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2023-24 Season

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Friday Nov. 3 - 8pm
Saturday Nov. 4 - 2pm & 8pm
Thursday Nov. 9 & Friday Nov. 10 - 8pm
Saturday Nov. 11 - 2pm & 8pm
Thursday Nov. 16 & Friday Nov. 17 - 8pm
Saturday Nov. 18 - 2pm & 8pm

Friday Feb. 23 - 8pm
Saturday Feb. 24 - 2pm & 8pm
Thursday Feb. 29 & Friday, March 1 - 8pm
Saturday March 2 - 2pm & 8pm
Thursday March 7 & Friday, March 8 - 8pm
Saturday March 9 - 2pm & 8pm

Friday May 3 - 8pm
Saturday May 4 - 2pm & 8pm
Thursday May 9 & Friday, May 10 - 8pm
Saturday May 11 - 2pm & 8pm
Thursday May 16 & Friday, May 17 - 8pm
Saturday May 18 - 2pm & 8pm

Friday July 19 - 8pm
Saturday July 20  - 2pm & 8pm
Thursday July 25 & Friday, July 26 - 8pm
Saturday July 27 - 2pm & 8pm
Thursday Aug. 1 & Friday, Aug. 2 - 8pm
Saturday Aug.  3 - 2pm & 8pm

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The Importance of Being Earnest

by Oscar Wilde

Directed by Mike Haddad


Jack Worthing 

Algernon Moncrieff 

Gwendolen Fairfax 

Lady Bracknell 

Cecily Cardew 

Ms. Prism 

Rev Chausuble 

Lane / Merriman 

Justin Budinoff 

H. James Woodsum

Kristie Norris 

Bonnie Gardner 

Catherine Haverkampf 

Stephanie Cotton-Snell 

David Foster  

Bill Novakowski 


Letter Writer #1
Letter Writer #2
Letter Writer #3

Shawna Ciampa
Craig Ciampa
Jennifer McCartney
Molly Doris-Pierce


Tiny Beautiful Things

by Nia Vardalos

Directed by Katie Swimm




Book by Joe Masteroff 
Music by John Kander, Lyrics by Fred Ebb

Directed by Brian Kelly


Cabaret, the ground-breaking musical by the team of Kander and Ebb, based on a play by John van Druten, cannot be considered an “old chestnut” despite its age. It’s a theatrical experience that re-imagines itself for every time. Sometimes it’s a gawdy glitter ball, other times a dark menacing warning. At its core is an honest, yearning love story of a naïve writer who falls for a young woman who performs at the Kit Kat Klub, a hideaway that exists outside of time (or at least pretends to). It’s 1929 in Germany and people can feel the world changing around them. And at the epicenter is Berlin, which welcomes neophyte Cliff, seeking motivation for his novel. Sally moved to Berlin to run away from her old life. They meet-cute at the Kit Kat Klub, but things get difficult for them rather quickly. The score is filled with a rich variety of music: sweet, ironic, bawdy, fun, and also melancholy and sinister. And in this web of social commentary, high living and music, this play also brings us face-to-face with our fears and the possibility of our better selves.



The Outsider

by Paul Slade Smith

Directed by Doug Sanders


As we approach the height of another federal election season, it seems appropriate to share this incisive political farce, The Outsider, on our stage. At once unflinchingly silly and also unapologetically critical, this play rides that edge of satire all the way to the finish line. A governor has left office in disgrace leaving the job to his very qualified, but completely non-political, and socially inept lieutenant governor. Things go wrong almost from the get-go for the incoming governor, as the recording of his swearing-in ceremony quickly becomes a meme on-line. And after a TV interview goes awry, things seem to be going from bad to worse. But amazingly, a high-powered political advisor from DC is mesmerized by the possibilities this unconventional candidate provides. To this, the play mixes in some thoroughly unexpected obstacles and characters, raising the satire to the “Did they just say that?” level of envelope-pushing that good satires go to, and then return from. Not unscathed, but hopefully better for the ride.

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