2009-2010
The Pajama Game
based on the book by: George Abbott & Richard Bissell
directed by: Rebecca Kennedy
performed on: September 18, 19, 20 & September 25, 26, 2009
The dangers of a workplace romance are explored to hysterical effect in this romantic comedy from the creators of “Damn Yankees.” Conditions at the Sleep-Tite Pajama Factory are anything but peaceful, as sparks fly between new superintendent Sid Sorokin and Babe Williams, leader of the union grievance committee. Their stormy relationship comes to a head when the workers strike for a 7½-cent pay increase, setting off not only a conflict between management and labor, but a battle of the sexes as well.
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The Vagina Monologues*
written by: Eve Ensler
directed by: Michelle Badgely
performed on: November 13, 14, 15 & November 20, 21, 2009
*performances at the American Legion Hall
An Obie Award-winning whirlwind tour of a forbidden zone, The Vagina Monologues introduces a wildly divergent gathering of female voices, including a six-year-old girl, a septuagenarian New Yorker, a vagina workshop participant, a woman who witnesses the birth of her granddaughter, a Bosnian survivor of rape, and a feminist happy to have found a man who "liked to look at it."
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Babes in Toyland
based on the operetta by: Victor Herbert and Glen MacDonough
directed by: Mollie Jones
performed on: December 4, 5, 6, & December 11, 12, 2009
We'd like to wrap this musical in gold paper with spangles all over it and attach a card saying Merry Christmas! Remember the wonderful Victor Herbert music? Remember the lyrics? "Toyland, toyland, little girl and boy land." There are wonderful roles for everyone: Mary, Mary, Quite Contrary; Tom-Tom, the Piper's Son; Jack and Jill; Little Miss Muffet; Wicked Uncle Barnaby who runs the toy shop (and his comic-ruffian assistants, Roderigo and Gonzorgo) and can turn children into dolls and sell them for gold; and lovable Jane and Alan who are his next victims. The adaptation uses the original music of Victor Herbert and much of Glen MacDonough's libretto and lyrics.
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On Golden Pond
written by: Ernest Thompson
directed by: Dan Smith
to be performed on: February 26, 27, & March 5, 6, 2010
This is the love story of Ethel and Norman Thayer, who are returning to their summer home on Golden Pond for the forty-eighth year. He is a retired professor, nearing eighty, with heart palpitations and a failing memory—but still as tart-tongued, observant and eager for life as ever. Ethel, ten years younger, and the perfect foil for Norman, delights in all the small things that have enriched and continue to enrich their long life together. They are visited by their divorced, middle-aged daughter and her dentist fiancé, who then go off to Europe, leaving his teenage son behind for the summer. The boy quickly becomes the "grandchild" the elderly couple have longed for, and as Norman revels in taking his ward fishing and thrusting good books at him, he also learns some lessons about modern teenage awareness—and slang—in return. In the end, as the summer wanes, so does their brief idyll, and in the final, deeply moving moments of the play, Norman and Ethel are brought even closer together by the incidence of a mild heart attack. Time, they know, is now against them, but the years have been good and, perhaps, another summer on Golden Pond still awaits.
Steel Magnolias
written by: Robert Harling
directed by: Lisa Smith
to be performed on: June 4, 5, & June 11, 12, 2010
The action is set in Truvy's beauty salon in Chinquapin, Louisiana, where all the ladies who are "anybody" come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town's rich curmudgeon, Ouiser, ("I'm not crazy, I've just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M'Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a "good ole boy." Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.
