UPCOMING SHOW: LOVE, LOSS AND WHAT I WORE
Inmid-March, we were 1 week away from presenting The Cemetery Club when the world changed forever. We had to postpone our production, and our actors have not felt safe rehearsing or performing in a live setting. LOVE, LOSS AND WHAT I WORE is a wonderful play--full of laughs and tender moments--but it doesn't require the actors to be face-to-face. It seems the perfect way to come back for live performance. We will be requiring the audience to wear masks and to socially distance from other audience members.Venue and dates TBD--hopefully, Fall 2020. Stay tuned!
Inmid-March, we were 1 week away from presenting The Cemetery Club when the world changed forever. We had to postpone our production, and our actors have not felt safe rehearsing or performing in a live setting. LOVE, LOSS AND WHAT I WORE is a wonderful play--full of laughs and tender moments--but it doesn't require the actors to be face-to-face. It seems the perfect way to come back for live performance. We will be requiring the audience to wear masks and to socially distance from other audience members.Venue and dates TBD--hopefully, Fall 2020. Stay tuned!
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We WILL be performing The Cemetery Club when we can do it safely--probably next spring.
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Info about the play:
Winner of the 2013 Tony Award for Best Play. Middle-aged siblings Vanya and Sonia share a home in Bucks County, PA, where they bicker and complain about the circumstances of their lives. Suddenly, their movie-star sister, Masha, swoops in with her new boy toy, Spike. Old resentments flare up, eventually leading to threats to sell the house. Also on the scene are sassy maid Cassandra, who can predict the future, and a lovely young aspiring actress named Nina, whose prettiness somewhat worries the imperious Masha.
WHAT THE CRITICS SAY:
"Broad comic acting is raised to the level of high art…deliriously funny…a heedless good time." —NY Times.
"…riotous…the show's a ton of fun even if you can't tell your Seagull from your Uncle Vanya…This is the kind of full-on comedy that's sadly rare on Broadway." —NY Post.
"Hugely entertaining…few contemporary playwrights have proven as deft as Durang at mining both the absurdity and the dangers of human folly…in its own deliciously madcap way, the new work offers some keen insights into the challenges and agonies of twenty-first-century life." —USA Today.
"Everyone has a monologue that is nothing short of hilarious. (You'll find yourself using that word a lot.)…You've only spent a weekend with these people, but you might want to spend the rest of your life with Vanya and Sonia and Masha and Spike."—Huffington Post.
Winner of the 2013 Tony Award for Best Play. Middle-aged siblings Vanya and Sonia share a home in Bucks County, PA, where they bicker and complain about the circumstances of their lives. Suddenly, their movie-star sister, Masha, swoops in with her new boy toy, Spike. Old resentments flare up, eventually leading to threats to sell the house. Also on the scene are sassy maid Cassandra, who can predict the future, and a lovely young aspiring actress named Nina, whose prettiness somewhat worries the imperious Masha.
WHAT THE CRITICS SAY:
"Broad comic acting is raised to the level of high art…deliriously funny…a heedless good time." —NY Times.
"…riotous…the show's a ton of fun even if you can't tell your Seagull from your Uncle Vanya…This is the kind of full-on comedy that's sadly rare on Broadway." —NY Post.
"Hugely entertaining…few contemporary playwrights have proven as deft as Durang at mining both the absurdity and the dangers of human folly…in its own deliciously madcap way, the new work offers some keen insights into the challenges and agonies of twenty-first-century life." —USA Today.
"Everyone has a monologue that is nothing short of hilarious. (You'll find yourself using that word a lot.)…You've only spent a weekend with these people, but you might want to spend the rest of your life with Vanya and Sonia and Masha and Spike."—Huffington Post.
About Plaza Suite:
"Set the town laughing." - The New York Times
"Wonderfully funny...The blockbuster (3rd playlet) is the wildest and most uproarious farce I have seen on a stage." - New York Daily News
"A wonderfully happy and gratifying evening of sheer entertainment...Richly funny." - New York Post
Hilarity abounds in this portrait of three couples successively occupying a suite at the Plaza. A suburban couple take the suite while their house is being painted and it turns out to be the one in which they honeymooned 23 (or was it 24?) years before and was yesterday the anniversary, or is it today? This wry tale of marriage in tatters is followed by the exploits of a Hollywood producer who, after three marriages, is looking for fresh fields. He calls a childhood sweetheart, now a suburban housewife, for a little diversion. Over the years she has idolized him from afar and is now more than the match he bargained for. The last couple is a mother and father fighting about the best way to get their daughter out of the bathroom and down to the ballroom where guests await her or as Mother yells, "I want you to come out of that bathroom and get married!"
"Wonderfully funny...The blockbuster (3rd playlet) is the wildest and most uproarious farce I have seen on a stage." - New York Daily News
"A wonderfully happy and gratifying evening of sheer entertainment...Richly funny." - New York Post
Hilarity abounds in this portrait of three couples successively occupying a suite at the Plaza. A suburban couple take the suite while their house is being painted and it turns out to be the one in which they honeymooned 23 (or was it 24?) years before and was yesterday the anniversary, or is it today? This wry tale of marriage in tatters is followed by the exploits of a Hollywood producer who, after three marriages, is looking for fresh fields. He calls a childhood sweetheart, now a suburban housewife, for a little diversion. Over the years she has idolized him from afar and is now more than the match he bargained for. The last couple is a mother and father fighting about the best way to get their daughter out of the bathroom and down to the ballroom where guests await her or as Mother yells, "I want you to come out of that bathroom and get married!"
About the play:
--A wildly funny, surprising and devastating tale of survival as seen through the lens of a troubling relationship between a young girl and an older man. HOW I LEARNED TO DRIVE is the story of a woman who learns the rules of the road and life from behind the wheel.
--Winner of the 1998 Pulitzer Prize. Co-winner of the Susan Smith Blackburn Prize. Co-winner of the 1998 Lucille Lortel Award for outstanding play. "Ms. Vogel has written a lovely, harrowing guide to the crippling persistence of one woman's memories." —NY Times.
"…HOW I LEARNED TO DRIVE is a tremendous achievement, genuine and genuinely disturbing…Vogel's delicate tactic makes sense not only as a way to redouble the dramatic effect, but as a representation of reality, a perfect case of the form fitting the subject." —Village Voice.
"With subtle humor and teasing erotic encounters, Vogel addresses the dangerous intersections of teenage temptation. She also paints a richly poetic and picturesque landscape…The play is a potent and convincing comment on a taboo subject, and its impact sneaks up on its audience." —Variety.
"…HOW I LEARNED TO DRIVE turns out to be a most compelling ride." —BackStage.
--A wildly funny, surprising and devastating tale of survival as seen through the lens of a troubling relationship between a young girl and an older man. HOW I LEARNED TO DRIVE is the story of a woman who learns the rules of the road and life from behind the wheel.
--Winner of the 1998 Pulitzer Prize. Co-winner of the Susan Smith Blackburn Prize. Co-winner of the 1998 Lucille Lortel Award for outstanding play. "Ms. Vogel has written a lovely, harrowing guide to the crippling persistence of one woman's memories." —NY Times.
"…HOW I LEARNED TO DRIVE is a tremendous achievement, genuine and genuinely disturbing…Vogel's delicate tactic makes sense not only as a way to redouble the dramatic effect, but as a representation of reality, a perfect case of the form fitting the subject." —Village Voice.
"With subtle humor and teasing erotic encounters, Vogel addresses the dangerous intersections of teenage temptation. She also paints a richly poetic and picturesque landscape…The play is a potent and convincing comment on a taboo subject, and its impact sneaks up on its audience." —Variety.
"…HOW I LEARNED TO DRIVE turns out to be a most compelling ride." —BackStage.
ABOUT THE PLAY
"Satire is her oxygen [...] In her new oddball comedy, Dead Man's Cell Phone, Sarah Ruhl is forever vital in her lyrical and biting takes on how we behave." - The Washington Post
"Ruhl's zany probe of the razor-thin line between life and death delivers a fresh and humorous look at the times we live in." - Variety
"[Ruhl] tackles big ideas with a voice that entertains" - NPR
"The beguiling new comedy [...] blends the mundane and the metaphysical, the blunt and the obscure, the patently bizarre and the bizarrely moving [...] [Ruhl] writes surrealist fantasies that happen to be populated by eccentrically real people, comedies in which the surface illogic of dreams is made meaningful – made truthful – by the deeper logic of human feeling."
- The New York Times
- Sarah Ruhl is the 2003 recipient of the Whiting Award for Drama
"Satire is her oxygen [...] In her new oddball comedy, Dead Man's Cell Phone, Sarah Ruhl is forever vital in her lyrical and biting takes on how we behave." - The Washington Post
"Ruhl's zany probe of the razor-thin line between life and death delivers a fresh and humorous look at the times we live in." - Variety
"[Ruhl] tackles big ideas with a voice that entertains" - NPR
"The beguiling new comedy [...] blends the mundane and the metaphysical, the blunt and the obscure, the patently bizarre and the bizarrely moving [...] [Ruhl] writes surrealist fantasies that happen to be populated by eccentrically real people, comedies in which the surface illogic of dreams is made meaningful – made truthful – by the deeper logic of human feeling."
- The New York Times
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