt, a true New Orleanian from the top of her perfectly coiffed hair to the soles on her exquisite shoes, lost her courageous, long-running battle with cancer yesterday at the age of 79. Batt, the mother of actor Bryan and local politician and former city councilman Jay, was a cancer survivor at least thrice before. She worked for a large number of local charities and non-profits including the New Orleans Museum of Art, WRBH Radio for the Blind and Print Handicapped, the Friends of City Park, Save Our Cemeteries, the Louisiana chapter of the Juvenile Diabetes Foundation and various garden societies. She was the subject of her son Bryan's loving memoir "She Ain't Heavy, She's My Mother" released this year by Harmony Books (Crown Publishing Group). A redoubtable figure who always was impeccably attired and never without a smile, Batt worked tirelessly for many causes, but her most special attachment might have been her work as a member of the board of governors of Le Petit Théåtre du Vieux Carré, the other victim who fell yesterday. After weeks of speculation, Cassie Worley, the president of the Le Petit board of governors, announced with regret the cancellation of the remainder of the season including the upcoming productions of "Frost/Nixon," "The Drowsy Chaperone," "Evita" and "Disney's High School Musical." The theatre's production of "White Christmas," slated to have run during the first three weeks of December had previously been canceled. According to several sources, this action was necessary due to runaway costs for the maintenance of the building and other debts that are reported to top at about $1 million. Close friends of the theatre were shocked to hear that were "White Christmas" to have been mounted and had sellouts for each performance, it still would lose money. Money problems have threatened the small theatre, which boasts it is the oldest continuously running community theatre company in the United States. A few years back artistic director Sonny Borey and his entire staff were sacked. The Solomon Group was then brought in to rein in the the finances and Gary Solomon, the 20-something wunderkind was credited with keeping the company from the brink of financial doom. An article in the Times-Picayune earlier in the year gave Solomon the nod as the savior of the theatre most New Orleanians consider the best in the city. He did so by comping the services of the Solomon Group for three months, but then charging the theatre $10,000 per month for their services. Solomon brought about a number of incredible changes for Little Theatre, but the mounting debt still lingered despite the theatre making a turn towards financial stability.When Solomon was discharged by the board two months ago, speculation ran rampant about who would take over the day-to-day operations of the theatre. A recent run of shows "We Need a Little Christmas" with headliner Bryan Batt raised several tens of thousands of dollars for the theatre, but it was, apparently, too little, too late. It is sad, but out of this disaster, the seeds of redemption may be planted. Plans are afoot to see what can be done to make Le Petit more financially viable. Some sections of the building, which fronts near Jackson Square, may be sold off and the money applied towards servicing the theatre company's debt. The board remains very tight-lipped, but no one has suggested the theatre will be forced to close its doors permanently...yet. Meanwhile, the funeral for Gayle Batt will be held at Rayne Memorial United Methodist, 3900 St. Charles Avenue, tomorrow and the burial will be private. In addition to her two sons and their partners, she is survived by two grandchildren. My condolences to all the members of the family and to all those who were blessed to know her.

White Noise

Just finishing a three-week run at Le Petit Theatre du Vieux Carrè is the cautionary musical "White Noise." This is the first production to take advantage of tax credits that were created by the state legislature to lure first run shows here first before they bow on Broadway or take to the road. It is an important part of the response of the theatre community and its advocates to make New Orleans a vital center for national and regional theatre. It is appropriate this show is being held at Le Petit, since it is the oldest continuously operating community theatre in the nation. Yes, that's right. The nation. New Orleans has long been at the forefront of the arts and while it does take a back seat to New York and other major cities in the promotion of the arts, we do hold our own. As to "White Noise," it has the potential to be the next "Hair" or "Rent." It deals with the very tough subject material of racism and how we should respond to it. The cast was assembled in New York, went through three weeks of rehearsals there, journeyed down to the Crescent City, had one additional week of preparation and then opened their doors almost three weeks ago. The reviews have been largely positive and the performances of this very young cast have been spectacular. I have seen it twice. The first time I was so pulled into the show that I was not able to absorb many of the intricacies of the book and the impressive score that is both riveting and fresh. The basic plotline involves a pair of beautiful blonde sisters, Eva and Kady Siller (played respectively by MacKenzie Mauzy and Patti Murin), who respond to their father's suicide by becoming members of a band with a message of hate against all those they hold responsible for his death. They team up with a menacing skinhead named Duke (Patrick Murney), who makes no bones about wanting to espouse his racist lyrics to rally like-minded racists. The group's name is an obvious metaphor, but it isn't until they are "discovered" by successful producer Rick Kent (Brandon Williams) that their message is coded and made more mainstream. Along the way Kent's protégé, Kurt, a talented musical genius repulsed by their message, is convinced to become a member of the group in order to make their message more tolerable to the masses. In short order a song decrying black people is re-titled "Monday's Suck" (as Kent explains to Kurt: "Everybody hates Mondays!") A popular rap group - Blood Brothers - is also used in juxtaposition to show their similar hateful "N.G.S" in which their profane laced lyrics profess a need to shoot whites. Their opening number for Act II, "Hip Hop Country" is a choreographic masterpiece with lyrics and music that steal the show. The music and lyrics by brothers Robert and Steven Morris, Joe Drymala and Joe Shane make the show even more compelling than the masterful book by young writer Matte O'Brien. O'Brien bravely professed in a talkback session last Tuesday night to the audience that some of the writing came from experiences he had as a young gay male. The homophobic hate he has seen could easily be translated into anti-Semitism and other racist thinking. The love story between Kurt and Kady is worthy of mention in that it shows the dichotomy of their feelings for each other and their disconnect with regard to Eva and Duke's message of hate. Despite enormous success, the characters spin out of control until tragic events rip the two groups apart. This is a show that Broadway should take to like a duck to water. Its message is raw and the language is frank, but the production has the potential to take the theatre district by storm. The production is due to open in a legitimate Broadway theatre in late fall or early 2010 and I predict we will hear more from them on what might then be the Great "White Noise" Way.