Book by Joe Masteroff
Based on the play by John Van Druten and Stories by Christopher Isherwood
Music by John Kander
Lyrics by Fred Ebb
Directed By: TBA
The scene is the Kit Kat Klub, a night club in Berlin, as the 1920′s are drawing to a close. The Master of Ceremonies welcomes the audience to the show and assures them that, whatever their troubles, they will forget them at the Cabaret. The entire orchestra is onstage, and the actors play along with it when they are not part of the dialogue. Cliff, a young American writer, meets Ernst, a German who surprises Cliff by putting his briefcase among Cliff’s luggage at the German border. Musical numbers include Willkommen, Cabaret, Mein Herr, Maybe This Time, The Money Song and Two Ladies. When we revisit the Klub at the end, much is changed…
A Play by Daniel Sullivan
Directed by: TBA
A Christmas Carol meets The Government Inspector meets Noises Off in this hilarious hit from Seattle. A man who asks to audition at a small theatre is mistaken for an informer for the National Endowment for the Arts. Everyone caters to the bewildered wannabe actor and he is given a role in the current production, A Christmas Carol. Everything goes wrong and hilarity is piled upon hilarity. Perfect anytime, this delight is particularly appropriate for the Holiday Season.
THE PLAY THAT INSPIRED THE OPERA by Beaumarchais
Directed by: TBA
Writing a few years before the French Revolution, barely concealing himself in his hero, Beaumarchais pours his class rage into a stock-comic vessel that barely contains it under pressure. Three years after the happy ending ofThe Barber of Seville, it’s the valet’s turn to marry. But his master the Count has tired of his lovely Countess, and lusts for Figaro’s bride-to-be, Suzanne. He determines to revive the ancient droit de seigneur—the lord of the manor’s right to bed her. Figaro and the women concoct a counter-plot; the Count’s page, Cherubin (Mozart’s Cerubino) makes hash of it through his passionate crush on the Countess. The double/triple/quadruple misunderstanding yields one of the most perfect farce scenes of all time, featuring a chair and a closet, and one of the finest master-servant scenes, featuring a razor. The play, as great in its kind as the opera Mozart made from it, proclaims Figaro a better man than the Count and the women better humans than the men. This version restores two revolutionary passages that the author cut to save his liberty: a confrontation between the Count and his vassals in the final scene that anticipates the guillotine, and a searing indictment of sexual inequality by Figaro’s mother, Marceline.
Directed by: TBA
Godspell is a musical by Stephen Schwartz and a book by John-Michael Tebelak. It opened off Broadway on May 17, 1971, and has played in various touring companies and revivals many times since, including a 2011 revival which played on Broadway from October 13, 2011, to June 24, 2012. Several cast albums have been released over the years and one of its songs, “Day by Day” from the original cast album, reached #13 on the Billboard pop singles chart in the summer of 1972.
The structure of the musical is that of a series of parables, mostly based on the Gospel of Matthew (three of the featured parables are recorded only in the Gospel of Luke). The parables are interspersed with a variety of modern music set primarily to lyrics from traditional hymns, with the passion of Christ treated briefly near the end of the performance. It started as a college project performed by students at Carnegie Mellon University and moved to La MaMa Experimental Theatre Club in Greenwich Village. It was then re-scored for an off-Broadway production which became a long-running success.