Proof
Directed by Mark A Stutz
Play by David Auburn
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?
Ken Ludwig’s
The Three Musketeers
Directed by Gary Boyer
This adaptation is based on the timeless swashbuckler by Alexandre Dumas, a tale of heroism, treachery, close escapes, and, above all, honor.
The story, set in 1625, begins with D’Artagnan, who sets off for Paris in search of adventure. Along with D’Artagnan goes Sabine, his sister, the quintessential tomboy. Sent with D’Artagnan to attend a convent school in Paris, she poses as a young man – D’Artagnan’s servant – and quickly becomes entangled in her brother’s adventures. Soon after reaching Paris, D’Artagnan encounters the greatest heroes of the day – Athos, Porthos, and Aramis, the famous musketeers – and he joins forces with his heroes to defend the honor of the Queen of France. In so doing, he finds himself in opposition to the most dangerous man in Europe, Cardinal Richelieu. Even more deadly is the infamous Countess de Winter, known as Milady, who will stop at nothing to exact revenge on D’Artagnan – and Sabine – for their meddlesome behavior. Little does Milady know that the young girl she scorns, Sabine, will ultimately save the day.
Cabaret
Directed by Kathy Pacheco
Book by Joe Masteroff
Based on the play by John Van Druten and stories by Christopher Isherwood
Music by John Kander and Lyrics by Fred Ebb
In a Berlin nightclub, as the 1920s draw to a close, a garish Master of Ceremonies welcomes the audience and assures them they will forget all their troubles at the Cabaret. With the Emcee's bawdy songs as wry commentary, Cabaret explores the dark, heady, and tumultuous life of Berlin's natives and expatriates as Germany slowly yields to the emerging Third Reich. Cliff, a young American writer newly arrived in Berlin, is immediately taken with English singer Sally Bowles. Meanwhile, Fräulein Schneider, proprietor of Cliff and Sally's boarding house, tentatively begins a romance with Herr Schultz, a mild-mannered fruit seller who happens to be Jewish. Musical numbers include "Willkommen," "Cabaret," "Don't Tell Mama" and "Two Ladies."
Annie Kids
PPH Junior Players production
Directed by Jenelle Castrignano
Music by Charles Strouse
Lyrics by Martin Charnin
Book by Thomas Meehan
With equal measures of pluck and positivity, little orphan Annie charms everyone's hearts despite a next-to-nothing start in 1930s New York City. Annie is determined to find the parents who abandoned her years ago on the doorstep of an orphanage run by the cruel Miss Hannigan. Annie eventually foils Miss Hannigan's evil machinations, finding a new home and family in billionaire, Oliver Warbucks, his personal secretary, Grace Farrell, and a lovable mutt named Sandy.
Kiss Me, Kate!
Directed by London Griffith
Book by Sam and Bella Spewack
Music and Lyrics by Cole Porter
Passions run high as leading lady Lilli Vanessi and her ex-husband, actor/director Fred Graham, battle onstage and off in a production of Shakespeare's Taming of the Shrew. With romance, comedy, sophistication, and behind-the-scenes high jinks, Kiss Me, Kate combines the irreverent humor of four brilliant writers: Sam and Bella Spewack, Cole Porter, and William Shakespeare. Musical numbers include "So In Love," "Wunderbar," "Tom, Dick or Harry," "Too Darn Hot," "Brush Up Your Shakespeare," "I Hate Men," "Always True to You (In My Fashion)" and "Another Op'nin, Another Show."
Stick Fly
Directed by Torez Mosley
Play by Lydia R. Diamond
The affluent, African-American LeVay family is gathering at their Martha’s Vineyard home for the weekend, and brothers Kent and Flip have each brought their respective ladies home to meet the parents for the first time. Kent’s fiancée, Taylor, an academic whose absent father was a prominent author, struggles to fit into the LeVay’s upper-crust lifestyle. Kimber, on the other hand, is a self-described WASP who works with inner-city school children and fits in more easily with the family. Joining these two couples are the demanding LeVay patriarch, Joe, and Cheryl, the daughter of the family’s longtime housekeeper as the two newcomers butt heads over issues of race and privilege, longstanding family tensions bubble under the surface and reach a boiling point when secrets are revealed.
White Christmas
Directed by Parker Ryan
Written for the Screen by Norman Krasna, Norman Panama, and Melvin Frank
Music and Lyrics by Irving Berlin
Book by David Ives and Paul Blake
Veterans Bob Wallace and Phil Davis have a successful song-and-dance act after World War II. With romance in mind, the two follow a duo of beautiful singing sisters en route to their Christmas show at a Vermont lodge, which just happens to be owned by Bob and Phil's former army commander. With a dazzling score featuring well-known standards including “Blue Skies,” “I Love A Piano,” “How Deep Is the Ocean” and the perennial title song, White Christmas is an uplifting, wholesome musical that will delight audiences of all ages.
