Barefoot in the Park
Paul and Corie Bratter are newlyweds in every sense of the word. He’s a straight-as-an-arrow lawyer and she’s a free spirit always looking for the latest kick. Their new apartment is her most recent find – too expensive with bad plumbing and in need of a paint job. After a six-day honeymoon, they get a surprise visit from Corie’s loopy mother and decide to play matchmaker during a dinner with their neighbor-in-the-attic, Velasco, where everything that can go wrong, does. Paul just doesn’t understand Corie, as she sees it. He’s too staid, too boring, and she just wants him to be a little more spontaneous. Running “barefoot in the park” would be a start…
Wait Until Dark
A sinister con man, Roat, and two ex-convicts, Mike and Carlino, are about to meet their match. They have traced the location of a mysterious doll, which they are much interested in, to the Greenwich Village apartment of Sam Hendrix and his blind wife, Susy. Sam had apparently been persuaded by a strange woman to transport the doll across the Canadian border, not knowing that sewn inside were several grams of heroin. When the woman is murdered the situation becomes more urgent. The con man and his ex-convicts, through a cleverly constructed deception, convince Susy that the police have implicated Sam in the woman’s murder, and the doll, which she believes is the key to his innocence, is evidence. She refuses to reveal its location, and with the help of a young neighbor, figures out she is the victim of a bizarre charade. But when Roat kills his associates, a deadly game of cat and mouse ensues between the two. Susy knows the only way to play fair is by her rules, so when darkness falls she turns off all the lights leaving both of them to maneuver in the dark until the game ends.
The King and I
The King and I is the fifth musical by the team of composer Richard Rodgers and dramatist Oscar Hammerstein II. It is based on Margaret Landon’s novel, Anna and the King of Siam, which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s.
The Jazz Age lives on in Sandy Wilson’s The Boy Friend,a light romantic spoof of 1920s musical comedy. Written in the fifties as “a new musical of the twenties,” this is still considered the most successful and witty of the send-up musicals.
Set against the backdrop of the French Riviera, this romantic spoof of 1920s musical comedies tells the story of English heiress, Polly, who is longing for only one thing: a boy friend. Polly’s father, convinced that any boy who isn’t wealthy will court Polly strictly for her financial situation, forbids her to engage any potential suitors. Honoring his wishes, Polly explains to Tony, the messenger boy with whom she’s fallen in love, that she is no rich girl. This is just the tip of the mistaken identity iceberg, as love proceeds to find its way charmingly through nearly every member of the cast and bring them all to a happy ending.
The smash comedy hit of the London and Broadway stages, this much-revived classic from the playwright of Private Lives offers up fussy, cantankerous novelist Charles Condomine, re-married but haunted (literally) by the ghost of his late first wife, the clever and insistent Elvira who is called up by a visiting “happy medium,” one Madame Arcati.
A snowstorm traps a group of strangers with an unknown killer in the world’s longest running play!
Mollie: Randi Cauper
Giles: Jim Jones
Christopher: Tom Ghinder
Mrs. Boyle: Dixie Utter
Major Metcalf: Randy DeVriendt
Miss Casewell: Becky Heckert
Mr. Paravincini: Ed DuPont
Det. Trotter: Warren Waldron