High Society Cabaret presents...
Kansas, 1901. Queen Victoria has died and the Edwardian Era has begun. Marconi has sent his first wireless telegraph, newly elected President Theodore Roosevelt has invited Booker T. Washington to the White House, and the must-see entertainment of the time is the travelling circus. Miller's Cavalcade of Wonders has made its stop in Wichita. While most locals are a-buzz over the thrill of the side-show, a local reverend makes his displeasure known. Follow a cast of misfits as they fight to find their place and learn what being a family really means.
Elizabeth “Beth” Rose Miller - Knox Harter
Florence Bailey Miller - Ivory
Juan Ramirez - El Toro
Bill Carter - Brad Puddin’
Minnie - Imogen Quest
Wally Russell - Maximum Capacity
Grace Edwards - Jada Rifkin
Francine “Frankie” Turner - Robbie Fenton
Reverend George Henderson - TBA
Ensemble: Tucker, Newfound Lad, Rita Ann’Tique, Kristen Pepper
Directed by Dana Thody
Choreographed by Adam Martino and Knox Harter
Sunday November 3rd
Monday November 4th
Tuesday November 5th
Revival Bar - 783 College Street
Doors 7pm, show 8pm
EARLY BIRD PRICE - $20 (before October 7th)
Advance Tickets - $30
Door Admission - $40
Advance pricing ends 7pm the day of the show
Seating is first come, first serve. Standing room is available.
BALLYHOO was set to be High Society Cabaret’s next original full length production and was planned for the late fall of 2018. Inspired by the 1932 movie Freaks, the show followed a circus and sideshow troupe while they stop in a conservative town near Wichita, Kansas at the beginning of the Edwardian Era. The cast of characters included a matriarch ring leader, her wife the bearded lady, a mute clown, a carnival barker, a strong man, a fortune teller, and circus roadie. The troupe catches the unwanted attention of the local reverend when his daughter, attempting to flee a repressed household, befriends members of the troupe. The intent of the show was meant to be more tragic and dark, while portraying a message of hope and resilience.
Plans included Knox to take a step back from parts of the production so she could star as the troupe's matriarch, Beth Rose Miller. Dana Thody would step in as director, with choreography being set by both Adam Martino and Knox Harter. Knox had large ambitions for this production that included complicated staging logistics, quick transitions and stage combat. A major hurdle was also an unfinished script. Knox recalls writing this script to be challenging:
“I feel like I had such visceral feelings about what I wanted this show to be and how I wanted to affect an audience, but I was struggling to find the characters voices, or to have the series of events line up just so to make sense as a story.”
While unfinished, Knox was determined to push forward, deciding to use the script in its current state as a skeleton or outline of the show's story and treat rehearsals as a workshop process to fill in some of the details. However all rehearsal plans came to a halt when the venue, Revival, stated that their proposed performance dates were given away to two different corporate bookings. Unable to find alternative dates within the month of November at Revival or a venue that could house Knox's ambitious ideas n the time allotted, Knox cancelled the dates and shelved the production just before the rehearsal process started.
Art by Adam Tupper