Apron Series Production – a fully staged reading in front of the grand drape
Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Peter Ackerman’s screwball bedroom comedy follows three pairs of lovers trying to enjoy a night of romance. Tackling questions about sex and the proper balance between intellectual and physical attraction, Things You Shouldn’t Say Past Midnight is a romp about communication, honesty, identity, and how we define – and talk about — ourselves.
“…the hilarious dialogue just gets better and better, as the lines fly by like rapid-fire artillery.” – The New York Daily News
“In more than a decade of theatergoing in DC, never have I heard an audience, including myself, laugh, snort and chuckle as loud as they did during “Things You Shouldn't Say Past Midnight.” – Broadway World
Apron Series Production – a staged reading in front of the grand drape
In this 1949 Pulitzer Prize and Tony Award winning best play revolves around the last days of Willy Loman, a failing salesman, who cannot understand how he failed to win success and happiness. Through a series of tragic soul-searching revelations of the life he has lived with his wife, his sons, and his business associates, we discover how his quest for the “American Dream” kept him blind to the people who truly loved him.
“A thrilling work of deep and revealing beauty that remains one of the most profound classic dramas of the American theatre.” – New York Times
“So powerful that it serves as a standard by which all others are compared. Arthur Miller’s play will live forever on stages across America and around the world.” – Pittsburgh Public Theatre
In that most idealized period of the 20th-century America, the Eisenhower years of the 1950s, the Pazinski family has a lot going on in their cramped Buffalo apartment. The youngest of the bunch, 12 year-old Rudy, is a smart, wise-cracking kid who’s starting to question family values and the Roman Catholic Church. When Rudy goes up against the ruler-wielding Sister Clarissa and announces that instead of being confirmed, he’d rather shop around for a more “fun” religion, all hell breaks loose. A warm and hilarious look at family, growing up, and God.
“A hilarious and touching depiction of 1959 Americana. Absolutely enchanting…a little bit of heaven!” – Chicago Tribune
“You don’t have to be a Catholic school graduate to appreciate the battle of wits between the ruler-wielding Sister Clarissa and her vexing charge, 12-year-old Rudy Pazinski, in this laugh-out-loud comedy!” – Chicago Theatre & Arts
Welcome to Almost, Maine, a place that’s so far north, it’s almost not in the United States. It’s almost in Canada. And it’s not quite a town, because its residents never got around to getting organized. So it almost doesn’t exist! One cold, clear, winter night, as the northern lights hover in the star-filled sky above, the residents of Almost, Maine, find themselves falling in and out of love in unexpected and hilarious ways. Knees are bruised. Hearts are broken. But the bruises heal and the hearts mend-almost in this delightful midwinter night’s dream.
“Almost, Maine is a series of 9 vignettes about love, with a touch of good-natured magic realism.”—New York Times
“A mega hit that packs wit, earns its laughs and, like love, surprises you.”— New York Post
“If you have ever fallen in or out of love, you will find Almost, Maine as enchanting as the aurora borealis!” – MD Theatre Scene
A good hearted and guileless child of nature is hauled before the magistrate on a charge of murder, having been found unconscious, nude, and clutching a gun, with her lover dead beside her. What is most shocking to the magistrate is the complete frankness with which she describes her life as a parlor maid and her affairs with both the dead chauffeur and her aristocratic employer. She is so ingenious that the magistrate, at the risk of his juridical neck, decides that she could not have committed the murder. Unfortunately, we can’t tell you how this story ends without giving away the surprise twists and turns at the last minute!
“A bubbling saucy comedy… A light and tasty soufflé.” – The New York Times
“Naughtiness has rarely been so belligerently honest!” – The New York Herald Tribune
Sister Act is the feel-good musical comedy smash based on the hit 1992 film that has audiences jumping to their feet! Featuring original music by Tony—and eight-time Oscar winner Alan Menken, this uplifting musical tells the tale of a woman hiding in a convent who helps her fellow sisters find their voices as she rediscovers her own. This blockbuster was nominated for five Tony Awards, including Best Musical!
“The big and glitzy musical numbers are the cream of the crop!”
“All’s right in the kingdom of musical comedy!” – The New York Times
1939 Hollywood is abuzz! Legendary producer David O. Selznick has shut down production of his new epic, Gone with the Wind, a film adaptation of Margaret Mitchells’ novel. The screenplay, you see, just doesn’t work. So what’s an all-powerful movie mogul to do? While fending off the film’s stars, he sends a car for famed screenwriter Ben Hecht and pulls formidable director Victor Fleming from the set of The Wizard of Oz. Summoning both to his office, he locks the doors, closes the shades, and on a diet of bananas and peanuts, the three men labor over five days to fashion a screenplay that will become the blueprint for one of the most successful and beloved films of all time.
“…a Hollywood dream-factory farce… At once a hyperventilating slapstick comedy!”
“…plenty of genuine wit in the dialogue, and the characters are drawn with such affection that one can’t help but cheer for them.” —NY Post.
In this Broadway award winner, a charming rogue contrives to serve a short sentence in an airy mental institution rather than in a prison. He quickly takes over the yard and accomplishes what the medical profession has been unable to do for twelve years; he makes a presumed deaf and dumb Indian talk. He leads others out of introversion, stages a revolt so that they can see the World Series on television, and arranges a rollicking midnight party with liquor and chippies. His destiny will shock and amaze you!
"Funny, touching, and exciting." - New York Daily News
"Brilliant. The stuff of great theatre." - WQR Radio
"Transforms the audience into one wild cheering section." - WNYC Radio.
"One of the finest, most meaningful and most moving play of recent times." - WPIX TV
Lucy Seward, whose father is the doctor in charge of an English sanatorium, has been attacked by some mysterious illness. Dr. Van Helsing, a specialist, believes that the girl is the victim of a vampire, a sort of ghost that goes about at night sucking blood from its victims. The vampire is at last found to be a certain Count Dracula, whose ghost is finally laid to rest in a striking and novel manner. A perfect Halloween production intended for all who love thrills in the theater!
The ultimate game of cat-and-mouse is played out in a cozy English country house owned by celebrated mystery writer, Andrew Wyke. Invited guest Milo Tindle, a young rival who shares not only Wyke's love of the game but also his wife, has come to lay claim. Revenge is devised and murders plotted as the two plan the ultimate whodunnit.
"Ingenious skullduggery replete with skillful suspense and inventive tricks." - The N.Y. Post
"It’s good, neat and bloody fun, and I most cordially recommend it." - The New York Times
When Annie’s husband John dies of leukemia, she and best friend Chris resolve to raise money for a new settee in the local hospital waiting room. They manage to persuade four fellow WI members to pose nude with them for an “alternative” calendar. The news of the women’s charitable venture spreads like wildfire, but Chris and Annie’s friendship is put to the test under the strain of their new-found fame.
"It’s a show full of poignant moments – about friendship, determination and hope; about loss in many forms; about the importance of acceptance; about knowing when to let go." -Liverpool Daily Post
This remarkably intimate, thoroughly romantic piece, allows audiences into the bedroom of Agnes and Michael, as they try to maintain passion and devotion through the joys and pains, trials and tribulations, setbacks and celebrations of their fifty year marital odyssey. In that time we watch them go through their wedding night jitters, raise a family, negotiate mid-life crises, quarrel, separate, reconcile and grow old together, all lovingly to the strains of a tuneful, charming score which includes the standard "My Cup Runneth Over."
“An honest picture of wedded bliss and bugaboos against a musical palette of wonderful songs that is both funny and tender." – Theatre in Chicago
“A four-star, must-see show!” – Theatre in Chicago
“Filled with humor; a fine score and two delightful characters, I Do! I Do! is an ode to all those eternal marriages so dominant in the 20th Century.” – Theatre in Chicago
So swift is the action, so involved the situations, so rib-tickling the plot in this London and Broadway hit that at its finish audiences are left as exhausted from laughter as though they had run a foot race. Galloping in and out of the four doors of an English vicarage are an American actor and actress, a cockney maid who has seen too many American movies, an old maid who "touches alcohol for the first time in her life," four men in clergyman suits presenting the problem of which is which and a sedate Bishop aghast at all these goings-on and the trumped up stories they tell him.
"Breathless show, fast tempo, plenty of laughs." - Variety
"A positive riot; in all my fifty years in the theatre I've never heard such laughter." - Bernard W. Suss
Pablo, a high-powered lawyer, and doctoral candidate Tania, his very pregnant wife, are realizing the American dream when they purchase a house next door to community stalwarts Virginia and Frank. But a disagreement over a long-standing fence line soon spirals into an all-out war of taste, class, privilege, and entitlement. The hilarious results guarantee no one comes out smelling like a rose.
"A lighthearted comedy with some heavier threads woven through for just the right amount of heft." - Broadway World
"A comedy planted in difficult, painful issues." - Chicago Tribune
“Bad fences make for a fun, formulaic comedy about bickering neighbors.” – Los Angeles Times