Marakay Rogers - Page 3

Ira Levin's thriller might have been written for the Belmont's black box Studio Theater.

Gender has never been more bent, and Plato never more accessible, than in the classic one-act rock musical.

Servant Stage has done some great work, of course. They've put together delightful revues of everything from the Great American Songbook to gospel to bluegrass, and taken them on the road to nursing homes, parks, and other places that truly can use live professional entertainment. Over the past couple of years, however, they've also gotten more settled into single-location larger productions, still on their pay-what-you-will plan that gives them outreach to those who can't afford high ticket prices.

Director Rene Staub's production of the Bernstein and Sondheim classic has packed the house at the Belmont main stage.

One of the fist modern instances of 'breaking the fourth wall,' Thornton Wilder's OUR TOWN is a story addressed directly to an audience - by the production's Stage Manager, the narrator and an occasional player in the story. It's a tale of the life of the fictional Grover's Corners, New Hampshire from 1901 through 1913, seen through the eyes of two neighboring families and the Stage Manager's decription of the locale.

Little Theatre of Mechanicsburg presented the premiere of local playwright Paul Hood's new I, JOURNEYMAN, a psychological suspense play examining the effects of guilt and secrecy.

WEST SIDE STORY, book by Arthur Laurents, lyrics by Stephen Sondheim, and music by Leonard Bernstein, a triple-header team, WEST SIDE STORY, that walked off with six Tony nominations in 1957, is somehow the musical that lost to THE MUSIC MAN for Best Musical that year. Now, there's not a thing wrong with THE MUSIC MAN, but everything has always been very right about the classic tale of Romeo and Juliet meet the gritty streets of New York.

A fresh production of the old classic is on stage at the Belmont.

Can a church puppet be possessed by Satan himself, or is it just helping a teen express himself... badly?

When an actress, a playwright, and their friends all wind up at the star's country house unexpectedly, there are killer laughs in store.

When you hear the title COLLECTIVE RAGE and understand that the play you're to see may be feminist, queer, or both, you might picture angry women screaming about men, God, the universe, or almost anything. Once you see that the full title is COLLECTIVE RAGE: A TALE IN FIVE BETTIES, you might warm up to the idea that the play might not be so very angry. If you were to read the entire subtitle, which you're best off reading on the program and not here, and start laughing about Ernest Shackleton and comparing the Antarctic to genitalia, you will certainly realize you're face to face with comedy.

EPAC strikes again, with Alison Bechdel's black humor, Jeanine Tesori's music, the direction of Ed Fernandez, and a heavy dose of truth.

The Belmont's production lets audiences feel as if they're living in Anne Frank's hiding place.

TAFE's mission is to be theatre for everyone. Its CINDERELLA does that with stage magic, not a fairy godmother.

Some shows are too good to be hidden in a school project!

The Sixties are back in Lancaster, leading up to a youth production of JUKEBOX SATURDAY NIGHT in May.

The classic play-turned-film is no clone at Oyster Mill, where it has a life of its own

The Sondheim send-up of fairy tales takes on new life at the Belmont, with an evil witch that's a delight to meet.

Tom Weaver brings a witty, properly non-styled production of Wilder's classic play to the Gamut stage.

There's nothing like seeing a theatre do what it does best. When it comes to Oyster Mill, it's Agatha Christie.