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Ordinary Days

January 19 - 21 & 26 - 28

The story of four young New Yorkers whose lives intersect as they search for happiness. An original musical for anyone who's ever struggled to appreciate the simple things in a complex place. 

Ordinary Days

A Musical by Adam Gwom

Directed by Sabrina McCallister

Musical Direction by Josh Cleveland

Dead Man's Cell Phone

February 9 - 11 & 16 - 18

A work about how we memorialize the dead – and how that remembering changes us – it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world.

Dead Man's Cell Phone

A Play by Sarah Ruhl

Directed by Hannah Ruth Wellons

Mr Taken

March 2 - 4 & 9 - 11

We meet three couples in different stages of their relationship. Their friendships fray as the relationships change, especially when one is in love with another woman’s man.

Mr Taken

A play by Ward Kay

Directed by AJ Campbell

Talley's Folly

April 13 - 15 & 20 - 22

Set in Missouri in 1944's - Matt, a Jewish immigrant, and Sarah, a conservative Christian Nurse are two unlikely sweethearts who find a wholeness rare in each other.

 

Talley's Folly

A play by Landford Wilson

Directed by Ward Kay

Holy Toledo

June 22 - 24 & June 29 - July 1

In the 1830s, the border dispute between the state of Ohio and the territory of Michigan led to a “war” with no casualties. A farcical telling of true history – or a true telling of farcical history.

Holy Toledo

A play by Paul Langford

Directed by Ward Kay

Romeo and Juliet

September 14 - 16, 21 - 23, & 28 - 30

Shakespeare's classic tragedy of

"two star-crossed lovers,"

entrenched in a deadly family feud.

Romeo and Juliet

Abridged from William Shakespeare's play

Directed by Amanda Ranowsky

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November 2 - 4 & 9 -11

Hannah is trying desperately to hold the façade of her perfect life together, even as her husband, David, mysteriously calls in sick to work. Will they survive? Will their relationship? 

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A play by Allison Moore

Directed by Paul DiSalvo