Joy Theatre straps young comedians to a fully packed parachute of theatre fundamentals—confidence, improvisation, acting, sketch comedy, stage fighting, character development, and more—before giving these young talents a chance to jump onstage in front of a live audience. Most classes meet on weekends and offer students the opportunity to perform in one of the theatre's Saturday or Sunday shows, which are open to the public. Kids 4–11 meet on Saturdays and Sundays from noon to 3 p.m. for the Giggle Gaggle class (with performances starting at 2 p.m. and running the last hour of class); the older set, ages 12–19, meets on Saturdays and Sundays from 3 p.m. to 6 p.m. for their own Detention Span class and performance. Shy comedians and outgoing gorillas keeping a low profile in people suits can sign up for The Sunday Funnies. This class for ages 4–19 teaches all the essentials of improvisational comedy through games in a fun and welcoming environment. Instead of a weekly performance, Sunday Funnies keeps young stars in demand with a live performance every 10 weeks.
Chris Owens is one of five artists honored with a statue in New Orleans Musical Legends Park. She has been featured in OffBeat and Where Y'at Magazine. Though Chris Owens Club has yet to receive many online reviews, five Yelpers give it an average of four stars, and seven Citysearchers give Chris Owens Club a three-star average.
A smash off-Broadway hit, The Piano Teacher tells the haunting tale of the sweetly maternal Mrs. K, a piano teacher whose past may be much darker than her cookie-chomping demeanor reveals. Penned by Susan Smith Blackburn Prize recipient Julia Cho, directed by Mark Routhier, and performed by a collection of top local and national talent, The Piano Teacher presents audiences with a riveting amalgam of suspense and storytelling prowess.
Claiming a wealth of celebrities among their past clientele, The World Famous Cats Meow gives songbirds and wannabe rock stars a chance to work their vocal cords and stocks a full bar with a varied roster of liquid courage. The Bourbon Street bar plunks casual crooners into the center of attention by placing them on a glossy wooden stage, separating them from the throngs of new fans and Ed Sullivan booking agents with a low yellow barricade. Vocalists pull songs from a chart-topping list that reaches back to the 1950s before bypassing lines and leaping right on stage with their Head of the Line pass. Between tune-bending sessions, sing-along stars can rehydrate parched throats by knocking back one of 15 Jello shots or one of seven drinks from the well-stocked bar, such as a bubbly Abita beer, a premium cocktail, or a fruity 32-ounce hurricane. An included DVD of the event lets singers watch, critique, and improve their performances in much the same way boxers watch match tapes to hone their jabs or the Kool-Aid Man watches his own commercials to master his wall-smashing skills.
With its imposing, slate-gray façade, the 170-year-old U.S. Custom House may be the last building in which you’d expect to hear the delighted squeals of children. But behind the steely columns, the building erupts into 23,000 square feet of colorful displays and fluttering, scuttling insects, courtesy of the Audubon Society and Insectarium. In the Asian garden, hundreds of butterflies dodge shafts of sunlight to alight on tropical ferns and the shoulders of young visitors. And at the Insects of New Orleans gallery, visitors can ogle the pink katydids, cockroaches, and lovebugs that contribute to the city’s heritage.
These bug-filled displays are all part of the insectarium’s mission to conserve Louisiana’s indigenous species and inspire stewardship in its visitors. While adults can sate their curiosity with the vast array of exotic species, curators gear many displays toward young guests by making them lighthearted and interactive: the Field Camp’s entomologist answers questions about how to collect bugs or break up flea-circus strikes, and at Bug Appétit, chefs dole out insect-filled delicacies to adventurous palates.