STUDY GUIDE
Also:
Summer Classes
2007–2008 Open Stage Student Matinees
Study Guide for The Glorious Ones
Book and Lyrics by Lynn Ahrens
Music by Stephen Flaherty
Based on the novel by Francine Prose
Directed and Choreographed
by Graciela Daniele
TABLE OF CONTENTS
The Writing Team
3
The Director
4
The Collaboration Process: Q & A
5
About The Glorious Ones
9
The Cast and Creative Team
10
Commedia Dell’Arte
11
•
•
•
•
Commedia 101
The Commedia Characters
Commedia dell’Arte Quiz
17th Century Overview
11
14
16
18
2
The Writing Team
Stephen Flaherty (Music) is probably best known as the Tony
Award-winning composer of the Broadway musical Ragtime. His
other music for Broadway includes the scores for the musicals Once
On This Island, Seussical and My Favorite Year, songs for Chita
Rivera: The Dancer's Life and incidental music for Neil Simon's
Proposals. He is also the composer of A Man Of No Importance and
Dessa Rose (both produced by Lincoln Center Theater), Lucky Stiff
and Loving Repeating: A Musical of Gertrude Stein, adapted from
the works of Ms. Stein by Frank Galati. Film work includes
Anastasia, for which Mr. Flaherty received two Academy Award nominations, two
Golden Globe nominations and a gold record for its soundtrack. Concert works include
With Voices Raised (Boston Pops) and Ragtime Symphonic Suite (Hollywood Bowl
Orchestra.) His numerous awards include the Tony, Drama Desk, Outer Critics Circle,
Los Angeles Critics Circle, Chicago's Joseph Jefferson and London's Olivier Award, as
well as a citation from the National Academy of Arts and Letters. He has been
nominated for the Grammy Award three times. He has enjoyed collaborating with Ms.
Ahrens for over twenty years and is thrilled to be premiering The Glorious Ones in his
hometown of Pittsburgh.
Lynn Ahrens (Book and Lyrics) won Tony, Drama Desk and
Outer Critics Circle Awards and received two Grammy
nominations as lyricist of the Broadway musical Ragtime. She
wrote book and lyrics for Once On This Island (London Olivier
Award, Best Musical, Tony nominations for Book and Score);
Seussical (Grammy nomination, now one of the most performed
shows in America); Dessa Rose (Outer Critics Circle nomination);
A Christmas Carol (Ten years at Madison Square Garden) and
Lucky Stiff (Helen Hayes Award, Best Musical). She wrote lyrics
for My Favorite Year, A Man Of No Importance (2003 Outer Critics Circle Award, Best
Musical) and Chita Rivera: A Dancer’s Life (special material). She received two
Academy Award nominations and two Golden Globe nominations for the animated
feature film Anastasia and provided lyrics for Camp (IFC Films). For television, she
wrote the teleplay adaptation of A Christmas Carol (Hallmark Entertainment, NBC) and
was a mainstay songwriter and singer for the renowned animated series Schoolhouse
Rock as well as many other shows. She has received the Emmy Award and four Emmy
nominations. She serves on the Council of the Dramatists Guild of America. Ms. Ahrens
is grateful to Pittsburgh for producing her long-time collaborator Stephen Flaherty.
For more on this creative team visit: http://www.ahrensandflaherty.com
3
Director
Graciela Daniele (Director, Choreographer) was born
in Buenos Aires. Ms. Daniele began dance lessons at
age six. "I didn't know about storytelling then," she
says. "I just loved dancing. And it all happened by
accident. I had some problems with the arches in my
feet, and my mother took me to a doctor, who said that
if I did a little ballet, my arches would develop. So my
mother signed me up for ballet class."
Her mother couldn't afford private lessons, so Daniele
was enrolled in a school at the Buenos Aires opera
house. As part of the curriculum, the children
participated as extras, with no pay, in operas and ballets
–"so I was onstage starting at seven in the classical
repertory. I grew up surrounded by classical music,
opera and ballet."
She graduated at 14, when she was asked to become a
soloist with a local company; at 17 she was traveling as a soloist with a ballet company
around South America. The next year, she went to study in Paris. She stayed in Europe
for five years – "until I saw West Side Story in Paris. Right then, I decided I had to go to
New York to study. I wanted to know how to do that. I thought it was the most
extraordinary thing I had ever seen – and I still do."
One of her biggest breaks came when the director and choreographer Michael Bennett
saw her in a show and asked her to do Promises, Promises. She soon became his
assistant. "My transition to the creative side came about because of Michael," she says.
Becoming a director happened accidentally. "I adapted and directed and choreographed
Tango Apasionado downtown at Westbeth. I wanted to do something that took me back
to my roots. It was well received, and everybody thought I could direct."
Daniele has been working as a dancer, actor, choreographer and director for nearly 60
years – since age seven, when she first stepped on a stage. She is now an associate
director of Lincoln Center Theater, and she has been nominated for ten Tony Awards.
Her list of Broadway credits as director and/or choreographer includes Chita Rivera: The
Dancer's Life, Ragtime, Once On This Island, The Mystery of Edwin Drood and The
Pirates of Penzance. Her performing credits include the original productions of Chicago
and Follies.
4
The Collaboration Process
A Conversation with
Lynn Ahrens & Stephen Flaherty
By Suzanne Bixby
Excerpt from an interview with Suzanne Bixby discussing
the collaboration process with Ahrens and Flaherty.
For the complete article visit:
http://www.talkinbroadway.com/regional/boston/boston62.html
Suzanne Bixby: What was it like to see A Man of No Importance now that you're totally
removed from the creative process?
Lynn Ahrens: I love the show, just love the show. Sometimes you go after a little bit of
time and you think, "Oh, that doesn't work. I should have rewritten that. This could be a
little better." But I didn't have that feeling last night. In terms of the writing, I just was so
happy with it. I thought it was really solid.
Stephen Flaherty: With time away from it, you can become much more objective
because you're not emotionally involved in the daily creation of the work. It's nice to be
able to do that. I also think it's interesting to see somebody else's take on the work. I feel
like we did what we wanted to do and now this is part of the joy of letting a piece go into
the world.
SB: The idea to do A Man of No Importance came from [book writer] Terrence McNally
and you've said he was instrumental in coming up with suggestions to musicalize it that
appealed to you, but what was the emotional hook that convinced you to spend months,
even years, with this material?
LA: The main character, Alfie Byrne, is so appealing – so heartfelt, passionate, sad and
funny – as are all the others in the show, that we fell in love with the characters. Of
course, there were other factors – Stephen loved the Irish milieu – but I think, initially,
it's always the story and the characters that grab you by the heart.
SF: I loved what the piece had to say about friendship, about the creative spirit and how
it binds people together. And for me, I'd never written a gay character before so that was
really important for me. I was very excited about that. And it was set at an interesting
time, in an interesting world.
5
SB: Could you outline the events leading up to your first show, Lucky Stiff?
LA: Stephen and I met in the BMI Workshop in 1982. We started working together –
collaborating – in 1983. Our first attempt was a show called Bedazzled. We couldn't get
the rights to do it, but it got us noticed by people in the theatre community. We presented
it at various workshops and got some notice. One of the important people, I guess, who
noticed us was a fellow named Ira Weitzman who got us an NEA Grant and put us
together with writer/director George Wolfe [now artistic director of the Public Theatre.]
We tried to do an original idea called Antler [with George] and none of us could figure it
out.
We couldn't find a story that worked, so we abandoned that and decided to do a children's
show [The Emperor's New Clothes] for TheatreWorks USA. That was actually our first
produced show and was a wonderful, wonderful learning experience for us. And after
that, we decided, okay, we're sort of getting this together. I found the novel that Lucky
Stiff was based on, and we started working on it. That was the chronology from 1983 to
the production of Lucky Stiff in 1988.
SF: The hilarious thing is now that we tend to do more serious, dramatic material,
Hairspray is all the rage. Lucky Stiff is actually going to be done in two weeks at the
York Theatre as part of their "Musicals in Mufti" series, so it will be interesting to see
how that little comedy plays at a time when comedy seems to be the thing.
SB: Who were your mentors during these early years?
LA: We have a fantastic mentor list: Stephen Sondheim critiqued us when we were first
starting, Peter Stone, Sheldon Harnick ...
SF: You know what's an interesting thing? I don't think I ever received a musical mentor
until Bill Brohn [orchestrator for Ragtime and A Man of No Importance]. At most of
these workshops, the topic tends to be the dramaturgy and the craft of songwriting –
which is great, but not in terms of literally finding someone to learn from and discuss the
nitty–gritty of the music. When Bill and I started working together as a team, I started
really learning more things about instruments – not necessarily the theatrical use, but
from a music perspective.
LA: No one had regular meetings with us or anything like that. We would do these
workshops and get critiques. They were incredibly valuable, for me anyway. I learned an
enormous amount from a number of people along the way who taught me about the craft
of writing and structure. Sondheim was very, very kind to us –– sort of behind our backs.
He would recommend us for things and we'd find out later. We never asked him for
anything, but he was really great.
SB: Are you optimistic about the "state" of the American musical theatre?
SF: I think these are confused times, certainly on Broadway.
LA: Nobody quite knows what to write. We sort of go forward and write what we want
to write and hope it will get produced. And if it's going to be in not––for––profit theatres
or regional theatres for a while –– or if that's where the really interesting work is being
accepted –– then that's what you do.
6
SF: It's tricky. I think a lot of people know what they want to write, but I don't think a lot
of producers know what they want to produce.
LA: They're afraid to produce. If you start trying to figure out what "they" want, with a
capital "T" for they ...
SF: The tricky thing is there's so much less funding for the arts in general – private
foundations, government subsidy. Every not–for–profit theatre around the country is
missing the boat trying to support itself. The work that at one time was supported Off
Broadway is hard to find. Everybody's missing the boat.
SB: What was it like working with Mantello on his first musical?
LA: He was fantastic. He has such musical instincts. You can almost tell it from his play
direction. Everything flows, and it's very economical in terms of the movement of
scenery.
SF: He has wonderful dramaturgical instincts.
LA: With A Man of No Importance, I credit him with, not coming up with a solution for
the whole end of the show, but pinpointing a problem that we had with that point. I don't
think we would have addressed it. We thought it was working fine, and he said,
"Something's wrong. Right here."
SB: What advice would you offer to young writers to help them avoid the pitfalls?
LA: In writing or in business?
SB: Either!
SF: I personally say, in terms of writing, that nobody knows your show better than you
do. Trust your own instincts. It's coming from you. You're the creator. You're the person
who sees not only what's there, but also what the potential is for the piece. Trust your gut
instinct about what you know intuitively about the piece that you're writing. At the same
time, listen to other people's thoughts and opinions, but trust what you know about the
piece. Whenever you go against what you believe the piece is, that's when you tend to go
down the wrong road.
LA: Really, that's what it is. There's a tremendous desire when you're a young writer to
be produced and you run the risk of some producer, or someone, coming along and
saying, "Why don't you do this?" It's the devil speaking! You have to do what your heart
tells you. You have to go with stories and characters and ideas that you feel passionate
about. There's certainly something to be said for earning money and for working for
money. But on the business side, I would say to young theatre writers, "Do not give up
your copyright for anything. It's not worth it. It's your intellectual property." I would say,
"Never write what 'They' want; write what you want."
7
Stephen Flaherty and Lynn Ahrens
Collaborations:
Collaborations with Graciela Daniele:
8
About The Glorious Ones
The Glorious Ones tells the story of a roving troupe of actors as they chase
their dream of theatrical immortality from the streets of 17th century Italy all
the way to the present day. Bringing these characters to life on stage is a first
rate cast that includes Natalie Venetia Belcon, John Kassir, David Patrick
Kelly, Jenny Powers, Paul Schoeffler, Julyana Soelistyo, and Jeremy Webb.
The world premiere of this highly anticipated musical will be from
April 19 – May 20 at the Pittsburgh Public Theater. Ted Pappas, the
theater’s Artistic Director, has this to say about the show: “Lynn Ahrens.
Stephen Flaherty. Graciela Daniele. They are three of the most talented and
successful theater artists in the world and they chose our own Public Theater
as the birthplace of their show. I find that thrilling. The Glorious Ones is
about actors – their art, egos, passions and adventures. It takes place in 17th
century Italy. But honestly, have actors changed all that much in 400 years?”
Some audience members may already be familiar with two songs from the
score. "I Was Here" has been performed in concert by artists such as Patti
LuPone and Brian Stokes Mitchell, and is included in The Ahrens &
Flaherty Songbook. Marin Mazzie and Jason Danieley chose "Opposite
You" as the title track for their recently released album of duets.
The Glorious Ones is a love letter to theater past and present, and will
resonate with anyone who has pondered the question of how to leave his or
her own personal mark on the world.
9
The Cast and Creative Team
Cast of The Glorious Ones:
Natalie Venetia Belcon………….….……………..Columbina
John Kassir……….…………………………………..Dottore
David Patrick Kelly………...………………………Pantalone
Jenny Powers……..………………..………..Isabella Andreini
Paul Schoeffler………….……………………..Flaminio Scala
Julyana Soelistyo…..……………….………..Armanda Ragusa
Jeremy Webb………………………………Francesco Andreini
Creative & Production Team for The Glorious Ones:
Thomas Murray…………….…………….Musical Director
Daniel S. Ostling………………………..…Scenic Designer
Mara Blumenfeld…………….………….Costume Designer
Stephen Strawbridge……………..…..….Lighting Designer
Michael Starobin…………..…………………..Orchestrator
Zach Moore………………….…………..…Sound Designer
Nevin Hedley………………..….Production Stage Manager
Fredric H. Orner……………..……Assistant Stage Manager
10
Commedia dell’Arte 101
What does Commedia dell’Arte mean?
Commediacomedy
dell’Arte of professional artists
What is Commedia dell’Arte?
Commedia Dell’Arte is a humorous theatrical presentation performed
by professional players who traveled in troupes throughout Italy.
The troupes traveled throughout Italy in the 16th Century and
maintained their popularity until the 18th Century.
Commedia differed from other theatre groups because there were no
scripts involved. Everything was improvised. Sometimes they used
lazzi, which are stage tricks used to evoke laughter to heighten the
comedy.
Commedia dell’Arte required only actors at its heart; no scenery and
very few props were considered necessary.
Performances were improvised around conventional situations:
adultery, jealousy, old age, and love. Some of these scenarios can be
traced in the Roman comedies, which are themselves translations of lost
Greek comedies of the fourth century BCE.
Performances took place on temporary stages that sometimes were the
back of their traveling wagon. These events took place mostly on city
streets, but occasionally in court venues.
There were a vast number of Italian dialects, however, there was no
attempt made to change the performance’s dialect from region to region.
The focus was instead placed on physical business rather than the spoken
text.
11
Speaking of the “physical business,” ever wonder where we get the
word slapstick? Well, a character would utilize a prop called a slapstick,
which was two pieces of wood joined together and when slapped against
another performer it made the sound of a slap–which is where “slapstick
comedy” comes from.
This is a modern day version of a slapstick.
The ones the troupe used were bound together
with a leather band, rather than a hinge.
The commedia troupe consisted of 10-14 actors, fewer women then
men. Their productions were free to watch, but were funded by
donations. The actors were paid a share of the play’s profits equivalent
to the size of their roles.
Masks forced actors to project their characters’ emotions through the
body. Leaps, tumbles, gags, obscene gestures, and slapstick antics were
incorporated into their acts.
Music, dance and witty dialogue contributed to the comic effects.
Subsequently, the art form spread throughout Europe, with many of its
elements persisting into present-day theater.
Aspects of commedia such as stereotyped characters, masks, broad
physical gestures, improvised dialogue, and clowning represent the
theatrical element of drama.
Without the ingenuity of these crazy Italians, William Shakespeare
may not have been inspired to write Twelfth Night, The Tempest or
Merchant of Venice.
The comic tradition continued through Vaudeville, and its influences
can be seen in the likes of the Marx Brothers, Buster Keaton, Harold
Lloyd, and even today’s comics.
See if you recognize any of these commedia inspired characters that are
pictured on the following page.
12
Answers on page 17
13
The Commedia Characters
Using physical comedy, commedia poked fun at elements of society’s
respectable values by means of exaggerated styles and insightful
character traits.
The actors of commedia represent fixed social types such
as foolish old men, devious servants, or military officers
full of false bravado.
The following is a short list of the stock characters, as
well as the mask that was tied to that character.
Arlecchino: the most famous character. He was
an acrobat and a wit, childlike and amorous. He
wore a cat like mask and motley colored clothes
and carried a wooden bat (slapstick).
Brighella: friend of Arlecchino, a simple, slow, fat,
hungry character that was always being made a joke
of and always the last one to get it. He was also a
cowardly villain that would do anything for money.
Columbina: maidservant to the Innamorata and lover
of Arlecchino. Usually involved in a scheme and is
rather intelligent. The only woman to sometimes wear
a mask on stage, Colombina brings femininity and a
playful stubbornness to the plot.
Il Capitano (The Captain): a cheap he-man soldier,
but a coward underneath. He was a caricature of the
professional soldier. Regardless of region, he always
spoke in Spanish.
14
Il Dottore (The Doctor): a local aristocrat, who is
extremely rich, with “old” money. He loves food and
good wine, thus he is a little fat. Being a caricature of
learning he traveled all the way to Bologna to read for his
degree.
Pantalone: a caricature of the Venetian merchant,
rich and retired. Frequently the father of one of the
innamorati. He employs Arlecchino and is very cruel
to him.
Innamorata and Innamorato (the Lovers): the
leading man and woman who wore no mask. They are
handsome, well educated and witty. The dapper young
man was usually opposed in his love affairs by one of
the masters (usually his father). The young lady was
sophisticated, noble and innocent.
For a complete list of Commedia dell’Arte characters visit:
http://www.delpiano.com/carnival/html/commedia.html
15
Commedia dell’arte Quiz
How well do you know your commedia dell’arte?
1. ____________________, also known as "Italian comedy," was a humorous
theatrical presentation performed by professional players who traveled in troupes
throughout Italy in the 16th century and continued until the 18th century.
2. Performances took place on ____________________, mostly on city streets, but
occasionally even in court venues.
3. True/False: Touring companies changed their dialect to make themselves
understood.
4. Regardless of region, il Capitano would have spoken in __________.
5. The commedia dell’arte survived the early _____ century only by means of its
vast influence on written dramatic forms.
6. True/False: There were elaborate sets in commedia dell’arte.
7. The character Arlecchino bore two sticks tied together, which made a great noise
on impact. This gave birth to the word __________.
8. The unique talent of commedia players was to ____________________ around a
pre––established scenario.
9. What were lazzi?
10. __________ was a caricature of learning—pompous and fraudulent.
11. __________ was a caricature of the Venetian merchant, rich and retired, mean
and miserly, with a young wife or an adventurous daughter.
12. True/False: While the inamorato and the female characters wore neither masks
nor costumes unique to that personage, certain information could still be derived
from their clothing.
13. Arlecchino would be immediately recognizable because of his __________ and
__________ costume.
14.
In addition to acting skills, all actors were required to also display abilities in
__________ and _________ skills.
16
How well did you do?
Answers (from page 13):
Line 1:
1) Bart Simpson
2) Mr. Burns
3) Homer Simpson
Line 2:
1) Cast of Seinfeld
2) Lucille Ball, I Love Lucy
Line 3:
1) Cast of The Three Stooges
Line 4:
1) Cast of Gilligan’s Island
2) The Marx Brothers
3) Charlie Chaplin
Answers (from page 16):
1) Commedia dell’Arte
2) Temporary stages
3) False
4) Spanish
5) 18th Century
6) False
7) Slapstick
8) Improvise comedy
9) Rehearsed routines inserted into the to
heighten comedy
10) Il Dottore
11) Pantalone
12) True
13) Black mask and patchwork
14) Music and dance
17
17TH Century Time Line
The following is a brief overview
of what was happening in the world
politically, theatrically and historically.
1600
1603
William Shakespeare writes Hamlet
Kabuki drama in Japan
Golden Age of drama in Spain
1610
1611
1612
1615
1616
King James Version of the Bible is published
William Shakespeare writes The Tempest
Miguel de Cervante writes Don Quixote de la Mancha
William Shakespeare dies
1618
30 Years War begins
1621
The First Thanksgiving at Plymouth Rock
1626
The Dutch settle New Amsterdam, now New York City
1631
Plague claims the lives of 12,000 inhabitants of Venice
Mount Vesuvius erupts; 3,500 –– 4,000 killed
1620
1630
18
1636
Harvard University founded
Japan severs contact from all foreign countries
1639
The first comic opera, Chi Soffre Speri, is performed in Italy
1642
1648
Parliament orders the theatres of London closed
End of 30 Years War
1653
Taj Mahal Completed
1640
1650
1660
1664
1666
Theatres reopen after King Charles II is restored to
the throne of England
Moliere writes The Misanthrope
Isaac Newton establishes Three Laws of Motion
Great Fire destroys London.
1670
1673
1675
Molière dies on stage during the fourth
performance of The Imaginary Invalid
William Wycherley writes The Country Wife
1687
Nell Gwyn, famous English comedic actress, dies in London
1692
Witch Trails in Salem, Massachusetts
1680
1690
19
Works Cited
www.ahrensandflaherty.com
www.commedia-dell-arte.com
www.commedia-dell-arte.com/timeline2.htm
www.davidclaudon.com/arte/commedia.html
www.delpiano.com/carnival/html/commedia.html
www.italian.about.com/library/weekly/aa110800a.html
www.playbill.com
www.shane-arts.com/commedia.htm
www.talkinbroadway.com/regional/boston/boston62.html
www.theatrehistory.com/italian/commedia_dell_arte_001.html
www.theatredb.com/QPerson.php?pid=p000214
www.wikipedia.org
20
Sign Up Now for Summer Youth Classes!
All classes and workshops are held at the O'Reilly Theater. To enroll in summer classes, please email Kelly Mednis,
Education Coordinator, at kmednis@ppt.org. For more information, contact Rob Zellers, Education Director, at
412.316.8200, ext. 715 or rzellers@ppt.org. For more education news, visit us online at www.ppt.org.
Acting Workshop: Scene Study
(Ages 13 –– 17)
June 18 –– June 29, 2007
Monday Friday, 10:00 a.m. ––3:00 p.m.
This popular two––week workshop that features some of the Public's
best guest artists as instructors focuses on the actors' character
development, objectives, subtexts and scene work. As always,
experienced and new actors are welcome; dedication and enthusiasm
are the only prerequisites.
Instructor: Amy Landis
Fee: $275
Students perform Shakespeare’s A Midsummer Night’s Dream
Playwriting
(Ages 13 –– 17)
June 25 –– July 13, 2007, Monday, Wednesday and Friday, 10:00 a.m. –– 1:00 p.m.
This three––week introductory course is composed of intensive writing exercises that illuminate the basic tenets of
playwriting and screenwriting. Students are encouraged to find the dramatic connections between their work and their
personal experiences. This course culminates in a reading of the students' work by a company of professional actors.
Instructor: Rob Zellers
Fee: $225
Acting Workshop: Making It Real
(Ages 10 –– 12)
July 2 –– July 13, 2007, Monday –– Friday, 10:00 a.m. –– 1:00 p.m. (no class on July 4)
How does an actor make it real? How do you make the audience believe you? During this two––week workshop, students
are guided through an exploration of the basic skills of acting that address these questions. In––class exercises in
improvisation, character development and movement help students find truthfulness in the art of acting.
Instructor: Sarah Carleton
Fee: $225
Acting Workshop: Shakespeare Intensive
July 9 –– July 27, 2007, Monday –– Friday, 10:00 a.m. –– 3:00 p.m.
(Ages 13 –– 17)
If you are interested in learning more about classical acting, this class is for you. Students approach Shakespeare from an
actor's perspective, using the text and verse to aid in character development. This workshop also focuses on vocalization and
movement exercises. This class culminates in an actual performance of one of William Shakespeare's works. Experienced
and new actors are welcome; dedication and enthusiasm are the only prerequisites. Enrollment is limited to a company of 20
actors.
Instructors: Lisa Ann Goldsmith and Amy Landis
Fee: $325
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Season 33 Open Stage Student Matinees:
Please note that dates and times are subject to change.
The Comedy of Errors
by William Shakespeare
THREE student matinees!
Thursday, October 4; Wednesday, October 10;
Wednesday, October 17, 2007 11:30 am
Two sets of identical twins are separated in
childhood. Years later, they all show up in
the same place at the same time, creating
mayhem and non-stop laughs. This fast–
paced, flat-out farce is Shakespeare at his
funniest. Gangsters! Music! Nuns! This
play has it all, in a spectacular production
set in New York’s Little Italy. It’s The
Sopranos, The Marx Brothers and The Rat
Pack, with a little bit of William
Shakespeare thrown in for fun. We are
offering three student matinees of
this classic comedy.
This Wonderful Life by Steve Murray, conceived by Mark
Setlock
November 21, 2007 at 11:30 am
Life is truly worth living in this delightful re-imagining of
the movie It’s A Wonderful Life. One amazing actor plays
George Bailey, Clarence the Angel, Mary, Old Man Potter,
Zuzu, and twenty more of Bedford Falls’ finest citizens in
this theatrical twist on Frank Capra’s timeless film.
Brimming with hope and humor, This Wonderful Life is a
must––see event that will provide the perfect start to
holiday festivities.
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Amadeus
by Peter Shaffer
January 30 & February 6, 2008 at 12:00 Noon
One of the triumphant successes of modern theater,
Amadeus brings the dazzling legend and music of
Mozart to thrilling life. Part biography, part murder
mystery, this five-time Tony Award-winner pits the
envious composer, Salieri, against the young genius,
Mozart, in a fight to the finish with 18th-century
Austria as the dramatic backdrop. Be there as The
Public unleashes this full-out, lavish production
staged by Ted Pappas.
A Number
By Caryl Churchill
March 12, 2008 at 11:30 am
If you thought you had a complicated relationship with
your father, this powerful new work from the renowned
Caryl Churchill may change your mind. Taking you
into the future – when human cloning is no longer the
stuff of science fiction – a father makes the decision to
replicate his son and is forced to face the consequences
when son number two (and an unexpected son number
three) enters the picture. Last year's hot ticket in New
York, A Number provides fresh perspective on what it
is that makes us who we are.
Rabbit Hole
By David Lindsay-Abaire
April 23, 2008 at 11:30 am
A couple who seemingly has it all is forced to
confront the ultimate loss. Playwright
David Lindsay-Abaire balances honesty with
humor and tragedy with hope in this moving,
five-time Tony Award-nominated play
exploring a family’s journey to find their way
out of the darkness after their lives are
suddenly – and forever –changed.
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