Dracula

Written by Steven Dietz

“I want your fear. For your fear, like a current, rushes through your body. Your fear makes your heart pound, it renders your veins rich and full. Your fear hemorrhages deliciously within you.” This new adaptation restores the suspense and seduction of Bram Stoker’s classic novel to the stage. As Count Dracula begins to exert his will upon the residents of London, they try to piece together the clues of his appearances—in a valiant attempt to save themselves from a hideous fate. Rich with both humor and horror, this play paints a wickedly theatrical picture of Stoker’s famous vampire.

This production includes the use of adult themes.

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SPOTLIGHT SERIES 
WIT

By Margaret Edson

Vivian Bearing, Ph.D., a renowned professor of English who has spent years studying and teaching the brilliant and difficult metaphysical sonnets of John Donne, has been diagnosed with terminal ovarian cancer. Her approach to the study of Donne: aggressively probing, intensely rational. But during the course of her illness—and her stint as a prize patient in an experimental chemotherapy program at a major teaching hospital—Vivian comes to reassess her life and her work with a profundity and humor that are transformative both for her and the audience.

Winner of the Pulitzer Prize for Drama

“[A] brutally human and beautifully layered new play…you feel both enlightened and, in a strange way, enormously comforted.” —NY Times.

“A dazzling and humane new play that you will remember till your dying day.” —NY Magazine.

This production will be performed in the Lee Street Lab Alternative Performance Space.

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Tick, Tick, BOOM! 

A musical by Jonathan Larson, creator of RENT

Before Rent, there was Tick, Tick... Boom!. This autobiographical musical by Jonathan Larson, the Pulitzer Prize- and Tony Award-winning composer of Rent, is the story of a composer and the sacrifices that he made to achieve his big break in theatre.


His girlfriend wants to get married and move out of the city, his best friend is making big bucks on Madison Avenue and, yet, Jon is still waiting on tables and trying to write the great American musical. Set in 1990, this compelling story of personal discovery is presented as a rock musical filled with instantly appealing melodies and a unique blend of musical theatre styles.
Everyone will love this youthful, endearing and thoughtful piece, and will surely embrace the universal ideal of holding onto your dreams through life's most difficult challenges.

Lee Street is excited to bring this very intimate musical as a special event featuring our new Lee Street Lab space.  Featuring the incredible talents of Matt Carlson, Joey Moray and Lizzie Ruiz!

This production will be performed in the Lee Street Lab Alternative Performance Space.

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GODSPELL

Conceived and Originally Directed by JOHN-MICHAEL TEBELAK
MUSIC AND NEW LYRICS BY STEPHEN SCHWARTZ
Originally Produced on the New York Stage by EDGAR LANSBURY / STUART DUNCAN / JOSEPH BERUH

Godspell was the first major musical theatre offering from three-time Grammy and Academy Award winner, Stephen Schwartz (Wicked, Pippin, Children of Eden); and it took the world by storm. Led by the international hit, "Day by Day," Godspell features a parade of beloved songs, including "Prepare Ye the Way of the Lord," "Learn Your Lessons Well," "All for the Best," "All Good Gifts," "Turn Back, O Man" and "By My Side."

A small group of people help Jesus Christ tell different parables by using a wide variety of games, storytelling techniques and a hefty dose of comic timing. An eclectic blend of songs, ranging in style from pop to vaudeville, is employed as the story of Jesus' life dances across the stage. Dissolving hauntingly into the Last Supper and the Crucifixion, Jesus' messages of kindness, tolerance and love come vibrantly to life.

Boasting a score with chart-topping songs, a book by a visionary playwright (John-Michael Tebelak) and a feature film, Godspell is a sensation that continues to touch audiences.

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Four Old Broads

Written by Leslie Kimball

Retired burlesque queen Beatrice Shelton desperately needs a vacation – and NOT another trip up to Helen, Georgia to see that “precious little German village for the umpteenth time.” A Sassy Seniors Cruise through the Caribbean may be just the ticket if she can just convince her best friend, Eaddy Mae Clayton, to stop praying and go with her. Unfortunately, things have not been very pleasant at Magnolia Place Assisted Living since Nurse Pat Jones began working there. The newest resident, Imogene Fletcher, is suddenly losing her memory. Maude Jenkins is obsessed with her favorite soap opera and planning her own funeral. Sam Smith, retired Elvis impersonator, keeps trying to bed every woman in the building. A mystery unfolds with laughter as the gals try to outsmart the evil Nurse Pat Jones and figure out why so many residents have been moved to “the dark side,” what exactly IS that mysterious pill, and what happened to Doctor Head? Hilarity ensues as Imogene goes undercover and Maude enters the Miss Magnolia Senior Citizen Pageant to throw Pat off their trail. If they can solve the mystery, they may make it to the cruise ship after all.

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Wait Until Dark

Written by Frederick Knott
Adapted by Jeffrey Hatcher

Forty-seven years after WAIT UNTIL DARK premiered on Broadway, Jeffrey Hatcher has adapted Frederick Knott’s 1966 original, giving it a new setting. In 1944 Greenwich Village, Susan Hendrix, a blind yet capable woman, is imperiled by a trio of men in her own apartment. As the climax builds, Susan discovers that her blindness just might be the key to her escape, but she and her tormentors must wait until dark to play out this classic thriller’s chilling conclusion.

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Lend Me A Tenor

Written by Kud Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

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SPOTLIGHT SERIES
A Doll's House - Part 2

Written by Lucas Hnath

In the final scene of Ibsen’s 1879 groundbreaking masterwork, Nora Helmer makes the shocking decision to leave her husband and children, and begin a life on her own. This climactic event—when Nora slams the door on everything in her life—instantly propelled world drama into the modern age. In A DOLL’S HOUSE, PART 2, many years have passed since Nora’s exit. Now, there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind?

“[A] smart, funny and utterly engrossing play…Hnath approaches what might seem like a hubristic project with the humility and avidity of an engaged Everyreader. A DOLL’S HOUSE, PART 2 gives vibrant theatrical life to the conversations that many of us had after first reading or seeing its prototype…” —NY Times.

“…lucid and absorbing…Modern in its language, mordant in its humor and suspenseful in its plotting…the play judiciously balances conflicting ideas about freedom, love and responsibility.” —Time Out NY.

“Hnath’s inspired writing, which endows each character with an arsenal of fastballs, curveballs and spitballs, keep[s] us disarmingly off-balance. He’s an uncommonly gifted parodist. For all its seriousness, A DOLL’S HOUSE, PART 2 is suffused with a contagious bemusement.” —Deadline.com.

“[A DOLL’S HOUSE, PART 2] delivers explosive laughs while also posing thoughtful questions about marriage, gender inequality and human rights…as much an ingenious elaboration and deconstruction of A Doll’s House as a sequel, and it stands perfectly well on its own…With unfussy eloquence, [the play] asks how much, in a century-plus, life has changed for Nora and women like her in a world that often still has firm ideas about where they belong.” —Hollywood Reporter.

This production will be performed in the Lee Street Lab Alternative Performance Space.

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The Imaginary Invalid

Written by Molière
Translated and adapted by James Magruder

In Molière’s outrageous satire of medicine and its practitioners, the wealthy Argan, to put it mildly, enjoys poor health. Laxatives, suppositories, bloodlettings, and second and third opinions from the leading quacks are the order of his day—and hell on his wily, back-talking servant Toinette. His daughter Angélique is in love with the impoverished Cléante, but Argan wants to marry her to Thomas Diafoirus, a medical dunce who can assure his father-in-law a lifetime of health care. Cléante disguises himself as a music teacher to gain access to his love, but Béline, Argan’s mercenary second wife, threatens to expose them. A disguised Toinette, sage advice from his brother Béralde, and a faked death scene finally teach Argan where to place his trust. The play ends with Argan’s ceremonious, pig–Latin induction into the medical profession.

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SPOTLIGHT SERIES
Fruit Trilogy

Written by Eve Ensler

A play that speaks to these explosive times and charts the journey of women, from the disembodiment that comes from violence to the embodiment that comes from self-love. From the Tony Award–winning author of The Vagina Monologues, The Good Body, and In the Body of the World comes three short plays that give a voice to defiant, ordinary women: POMEGRANATE—two women for sale, another morning on the shelf; AVOCADO—a young woman on her chaotic, shocking journey toward freedom; and COCONUT—from the bliss of her bathroom, a woman connects with the one thing she has never fully owned…her body. Woven together with dark humor and heightened theatricality, FRUIT TRILOGY explores the humanity behind the headlines.

“Few people write about what Eve Ensler writes about, and none write the way she does…FRUIT TRILOGY is an honest, unflinching look at the way women’s bodies are commodified (bought and sold as though they’re produce), violated, and—with great difficulty, courage, and strength—eventually accepted by their owners…a significant piece that shouldn’t be ignored…” —TheaterMania.com.

“…Eve Ensler’s latest is a harrowing but unmissable theatre experience…It is the show’s climatic piece COCONUT, however, that will linger long in the memory…this is much more than provocative theatre. Instead, COCONUT challenges our ideas of bodily discovery, embracement and ownership, and it makes for powerful viewing…This is stark, brutal, emotive theatre…FRUIT TRILOGY is nothing less than compelling.” —TheStateoftheArts.com.

“Ensler is articulate, specific, ambitious, and brave…There’s no way to prepare for the arsenal of visions conjured and feelings invoked by Ensler’s brutal, lucid prose…The artist employs every aspect of herself to spellbinding effect.” —WomanAroundTown.com.

This production will be performed in the Lee Street Lab Alternative Performance Space.

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LEGALLY BLONDE

Book byHeather Hach
Music and Lyrics byLaurence O'Keefe Nell Benjamin
Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture

Elle Woods appears to have it all. Her life is turned upside down when her boyfriend Warner dumps her so he can attend Harvard Law. Determined to get him back, Elle ingeniously charms her way into the prestigious law school. While there, she struggles with peers, professors and her ex. With the support of some new friends, though, Elle quickly realizes her potential and sets out to prove herself to the world.

This production includes the use of adult language and themes.

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