RED, HOT & GLAM

RED, HOT & GLAM

ZACH Theatre’s Red, Hot & Soul Dazzles With Venetian Carnivale Theme

By Rob Giardinelli     Photography by Charles Quinn Photography

THE SCENE: Austin’s ZACH Scott Theatre was the setting for one of the Capital City’s most notable spring sociable events. The 300 guests who were fortunate enough to be a part of ZACH Theatre’s Red, Hot & Soul were treated to an unforgettable evening of fundraising which included a revamped format, dazzling performances, an inspiring theme, and fundraising that kept the fun going into throughout the evening.

THE VIBE: The black tie crowd knew they were in for a special evening before they entered the lobby of the Topfer Theatre on the ZACH campus for cocktails. Upon entering, guests were dazzled by a stunning display of masquerade art and floral design created by celebrity florist David Kurio, which made for the perfect, modern step and repeat, where many guests were spotted taking photos to commemorate the evening.

Once inside the lobby of the Topfer Theatre guests sipped on their favorite cocktails while mingling and admiring the Venetian-inspired masks of other patrons The cocktail hour happened against the backdrop of performance artists throughout the lobby that gave the space an extra layer of fun and excitement for the festivities ahead.

In a new twist for this year’s event, the action then moved to the Topfer Theatre stage for the main program. Many jaws dropped as the crowd took their seats on the main stage where they were greeted by aerialists above the stage for additional ambiance of a Venetian Carnivale.

KXAN anchor Jennifer Sanders served as emcee and effortlessly kept the evening going at a brisk, informative pace throughout. Highlights of the program included a delicious multi-course meal, touching tributes, entertaining performances from various members of the ZACH Theater company, and a spirited live auction where winners of packages were greeted with confetti poppers and champagne. The evening was capped off where the fun initially began in the lobby of the Topfer Theater for a lively after-party. Guests were seen dancing the night away, capping off a fabulous evening that those fortunate enough to be a part of will not soon forget.

THE NONPROFIT: The event, co-chaired by Donn Gauger and Maxx Judd, raised funds for ZACH Scott Theatre. Proceeds raised from the event went to fund ZACH Scott Theatre programs. Each year, the ZACH Scott Theatre serves over 125,000 Central Texans which includes over 55,000 children through an engaging mix of programs including camps, classes, performances as well as education and outreach programs

CURTAIN CALL

CURTAIN CALL

ZACH Theatre’s Annual Red, Hot & Soul Gala

By Rob Giardinelli Photography by Charles Quinn Photography 

 

THE SETTING: The grounds of the Zachary Scott Theatre in Austin played center stage for one of Austin’s most anticipated annual events, ZACH’s Red, Hot and Soul gala. Amid the backdrop of a picture perfect late spring evening, over 420 of Austin’s most notable patrons of the arts enjoyed a memorable evening of fabulous performances and fun.

THE STYLE: The black-tie crowd began the evening in the grand lobby and Serra Sky Lounge of the Topfer Theatre for cocktails. The Naughty, But Nice theme of the event was evident in the attire as partygoers sported nice monochromatic black or white ensembles with pops of red to showcase a dash of naughty. The festivities then moved to the Bobbi Pavilion for the evenings program where guests were treated to a multi-course meal as they applauded a series of performances from current and upcoming ZACH works. Then, the spirited live auction that featured items including a private villa in Acapulco and Ski Week at the St. Regis in Aspen went into full action mode. Capping off the evening was a Happiest Ever After after-party where guests ventured onto the Topfer Theatre stage where the crowd danced the night away and toasted a successful evening of fun and revelry.

THE PURPOSE: The event, chaired by Jeremy Guiberteau and Dan Jackson, and Bobbi Topfer serving as honorary chair, raised over $730,000 for Zachary Scott Theatre’s educational programs, which service over 55,000 students and children annually.

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MASTER’S CLASS

MASTER’S CLASS

When he brings his new play, Immortal Longings, to Texas in June to run at the ZACH Theatre in Austin, Corpus Christi native Terrence
McNally will share his lifelong career of sophisticated playwriting that sO many have come to expect from the Tony
Award-winner. Success With Style podcast series hosts Rob Giardinelli and Lance Avery Morgan share an exclusive peek inside McNally’s myriad of talents.

 

In an address to members of the League of American Theatres and Producers Terrence McNally remarked, “I think theatre teaches us who we are, what our society is, where we are going. I don’t think theatre can solve the problems of a society, nor should it be expected to. Plays don’t do that. People do. But plays can provide a forum for the ideas and feelings that can lead a society to decide to heal and change itself.” He should know since some of his hits include Ragtime and Kiss of the Spider Woman, The Full Monty, Catch Me If You Can, and the current Broadway sensation, Anastasia. It’s safe to say that most theatre aficionados consider him the greatest living playwright in America for good reason.

The real artistry of Terrence McNally is revealed and revered with his gentle manner. In the performing arts world his work is about as close to a sure thing hit as it gets and to many, at the age of 80, his best work lays ahead of him. With McNally’s new production at ZACH Theatre, overseen by Producing Artistic Director Dave Steakley, he takes the audience back to the world of the piece, originally titled Fire And Air, to explore the rich history of the great Russian impresario Sergei Pavlovich Diaghilev and his legendary Ballets Russes. Many know that Diaghilev introduced the world to such revolutionary artists as Nijinsky, Stravinsky and Picasso. In fact, as McNally is quick to note, “Few plays are flawless at their world premiere. Plays are not written, they are re-written. I knew in New York that the play was not finished to my satisfaction and I was grateful when ZACH invited me to finish my work on the play with a new director, a new cast, and most importantly, a new text. A change of title, even after a first production, is not an unusual part of a play’s journey. Away We Go in Boston became Oklahoma! before Broadway.”

McNally’s written word have been performed by some of the most prolific theatrical talents of our time. “Theatre is collaboration,” McNally is quick to point out. “I’ve had wonderful actors, directors and designers to work with and Nathan Lane is a good example of a young actor I’d seen in a Noel Coward play. I thought he was absolutely brilliant in it and so, I thought, I want to work with this guy.” They’ve worked together often since to great acclaim for both. When McNally won a Tony for Master Class, Zoe Caldwell performed as the legendary operatic diva Maria Callas (tutoring the young ingenue Audra McDonald) that was based on his impression of seeing her perform when he was 17. With John Glover, who triumphed in the lead role in Love! Valour! Compassion!, McNally also won a Tony.

The playwright’s unabashed authenticity is palpable in our conversation–likely the reason some of the most superb talents of our time work with him again and again. Chita Rivera, whom we caught up with at McNally’s eight decade birthday celebration commented, “Almost everything that comes out of my mouth are his words,” referring to their many winning collaborations on Broadway.

McNally is frank about discussing his life of growing up in a small Texas town and the recent documentary about him, Every Act Of Life, explores the world of McNally’s ups and downs. As a gay, Catholic son of an alcoholic father, his youth was difficult and he’s quick to admit that it fed his need to create art beyond his surroundings. So it was a full circle moment when he wrote Corpus Christi, a modern-day retelling of the story of Jesus’ birth, ministry, and death. With the new reincarnation of Immortal Longings, McNally’s hopes are high. “’Oscar Wilde said ‘Be yourself. Everybody else is taken,’” states McNally, and it’s advice he’s followed himself to create a deep level of genuineness in his writings to this day. McNally’s Texas ties also remain strong and his career-related collection is housed at the Harry Ransom Humanities Research Center at The University of Texas.

“I don’t think artists live their life in vain,” he confides. “If you reach one person in a thousand and you’re an artist, you could consider yourself repaid fully by one person in a thousand. I mean not everybody wants to be a writer or a painter, but if you can reach one person to expand their horizons, then you’ve met your goal as an artist.”