LET'S MURDER MARSHA
By Monk Ferris
Directed by Maren Caulfield
September 22 - October 7, 2022
(Friday & Saturday at 8 pm, Sunday at 3pm)
Marsha is addicted to reading murder mysteries, much to the chagrin of her husband Tobias. While trying to hide her habit from Tobias, Marsha overhears a discussion between her husband and an interior decorator about a surprise birthday plan for Marsha. However, engrossed in her murder mystery world, Marsha is convinced that Tobias is plotting to kill her and run off with the interior decorator.
Marsha refuses to go down without a fight and, aided by her murder mystery expertise gleaned from her novels and the assistance of her lovelorn neighbor and quirky maid, plots to poison her unsuspecting husband. When Marsha's mother and a policeman unexpectedly arrive, Marsha's plans go up in flames and she soon finds herself the target of another scheme.
THE SQUIRRELS
By Robert Askins
Directed by Kevin Nessman
December 1-16, 2022
(Fridays & Saturdays at 8 pm, Sundays at 3 pm)
The Squirrels is hilarious, allegorical, and an observant reflection of our own society of haves and have nots. All is not well in the heart of the tree. Sciurus, the patriarch of a family of gray squirrels, has collected enough nuts to last ten winters. When a group of starving fox squirrels begs him to share his hoard of food, animosity erupts into a ferocious war that threatens to tear apart his world and his family. Imagine if Shakespeare or Tolstoy wrote about squirrels and you get the picture.
SIDE MAN
by Warren Leight
Directed by Donnie Baillargeon
February 23 - March 9, 2024
(Fridays & Saturdays at 8 pm, Sundays at 3 pm)
Set in 1953 and traveling to 1985, this lovely and poignant memory play unfolds through the eyes of Clifford, the only son of Gene, a jazz trumpet player, and Terry, an alcoholic mother. Alternating between their New York City apartment and a smoke-filled music club, Clifford narrates the story of his broken family and the decline of jazz as popular entertainment. Clifford recalls the key moments in his life, such as the day when he, fresh out of college, picked up his first unemployment check and was congratulated by Gene and his band mates. Gene’s music career on the big band circuit ultimately crumbles with the advent of Elvis and rock-n-roll. Terry begs him to get a nine-to-five job to support the family, but Gene refuses to enter the “straight world” of regular paychecks, mortgages and security. For Gene, who knows jazz better than his own son, music is not just a job; it’s his life. Their marriage slowly dissolves and young Clifford is witness to it all. As things worsen, Clifford assumes the role of parent and throws the hopeless Gene out of his mother’s apartment. When an adult Clifford visits Gene in a rundown jazz club after years of separation, he requests that the old man play his mother’s favorite song, the old standard “Why was I Born?” Clifford then asks, “Dad, why was I born?” It becomes Clifford’s last, heart-breaking plea for his father’s love.
