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Upcoming Shows | Shows From Previous Seasons
Upcoming Shows
Curtain Times
On Fridays and Saturdays, curtain times are at 7:30 p.m.
For special Sunday showings (Musicals only) curtain times are at 2:30 p.m.
2009 -- 2010 Season
Rent
(Musical)
Book, Music and Lyrics by Jonathan Larson
July 10, 11, 12, 17, 18, 19, 24, 25, 26
Winner of the Pulitzer Prize and four Tony Awards, including Best Musical, Rent is a rock
opera which is Generation X’s amplified update of Puccini’s La Bohème and is the seventh
longest-running show in Broadway history. It tells the story of a group of impoverished
young artists and musicians, struggling to survive and create in New York’s Lower East
Side in the thriving days of Bohemian Alphabet City, under the shadow of AIDS. While
including themes of homelessness, drug addiction, hunger, sickness, multiculturalism,
homophobia, and AIDS, nonetheless, this invigorating and exuberant musical has the
sweet spirit of a kid’s show. Its message of hope and love continues to inspire young
people who are trying to find their personal passions in a world they don’t necessarily
respect, and its unifying thread is a stubborn insistence on a life that rises above the
commonplace and an existence that maintains some semblance of integrity and dignity
over time. Directed by John Thompson, Music Direction by Lori Isner.
Jekyll & Hyde
(Musical)
Conceived for the Stage by Steve Cuden and Frank Wildhorn
Book and Lyrics by Leslie Bricusse, Music by Frank Wildhorn
Based on the story by Robert Louis Stevenson
August 14, 15, 16, 21, 22, 23, 28, 29, 30
Nominated for four Tony Awards, Jekyll & Hyde is a rousing gothic musical, set in London in
1885. This classic is a cautionary tale of a scientist attempting to separate the dual (good
and evil) natures of man to cure humanity of its darker side. Comparing the joys that Hyde
has as a murderer as well as the joys Jekyll had as a doctor by day, Hyde is often found to
be the more compelling character, a portal for audiences to vicariously indulge forbidden
impulses within a safely defined theatrical mileau. This show mixes together characters
from both ends of the social spectrum, songs and scenes that provide ample chills and
thrills, and a main character split between the extremes of morality. But are they really that
separate... "How do you tell evil from good?" Directed by Byron Taylor, Music Direction by
Jeannie Smith.
Our Town
By Thornton Wilder
September 11, 12, 18, 19, 25, 26
Winner of the 1938 Pulitzer Prize for Drama, Our Town has become a much beloved classic
which chronicles the daily life of close knit families and reveals the universal truths that
connect us all. One of the major plays of the American theater, Our Town uses theatricality
to its fullest, most engaging extent, stripping away most of the physical trappings in favor
of the emotional commitment and honesty that are the core of all theater. Wilder’s play
cautions us to appreciate the opportunity to live a life in a highly imperfect world amidst a
mysterious universe that probably does not even acknowledge our existence. Directed by
Jamie Scott Blakey.
Falsettos
(Musical)
Music and Lyrics by William Finn,
Book by William Finn and James Lapine
October 9, 10, 16, 17, 23, 24
Winner of Tony Awards for Best Book of a Musical and Best Original Score, Falsettos
explores the boundaries of love, courage, family and acceptance. With its neurotic, Jewish
protagonist, at least three characters in therapy, and a lesbian couple living next door, the
show engages the intellect with intricately crafted music and a libretto that addresses real
life with the dialogue being entirely sung. There are startlingly unstereotyped characters: a
woman who chooses to be a full-time homemaker yet is not presented as dull nor ridiculed
for her choice; a kid who is wise beyond his years but still has a child’s needs; a shrink who
oozes both jargon and compassion; a gay male couple who meet each other as equals. A
nonstop songfest with a message of tolerance, this fresh, slice-of-life musical celebrates
the enduring power of familial love - and the changing de finition of “family” - in the face of
the AIDS tragedy. Directed by Andy Hall, Music Direction by Steve Whaley.
A
Dark, Dark House
By Neil LaBute
November 6, 7, 13, 14, 20, 21
This absorbing puzzle play, concerning repressed memories of childhood sexual abuse and
involving classically brutish brothers, takes place in a fancy institution for the dangerously
self-medicated. A cruel father and a sexually predatory young man represent two dark
forces. Their actions affected two brothers differently, but clearly left a dark dark imprint on
their psyches. Helping to understand the psyche of the American male, this provocative and
sexualized mystery plumbs adolescence in American lives: how it can be warped, stolen,
frozen and willfully extended. What went on in that “dark dark house” shows the ripple and
long-term effects of family dysfunction and violence, that shared trauma can poison kinship
and ricochet down to subsequent generations. Directed by Duane Jackson.
The Last White Class
By Marge Piercy and Ira Wood
December 4, 5, 11, 12, 18, 19
The Last White Class: A Play about Neighborhood Terror is about an African American
family in a white neighborhood during the introduction of bussing in Boston. In
response to Boston’s public school desegregation by court order in 1974, this play is a tale of
inner-city whites, many of Irish or Italian descent, who believe the institution of public
education will cease to exist once “TLWC”--The Last White Class--ends its senior year. It is a
tale about African Americans who were not prepared for the surge in hostility, about small
pieces of neighborhood turf becoming battlefields, about impoverished participants in the
social experiment, black and white. Told with humor, insight and passion, the story is larger
than Boston, larger than bussing, helping us to understand what once seemed incomprehensible
and to realize that to understand is indeed to forgive. Directed by Ralph Hyman
Sordid Lives
By Del Shores
January 15, 16, 22, 23, 29, 30
Winner of 14 Drama League Awards including Best Production, Sordid Lives is the story of
unconditional love, acceptance and “coming out” in a Texas family, as they all converge for
the matriarch’s funeral. The eccentric characters include: a mother who is wound-too-tight
and in-denial over her gay son, a barfly/singer at the local watering hole, a cheating heart
who’s wooden legs accidentally aid in the death of his mistress (the family matriarch), the
cheating heart’s wife who tries her hand at revenge therapy inspired by “Thelma & Louise”
along with her best friend. Led by comedic voices, their lives intertwine, giving each a new
perspective, honesty and meaning. Directed by Andy Hall.
Dying City
By Christopher Shinn
February 12, 13, 19, 20, 26, 27
Dying City, a political play, is also a psychodrama about what Arthur Miller called the
politics of the soul. It’s about public conscience and private grief, and real and symbolic
catastrophes. A year after her husband’s death in Iraq, Kelly, a young therapist, confronts
his identical-twin gay brother, Peter, who shows up at her apartment unannounced.
Trying to make sense of what is left behind, Christopher Shinn’s remarkable tale of
loss and how two very di erent people handle their grief is personal, intimate even,
yet its themes could not be more all-encompassing and its emotional impact more
affecting. In this subtle and revealing play, Shinn is able to take the political and humanize
it, transforming the stu of daily news stories into a devastating statement on the
unforeseen and often hidden consequences of war. Directed by Ralph Hyman.
The Little Dog Laughed
By Douglas Carter Beane
March 12, 13, 19, 20, 26, 27
Receiving a 2007 Tony Award Best Play nomination, The Little Dog Laughed follows
the adventures of Mitchell Green, a movie star who could hit big if it weren’t for one
teensy-weensy problem: his agent, Diane, can’t seem to keep him in the closet. Using
satire’s risqué humor to reveal the deeply ingrained arti ce of Hollywood, the play’s deeper
level shows the masks everyone wears, and the pain they hide. With twists and turns that
keep audiences guessing, the production cleverly reflects America’s celebrity-obsessed
culture, the price of ambition, the luxury tax on love, and the unexpected packaging in
which dreams invariably arrive. Directed by Andy Hall.
Summertree
By Ron Cowen
April 9, 10, 16, 17, 23, 24
Winner of Off-Broadway’s Vernon Rice Award and concerned with the problems and
fears of young people in today’s uncertain world, this honest crucial play is both a
joyous expression of the good things in life and a powerful indictment of war and
the senseless waste which it can bring. Travel with our Young Man as he remembers
his youth, his love, his terror, and the idiosyncrasies of living. This is a story that will
question where we came from, where we’re going and most important where we are
now and what do we truly value. There’s a beauty and elegance to the writing that
elevates the play to the level of poetry. Cowen has distilled this bittersweet part of
the human experience to its essence. Directed by Ralph Hyman.
Glengarry Glen
Ross
By David Mamet
May 14, 15, 21, 22, 28, 29
More pertinent than ever in today’s gravely compromised political atmosphere, this
Pulitzer Prize winning tale of cutthroat competition among desperate real estate salesmen
sticks figurative needles into businessmen and, by extrapolation, into American corporate
practices. With obscenities as common as conjunctions, these hardened hucksters hustle
worthless Florida land developments on the easily deluded. Insults rage. Tempers flare.
Reveling in obscenity and scatology, the alpha-male animals of “Glengarry”, metaphor for
the greedy in The American Corporation, practice the art of the deal, the hard sell, the scam,
mesmerizing the honest and honorable public as easily as a viper does its prey. Directed
by John Haman.
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