1989-1990 MS Season

LaCage aux folles

 

La Cage Aux Folles

Nov 17 – Dec 31, 1989

Produced by Anne Welby
Directed by E. Michael McCaughey
Musically directed by Vincent P. Zito
Choreographed by Enrique Pedro and Henry A. Bright
Tap Number Staged by Dee Weinstein
After twenty years of un-wedded bliss Georges and Albin, two men partnered for better-or-worse get a bit of both when Georges’ son (fathered during a one-night fling) announces his impending marriage to the daughter of a bigoted, right-wing politician. Further complicating the situation is the ‘family business’: Albin and Georges run a transvestite nightclub in St. Tropez, where Albin is the “star” performer ‘Zaza’. Georges reluctantly agrees to masquerade as “normal” when he meets the family of the bride-to-be. But Albin has other plans, with hilarious results.

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The Pirates of Penzance

Music by Arthur Sullivan Book by WS Gilbert Directed by Tom Eldridge   The Pirates of Penzance tells the story of a young pirate apprentice named Frederic who has come to the end of his indentured period. As it turns out, Frederic was indentured by mistake. His half-deaf nurse had been instructed to apprentice him … Read more

Isn’t It Romantic

 

 

  

Oct 6 – Nov 29, 1989

Produced by Iris Green

Directed by Mary McGinley
The play deals with the post-college careers (and dilemmas) of two former classmates, a short, slightly plump would-be writer named Janie Blumberg, and her tall, thin gorgeous WASP friend, Harriet Cornwall. Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie’s case this leads to an inconclusive involvement with a young Jewish doctor who calls her “Monkey”; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

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Bell, Book & Candle

 

 

  

Jan 19 – Feb 11, 1990

Produced by Heidi Giovine

Directed by Mary McGinley
Gillian Holroyd is one of the few modern people who can actually cast spells and perform feats of supernaturalism. She casts a spell over an unattached publisher, Shepherd Henderson, partly to keep him away from a rival and partly because she is attracted to him. He falls head over heels in love with her at once and wants to marry her. But witches, unfortunately, cannot fall in love, and this minute imperfection leads into a number of difficulties. Ultimately, the lady breaks off with her companions in witchery, preferring the normal and human love offered her by the attractive publisher. But before the happy conclusion of the romance, Gillian comes very near to losing him—but doesn’t.

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Born Yesterday

 

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April 20 – May 13, 1990

Produced by Mark E. Hopkins

Directed by Nick Procacciono
The vulgar, egotistic junkman Harry Brock has come to a swanky hotel in Washington to make crooked deals with government big-wigs. He has brought with him the charming but dumb ex-chorus girl Billie, whose lack of social graces embarrasses even Harry. Billie must be taught some of the amenities, and a few basic bits of information. The young, idealistic magazine reporter Paul Verrall, who has been investigating political skullduggery and is interested in Brock’s activities, agrees for a salary, to educate Billie. He finds Billie has a natural honesty and a frank streak in her, and she begins to learn about history, politics, and what Harry really is and what he wants. At a dramatic moment she rebels against being merely a tool in Harry’s crooked schemes and refuses to sign the documents which she has come to learn are part of an ambitious effort to defraud the public. This precipitates a crisis, as Billie readies to leave Harry for a new life of her own. Harry’s reaction takes the only form he knows: physical violence. Billie now knows that she can no longer have anything to do with Brock, and realizes she and Paul have fallen genuinely in love. Just before she leaves Harry, she helps Paul get hold of incriminating documents of Harry’s which will result in scandal and disaster. At the end, Paul and his promising pupil turn their backs on the anti-social and anti-democratic Brock and strike out on their own.

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Working


  

Working

June 1 – June 24, 1990

Produced by Mary Henning

Directed by Mark E. Hopkins
The hopes, dreams, joys and concerns of the average working American are the focus of this unique, extraordinary musical. That the everyday lives of “common” men and women should be so compelling and moving will surprise and inspire anyone who has ever punched a time clock.

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Loot

 

 

  

July 13 – July 29, 1990

Produced by Iris Green and Anne Welby

Directed by Douglas Eaton
A masterpiece of black farce, Loot follows the fortunes of two young thieves. Dennis works for an undertaker. Hal’s old Mum has just died. They rob the bank next door to the funeral parlour and find just the place to hide the loot. With the money hidden in Mum’s coffin, there’s no place for Mum whose body keeps re-appearing at the most inopportune times. When Inspector Truscott turns up, the already thickened plot goes topsy-turvy. Loot saw its premiere in London in 1966 and remains on of the most potent works from this master of the macabre.

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Gypsy

  

Aug 10 – Sept 2, 1990

Produced by
Betsy Antonoff, Ellen Engelhart, Peggy Kohn

Directed by Barbara Mann Stuart
GYPSY is the ultimate story about an aggressive stage mother. Join Rose, June and Louise in their trip across the United States during the 1920’s, when vaudeville was dying and burlesque was born. Jule Styne’s music and Stephen Sondheim’s lyrics include Let Me Entertain You, Some People, You’ll Never Get Away from Me, If Momma Was Married, All I Need Is the Girl, Everything’s Coming Up Roses, You Gotta Get A Gimmick and Together Wherever We Go. This is a gripping story of one of the most frightening aspects of show business.

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