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Shows
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The Hallelujah Girls (June 15-16, 22- 23, 2012)
The action in this rollicking Southern comedy takes place in SPA-DEE-DAH, the abandoned church-turned day spa where a group of friends gathers every Friday afternoon. After the loss of a dear friend, the women realize time is precious, and if they’re going to change their lives and achieve their dreams, they have to get on it now! But Sugar Lee, their high-spirited determined leader, has her hands full keeping the women motivated. Carlene’s given up on romance after burying three husbands, Nita is a nervous wreck from running interference between her son and his probation officer. Mavis is figuring out how she can fake her own death to get out of her stale marriage, while Crystal just wants to sing Christmas carols. Written by the same trio that brought us The Dixie Swim Club, this joyful comedy will make you laugh out loud.
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The Drowsy Chaperone (August 10-11, 17- 18, 2012)
To chase his blues away, a modern day musical theatre addict known simply as “Man in Chair” drops the needle on his favorite LP-the 1928 musical comedy The Drowsy Chaperone. From the crackle of his hi-fi, the musical magically bursts to life on stage, telling the tale of a pampered Broadway starlet who wants to give up show business to get married, her producer who sets out to sabotage the nuptials, her chaperone, the debonair groom, the dizzy chorine, the Latin lover, Trix the Aviatrix, and a pair of gangsters who double as pastry chefs. This disarming, delightful soufflé of a show, starring Sutton Foster, opened on Broadway at the Marquis Theatre in May 2006. It garnered the 2006 Drama Desk Award for Outstanding Musical as well as for Outstanding Lyrics, and for Outstanding Music that same year.
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Lend Me a Tenor (November 2- 3, 9- 10, 2012)
The renowned tenor Tito Merelli, known to his fans as “Il Stupendo,” is scheduled to sing the lead in Othello, a fundraiser for the Cleveland Opera Company. Unfortunately, even before the star leaves his hotel room, everything begins to unravel. Chaos ensues when Merelli’s wife, who has mistaken an autograph-seeker hidden in his closet for a secret lover, leaves him a “Dear John” letter. The distraught Merelli accidentally is given a double dose of tranquilizers to calm him, and he passes out. The company’s General Manager is determined that the show will go on, so he asks his assistant Max to impersonate the opera star. Max puts on the blackface makeup required for the role of Othello, and succeeds admirably -until Merelli, also in blackface, wakes up and heads for the stage. What follows is a chain-reaction of mistaken identity, farcical plot twists, double entendres, innuendoes, and constant entrances and exits through many doors.
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