FRIDAYS & SATURDAYS @ 7:30PM
SATURDAYS & SUNDAYS @ 2:00PM
FOOTLOOSE THE MUSICAL
When Ren and his mother move from Chicago to a small farming town, he is prepared for the inevitable adjustment period at his new high school. But he’s not prepared for the rigorous local edicts, including a ban on dancing instituted by the local preacher, who is determined to exercise control over the town’s youth. When the reverend’s rebellious daughter sets her sights on Ren, her roughneck boyfriend tries to sabotage Ren’s reputation, with many of the locals eager to believe the worst about the new kid. The heartfelt story pins a father longing for the son he lost against a young man aching for the father who walked out on him.
To the rockin’ rhythm of its Oscar and Tony-nominated Top 40 score, augmented with dynamic new songs, Footloose celebrates the wisdom of listening to young people while guiding them with a warm heart and open mind.
“Exhilarating! You'll have a hard time staying in your seat!” – WNBC
CAT ON A HOT TIN ROOF
Cat on a Hot Tin Roof is the anchor production of the Guild’s
month-long Theatre Festival “10 X Tenn”
A family in the American South is in crisis, especially the husband Brick and wife Maggie the Cat, and their interaction with Brick's family over the course of one evening's gathering at the family estate in Mississippi. The party celebrates the birthday of patriarch Big Daddy Pollitt, the Delta's most prominent and richest cotton-planter, and his return from the Ochsner Clinic with what he has been told is a clean bill of health. All family members except Big Daddy and his wife know Big Daddy's true diagnosis: he is dying of cancer. His family has lied to Big Daddy to spare the aging couple from pain on the patriarch's birthday, but throughout the course of the play, it becomes clear that the Pollitt family has long constructed a web of deceit for itself.
Cat on a Hot Tin Roof contains adult themes and language that some may find objectionable. Recommended for mature audiences only.
"One of the most successful plays of our time…a play of tremendous dramatic impact…
enormous theatrical power." — New York Post
How much would you pay for an all white painting? Would it matter who the painter was? Would it be art? One of Marc’s best friends, Serge, has just bought a very expensive painting. It’s about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn’t have the proper standard to judge the work. Another friend, Ivan, though burdened by his own problems, allow himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: “Go on.” This is where the friendship is finally tested, and the aftermath of action, and its reaction, affirms the power of those bonds.
"Winner of the 1998 Tony Award for Best Play– “Anyone looking for a play that is funny, sophisticated, stylish, stimulating and moving should go to 'ART'.” — Independent (London).
This delightful musical is about an audience watching a play! Joe Preston has not had a hit in years and hopes his new play will revive his career. He is at the mercy of an off Broadway audience consisting of two typical "gray haired matinee ladies," a married couple who fight all the time, an anxious young man waiting for his date, an illiterate rock singer trying to impress his date with some culture, a Texas businessman and his culture vulture wife and three critics-- one of who hates Preston's work and another who begged his editor not to assign him to this show because Sam, his lover who recently jilted him, is in the cast. Poor Joe Preston! Marvelous music, hysterical comedy, and at least six showstoppers make this a surefire winner!
"It is clever, it is funny, it is original." - New York Post "A lively, entertaining musical." - Variety
LOVE, LOSS & WHAT I WORE
A play of monologues and ensemble pieces about women, clothes and memory covering all the important subjects–mothers, prom dresses, mothers, buying bras, mothers, hating purses and why they only wear black!
“Funny, compelling…Brought down the house…” – The N.Y. Times
VISITING MR. GREEN
Mr. Green, an elderly, retired dry cleaner, wanders into New York traffic and is almost hit by a car driven by Ross Gardiner, a 29-year-old corporate executive. The young man is given community service helping the recent widower once a week for six months. What starts out as a comedy about two men who do not want to be in the same room together becomes a gripping and moving storyline as they get to know each other, come to care about each other, and open old wounds they’ve been hiding and nursing for years. Translated in 22 languages, with hundreds of productions in large and small venues, it has won numerous best play and best actor awards throughout the world.
“One of the best shows around. It is doubtful you are likely to encounter a play more enjoyable, more honestly funny and in the end, more moving than this delightful two-hander by Jeff Baron.” — Johannesburg Daily News
THE LIFESPAN OF A FACT
Jim Fingal is a fresh-out-of-Harvard fact checker for a prominent but sinking New York magazine. John D’Agata is a talented writer with a transcendent essay about the suicide of a teenage boy–an essay that could save the magazine from collapse. When Jim is assigned to fact check D’Agata’s essay, they come head to head in a hilarious yet gripping battle over facts versus truth.
“…terrifically funny dialogue…once the writer and the fact-checker get into a lively debate on the ethics of factual truth vs. the beauty of literary dishonesty, it’s time to really sit up and listen…” – Variety
THE BOY FROM OZ
Peter Allen's performances at the height of his career in London, New York and Los Angeles were nothing less than spectacular, drawing rave reviews, cult crowds, and an ever-increasing network of friends which boasted Bette Midler, Richard Gere and Harry Connick Jr. With 'talent' stamped all over him and a jump-start, whirlwind spree with Judy Garland and marriage to Liza Minnelli, Allen had a one-way ticket to the Big Time. What could be further from his humble beginnings in Australia’s Outback than the legendary performances in his heyday that, as one critic wrote, 'would have scandalized any decade other than the 70s'?
If you don’t know Peter Allen’s music, you are wrong! You DO! ”Rio”, “Once Before I Go”, “Everything Old Is New Again”, “Not The Boy Next Door”, “When I Get My Name In Lights”, “Come Save Me” and of course “Between the Moon and New York City”! There are many more wonderful songs in this solid production that will bring a smile to your face and a tear to your eye. It is a heart-warming story of a little boy with a dream who is able to see that one can make a dream come true, without the need of ruby slippers,” – Around the Town Chicago
Dr. Martin Dysart, a psychiatrist, is confronted with Alan Strang, a boy who has blinded six horses in a violent fit of passion. This very passion is as foreign to Dysart as the act itself. To the boy’s parents, it is a hideous mystery; Alan has always adored horses. To Dysart, it is a psychological puzzle that leads both doctor and patient to a complex and disturbingly dramatic confrontation. This international success reached new acclaim in London and on Broadway when revived in 2008.
"The closest I have seen a contemporary play come to reanimating the spirit of mystery that makes the stage a place of breathless discovery..." - The New York Times
AGATHA CHRISTIE'S MURDER ON THE NILE
Kay Ridgeway has led a charmed life. Blessed with beauty, enormous wealth, and a new husband, she embarks on a honeymoon voyage down the Nile. Fatal circumstances await when the idyllic surroundings are shattered by a shocking and brutal murder. Under scrutiny is a multitude of memorable passengers, all with a reason to kill. The tension and claustrophobia build as a shocking and audacious conspiracy are laid bare.
"As slick a vehicle as any theatre company could wish for.” – The New York Times