LOVE LETTERS

Written by A.R. Gurney

Directed by Fred Sternfeld

Performances Friday and Saturday evenings at 8pm

February 5, 6, 12, 13, 19 and 20, 2021

THE STORY: Andrew Makepeace Ladd III and Melissa Gardner, both born to wealth and position, are childhood friends whose lifelong correspondence begins with birthday party thank-you notes and summer camp postcards. Romantically attached, they continue to exchange letters through the boarding school and college years—where Andy goes on to excel at Yale and law school, while Melissa flunks out of a series of “good schools.” While Andy is off at war Melissa marries, but her attachment to Andy remains strong and she continues to keep in touch as he marries, becomes a successful attorney, gets involved in politics and, eventually, is elected to the U.S. Senate. Meanwhile, her marriage in tatters, Melissa dabbles in art and gigolos, drinks more than she should, and becomes estranged from her children. Eventually she and Andy do become involved in a brief affair, but it is really too late for both of them. However Andy’s last letter, written to her mother after Melissa’s untimely death, makes it eloquently clear how much they really meant, and gave to, each other over the years—physically apart, perhaps, but spiritually as close as only true lovers can be.

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FUN HOME

Music by Jeanine Tesori
Book and Lyrics by Lisa Kron

Director Marc C. Howard
Musical Direction D. Keith Stiver

Performances Friday and Saturday evenings at 8pm

April 30, May 1, 7, 8, 14 and 15, 2021

THE STORY: When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home, her growing understanding of her own sexuality, and the looming, unanswerable questions about her father’s hidden desires. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes.

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PROOF

Written by David Auburn

Director Alex Nine

Performances Friday and Saturday evenings at 8pm

July 2, 3, 9, 10, 16 and 17, 2021

THE STORY: On the eve of her twenty-fifth birthday, Catherine, a troubled young woman, has spent years caring for her brilliant but unstable father, a famous mathematician. Now, following his death, she must deal with her own volatile emotions; the arrival of her estranged sister, Claire; and the attentions of Hal, a former student of her father’s who hopes to find valuable work in the 103 notebooks that her father left behind. Over the long weekend that follows, a burgeoning romance and the discovery of a mysterious notebook draw Catherine into the most difficult problem of all: How much of her father’s madness—or genius—will she inherit?

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AUGUST: OSAGE COUNTY

Written by Tracy Letts

Directed by Claudia Lillibridge

Performances Friday and Saturday evenings at 8pm

August 6, 7, 13, 14, 20 and 21, 2021

THE STORY: A vanished father. A pill-popping mother. Three sisters harboring shady little secrets. When the large Weston family unexpectedly reunites after Dad disappears, their Oklahoman family homestead explodes in a maelstrom of repressed truths and unsettling secrets. Mix in Violet, the drugged-up, scathingly acidic matriarch, and you’ve got a major play that unflinchingly—and uproariously—exposes the dark side of the Midwestern American family.

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THREE TALL WOMEN

Written by Edward Albee

Directed by D. Keith Stiver

Performances Friday and Saturday evenings at 8pm

November 5, 6, 12, 13, 19 and 20, 2021

THE STORY: In Act One, a young lawyer, “C,” has been sent to the home of a client, a ninety-two-year-old woman, “A,” to sort out her finances. “A,” frail, perhaps a bit senile, resists and is of no help to “C.” Along with “B,” the old woman’s matronly paid companion/caretaker, “C” tries to convince “A” that she must concentrate on the matters at hand. In “A’s” beautifully appointed bedroom, she prods, discusses and bickers with “B” and “C,” her captives. “A’s” long life is laid out for display, no holds barred. She cascades from regal and charming to vicious and wretched as she wonders about and remembers her life: her husband and their cold, passionless marriage; her son and their estrangement. How did she become this? Who is she? Finally, when recounting her most painful memory, she suffers a stroke. In Act Two, “A’s” comatose body lies in bed as “B” and “C” observe no changes in her condition. In a startling coup-de-theatre, “A” enters, very much alive and quite lucid. The three women are now the stages of “A’s” life: the imperious old woman, the regal matron and the young woman of twenty-six. Her life, memories and reminiscences—pondered in the first act—are now unceremoniously examined, questioned, accepted or not, but, at last, understood. In the end, her son arrives and kneels at her bedside, but it is too late.

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