Chapel Street Players http://chapelstreetplayers.org /// Your Ticket to Great Theater Mon, 16 Oct 2017 20:20:52 +0000 en-US hourly 1 https://wordpress.org/?v=4.8.3 72764603 (NewsJournal) Chapel Street’s ‘1984:’ funny, romantic, horrifying http://www.delawareonline.com/story/life/2017/10/10/chapel-streets-1984-funny-romantic-horrifying/752326001/ http://www.delawareonline.com/story/life/2017/10/10/chapel-streets-1984-funny-romantic-horrifying/752326001/#respond Mon, 16 Oct 2017 20:17:13 +0000 http://chapelstreetplayers.org/?p=2491 You might have heard about Robert Icke and Duncan Macmillan’s “1984” on Broadway this summer, a version so graphic that people reportedly vomited and passed out during shows.

Chapel Street Players aren’t doing that version, which just ended its Broadway run. They’re doing an adaptation of George Orwell’s dystopian horror story by Robert Owens.

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You might have heard about Robert Icke and Duncan Macmillan’s “1984” on Broadway this summer, a version so graphic that people reportedly vomited and passed out during shows.

Chapel Street Players aren’t doing that version, which just ended its Broadway run. They’re doing an adaptation of George Orwell’s dystopian horror story by Robert Owens. Wilton E. Hall Jr. and William A. Miles Jr. that doesn’t appear to be quite as intense, but is still affecting.

Owens, Hall and Miles’ adaptation is not for the faint of heart. The third act is pretty much all torture — but no version of Orwell’s “1984” is going to be sunshine and roses.

Under the direction of Judith A. David and associate director Susan Boudreaux, Chapel Street’s “1984” is, at turns, humorous, romantic and horrifying.

The protagonist, Winston Smith, is played by Patrick Cathcart. Winston is on stage in virtually every scene, including the most intense ones, and Cathcart captures his many faces.

Julia, Winston’s love interest, is played by Danielle Jackomin, a wide-eyed free-thinker who convinces Winston to escape the constantly watchful eye of Big Brother. She plays it well. It’s just a shame that in adapting the story, she and Winston seem to suddenly be in love out of nowhere.

Much of the humor comes from Brooks Black as Parsons, Winston’s loyal co-worker. Her feverish devotion to Big Brother and her love of daily hate rituals seem silly at first, but as the story grows darker and the reality of this “future” society becomes more clear, the laughs become sparse.

The one exception is Winston and Julia’s prole landlady, played by Heather McCarty, whose buoyant performance is half Cockney banter and half bittersweet singing.

Zachary Jackson gives a commanding performance as O’Brien, the party leader who is staunchly devoted to Big Brother (or is he?).

Pulling it all together is the costuming by Ann Matthews, makeup and props by Angela Shad and Scott F. Mason, and fabulous set design by Brian Touchette.

It might not make you vomit, but it’s a production that will definitely make you think, even if you’ve read or seen “1984” in the past.

Holly Quinn is a Wilmington freelance writer.

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(A. Renaldi) 1984: More Relevant Than Ever https://anthonyrenaldiofficial.com/2017/10/10/1984-more-relevant-than-ever/ https://anthonyrenaldiofficial.com/2017/10/10/1984-more-relevant-than-ever/#respond Mon, 16 Oct 2017 20:15:24 +0000 http://chapelstreetplayers.org/?p=2489 Chapel Street Players launch their 83rd season with 1984, the powerful and disturbingly provocative dystopian tale of a world ruthlessly controlled by a totalitarian government. Based on George Orwell’s chilling classic novel, 1984, adapted for the stage by Robert Owens,

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Chapel Street Players launch their 83rd season with 1984, the powerful and disturbingly provocative dystopian tale of a world ruthlessly controlled by a totalitarian government. Based on George Orwell’s chilling classic novel, 1984, adapted for the stage by Robert Owens, Wilton E. Hall, and William A. Miles, Jr., is a horrifying view of a society completely controlled by the government where, under the watchful eye of the all-knowing, all-seeing, Big Brother, war is peace, slavery is freedom, and independent thought, especially in opposition to the government constitutes thoughtcrime and means arrest, torture, death…or perhaps something far worse.

Front: Brooks Black, Danielle Jackomin, Patrick Cathcart Back: Walt Osborne, Jason Beil(Photo: Courtesy of Peter Kuo/CSP)

Directed most ably by Judith A. David, 1984 is set in London, now part of the totalitarian

superstate of Oceania, which is perpetually at war and ruled with an iron fist by The Inner Party. The party leader (who may or may not exist), the ever-vigilant Big Brother, is a ubiquitous dictator who has history rewritten to support the ever-changing party line and who constantly spies on and manipulates Oceana’s citizens, brutally punishing anyone who dares consider political freedom or independent thought. Winston Smith (Patrick Cathcart) is a drudge at the Ministry of Truth, responsible for rewriting (erasing and reinventing) history, and becomes disillusioned. Winston is an Outer Party member who has come to loathe the oppressive regime and who falls in love with Julia, another dissident. As one might expect from a dystopian drama, there is no fairytale ending. The ill-fated couple is betrayed, arrested by the Thought Police, and hauled off to the Ministry of Love to be tortured and brainwashed.

Winston Smith (Patrick Cathcart)(Photo: Courtesy of Peter Kuo/CSP)

Cathcart portrays Winston as a serious, passionate, rebel, but shines most brightly in the second act, when Winston is tortured by O’Brien (Zachary Jackson), a sadistic member of the Inner Party. Cathcart and Jackson’s performance is impactful. There is a dynamic energy between the two characters that becomes supercharged during the interrogation scenes and underscores the abusive relationship between O’Brien and Winston.

Jackson’s O’Brien is an efficient tormentor who finds gleeful satisfaction in reconverting Winston to a party loyalist through torture and brainwashing. The torture scenes elicited audible gasps from audience members. The faint of heart should take note.

L to R: Patrick Cathcart, Danielle Jackomin, Zack Jackson(Photo: Courtesy of Peter Kuo/CSP)

Julia (Danielle Jackomin) feels no loyalty to Big Brother and The Party, but her method of rebellion is quite different from Winston’s. Julia manages to get herself transferred to Winston’s department to be near him and then confesses her love for Winston. In the novel, Julia uses sex to rebel against Big Brother and is not as morally concerned with revolution as Winston. In the play, however, Julia and Winston marry, which is perhaps a higher form of rebellion in a world that places no value on such traditions. Julia’s focus remains sensuality and making a happy little home for herself and Winston, risking all to bring her husband little treats like real coffee and sugar, but Julia also examines her reasons for rebelling, adding dimension to the character which Ms. Jackomin adeptly brings to the stage.

Brooks Black and Walt Osborne deliver fine performances as Parsons and Syme, conveying to the audience their sheer exhaustion from constantly concealing their innermost thoughts, their fear of one day being exposed as thought criminals, and their paranoia at constantly living their lives in full view of the telescreen and the omnipresent Big Brother.

The talents of other actors in the production also warrant mention, Jason Beil as the ruthless First Guard (as well as Goldstein’s Voice and Martin), Sedric Willis as Second Guard (and Big Brother’s Voice), and most notably Heather McCarty who takes a delightful turn as the incongruously nostalgic landlady.

Patrick Cathcart and Zachary Jackson as Winston and O’Brien(Photo: Courtesy of Peter Kuo/CSP)

Director Judith David based the style and appearance of the show on Orwell’s idea that the machine can liberate mankind…but also enslave it. Set designer Brian Touchette took David’s vision and crafted a dazzling set. Touchette, with the combined talents of lighting designer, Rick Neidig, technical/visual effects designer, Peter Kuo, and sound designer, Adrian Hartwig, employ telescreens, slogans (i.e. “Ignorance is Strength),” and many eyes watching to immerse CSP audiences in a propaganda-driven Orwellian world.

George Orwell’s unsettling dystopian novel was classified as science fiction when it was published in 1949. Nearly 70 years later, in an era of alternative facts, e-mail hacks, Russia’s election meddling, so-called fake news, and propaganda laced posts on Twitter, Facebook, and other social media, Orwell’s prophetic tale and his chilling warning that “who controls the past controls the future and who controls the present controls the past,” still resonates with 2017 audiences—1984 is more relevant than ever.

Chapel Street Players’ production of 1984 is double plus good and highly recommended.

1984 runs through October 14. Call the box office at (302) 368-2248 or visit www.chapelstreetplayers.org to reserve your tickets today.

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UseMeForHeadline http://chapelstreetplayers.org/845/ http://chapelstreetplayers.org/845/#respond Fri, 06 Mar 2015 15:09:05 +0000 http://chapelstreetplayers.org/?p=845 Chapel Street Players is seeking directors for the 2018-19 season.
Submission deadline is November 1, 2017.(Learn more…)

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Chapel Street Players is seeking directors for the 2018-19 season.
Submission deadline is November 1, 2017.(Learn more…)

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(A. Renaldi) The Pillowman http://chapelstreetplayers.org/a-renaldi-the-pillowman/ http://chapelstreetplayers.org/a-renaldi-the-pillowman/#respond Wed, 02 Aug 2017 13:32:30 +0000 http://chapelstreetplayers.org/?p=2297 submitted By Anthony Renaldi

The Pillowman, is a 2003 play in three acts by Irish playwright Martin McDonagh. This black comedy tells the story of Katurian (Jimmy Van Buren), an amoral writer of fiction, who lives in an unnamed totalitarian state and who is interrogated regarding the gruesome content of his short stories because they closely resemble recent child murders in his town.

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submitted By Anthony Renaldi

The Pillowman, is a 2003 play in three acts by Irish playwright Martin McDonagh. This black comedy tells the story of Katurian (Jimmy Van Buren), an amoral writer of fiction, who lives in an unnamed totalitarian state and who is interrogated regarding the gruesome content of his short stories because they closely resemble recent child murders in his town. Audiences may be jolted by events described and depicted onstage in this pitch-black comedy and those with delicate sensibilities should avoid seeing The Pillowman. (Advisory: This play contains strong language and depicts/describes murder, mutilation, dismemberment, child abuse, and other violence.)

ThePillowman-1While Pillowman is touted as a comedy, the laughs are sparse due to the gruesome theme of the play, but they are well-placed and usually followed by something shocking that will cause the audience to gasp or cringe in their seats—apropos for a play about a man suspected of torturing and murdering children. The ghoulish tales that Katurian spins (think Grimm Brothers reimagined by Wes Craven) are products of his f****d up childhood and far from funny, especially to Tupolski (Steve Conner) and Ariel (John Barker), the overzealous, over-the-top cops who are alternately interrogating/torturing Katurian. It gets real when Katurian learns that the police have his mentally ill brother, Michael (Sean McKean), in custody as well. To delve any deeper into the plot of this play would risk revealing spoilers that would rob the audience of their theatre going experience.

To read a synopsis of the play, you might think Pillowman is about a hideous crime and harsh (if not deserved) punishment, but Pillowman is all about the art of storytelling set against a macabre theme of violence. Every character in the play tells a story—from Katurian’s fractured fairy tales to the deceptions of the police, but how do you know something is true simply because someone told you?

ThePillowman-3Director J. W. Pukatsch has been passionate about bringing this play to the stage for some 10 years. His patience has finally been rewarded, and although a bit of a departure for Chapel Street Players, audiences with strong constitutions will be rewarded as well with a solid, well-acted, well staged production. Jimmy Van Buren is fantastic as Katurian and manages to make an unlikeable character sympathetic as humanly possible. John Barker and Steve Connor (Ariel and Tupolski) are brilliant as the over-the-top, torture happy good cop/bad cop duo. Finally, Sean McKean shines as Michael and manages to aptly portray both the childlike innocence and shocking ugliness of Michael. Special mention to Penelope Rose Teague who was adorable as the little girl.

ThePillowman-4Pukatsch wore multiple hats for this production as he was also the lighting and set designer. As is always the case, the set was well designed, practical, and functional. It easily morphed from grim interrogation room to childhood home to help tell Katurian’s backstory.

The Pillowman runs through August 5th on the CSP stage.

 

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(DEArtsInfo) Chapel Street Tells a Dark Tale in “The Pillowman” http://www.deartsinfo.com/2017/08/chapel-street-tells-dark-tale-in.html http://www.deartsinfo.com/2017/08/chapel-street-tells-dark-tale-in.html#respond Wed, 02 Aug 2017 13:19:35 +0000 http://chapelstreetplayers.org/?p=2295 By Mike Logothetis

Somewhere at the confluence of Poe, Kafka and Tarantino lies Martin McDonagh’s spellbinding play,The Pillowman. While some would label this as black comedy, I believe it is more dramatic realism. The feelings I had when processing the Chapel Street Players production on my walk home from the theater dealt more with unhealthy realistic possibilities than with sinister “what ifs.”

But my own petty internal arguments should not stop you from getting a ticket to this week’s final run of shows — because this is a play you should experience.

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By Mike Logothetis

Somewhere at the confluence of Poe, Kafka and Tarantino lies Martin McDonagh’s spellbinding play,The Pillowman. While some would label this as black comedy, I believe it is more dramatic realism. The feelings I had when processing the Chapel Street Players production on my walk home from the theater dealt more with unhealthy realistic possibilities than with sinister “what ifs.”

But my own petty internal arguments should not stop you from getting a ticket to this week’s final run of shows — because this is a play you should experience. Director J.W. Pukatsch puts his four main actors through a gauntlet of emotions because McDonagh’s script demands authenticity. While all the major players were excellent, the show is anchored by the stalwart performance of Jimmy Van Buren as the protagonist Katurian.

Writer Katurian’s 400 short stories (all but one unpublished) might be described as a how-to guide of “101 ways to skewer a 5-year-old.” The purportedly fictional stories have landed Katurian and his weak-minded brother Michal (Sean McKean) in prison, since the killings described in his simply-told fables have been replicated in the town where they live.

The policemen who interrogate Katurian – the disdainful Tupolski (Steve Connor) and his hot-headed partner Ariel (John Barker) – aren’t necessarily wrong in hating what their prisoner has written. These are sick, demented tales of torture written by a bruised man in a world the audience never sees outside of the prison walls. But do these lawmen deserve to be judge, jury and executioner on top of their detective roles?

Barker and Connor, as Ariel and Tupolski, turn the classic good cop/bad cop formula into a devilish vaudevillian routine. “Good cop” Tupolski toys with Katurian, giving him false impressions of understanding, sympathy and hope. “Bad cop” Ariel is an amalgam of the clichéd combustible, torture-happy cop with a secret past. The two have chemistry and perverse senses of humor that fit their surroundings. Neither seems to care a shred for humanity and force Katurian to continuously jump through hoops of their own manic creation.

Van Buren imbues the arrogant yet thin-skinned Katurian from his mercurial talking in the interrogation room to the more subdued time spent with his weak-minded brother in a holding cell. You want to root for Katurian, but the audience sees that he is not a wholly sympathetic character.

Katurian’s inflated sense of self-satisfaction when he tells a story – especially one of his stories – is pure arrogance. When the police criticize and threaten to destroy his writings, the passion boiling within Van Buren’s Katurian is palpable. Hard evidence, artistic merit, and Katurian’s insistence that the stories are pure fiction are all irrelevant. The police want him gone, but he will do anything save his stories (and their integrity).

The relationship between Katurian and his brother, the childlike Michal, is one where the able sibling has assumed a parental role. (What happened to the men’s mother and father is divulged within the play.) Michal is at once innocent and unpleasant – a dichotomy captured well by actor McKean. But is Katurian the best role model for Michal? Their relationship is a unique one, to say the least, and the play exposes its lineage.

McDonagh leads the audience down a path, but not a predictable one. Its strength is in its imagery and how the principals deliver. The Pillowman is a difficult story to tell, but everything is executed admirably in this production.

The cast is rounded out by Joseph Pukatsch, Penelope Rose Teague, and Ashley Thompson in minor roles. Kudos to set designer and builder Patrick Brisiel for his inventive and effective backdrop and props.

As a playwright, McDonagh has a casual relationship with murder, mutilation and psychological aggrievement so audiences may be shaken by the events described and simulated in The Pillowman. The show contains strong language and adult situations.
The 2003 play received the 2004 Olivier Award for Best New Play, the 2004-5 New York Drama Critics’ Circle Award for Best New Foreign Play and two Tony Awards.

The limited run of The Pillowman ends this week, with 8:00pm shows on August 3, 4 and 5 at the Chapel Street Playhouse, 27 North Chapel Street in Newark. Parking is available on the street or in the small lot behind the building. Tickets are $18 adult; $12 senior; and $5 student and can be purchased online, via telephone 302.368.2480 or at the box office.

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(NewsJournal) Chapel Street’s ‘Pillowman:’ Horror that relies on storytelling, not gore http://www.delawareonline.com/story/life/2017/07/30/chapel-streets-pillowman-horror-relies-storytelling-not-gore/524019001/ http://www.delawareonline.com/story/life/2017/07/30/chapel-streets-pillowman-horror-relies-storytelling-not-gore/524019001/#respond Tue, 01 Aug 2017 18:14:02 +0000 http://chapelstreetplayers.org/?p=2289 “The Pillowman,” Chapel Street Players’ final production of the ‘16-’17 season is not for the faint of heart.

Simply put, it’s a black comedy about child abuse and child murder, detached from the real world with a futuristic police state setting. It’s a strange,

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“The Pillowman,” Chapel Street Players’ final production of the ‘16-’17 season is not for the faint of heart.

Simply put, it’s a black comedy about child abuse and child murder, detached from the real world with a futuristic police state setting. It’s a strange, twisted journey where fiction and reality blur, a horror story that relies almost entirely on storytelling rather than blood and guts.

The play, by Irish playwright Martin McDonagh, first opened in London in 2003 with a pre-“Doctor Who” David Tennant in the lead role of Katurian, a struggling writer who is being interrogated because his violent works of fiction resemble recent child murders.

In the J.W. Pukatasch-directed version at Chapel Street, the role is played by Jimmy Van Buren, who captures the average-Joe-who’s-actually-twisted storyteller brilliantly.

Katurian’s interrogators are the good-cop-bad-cop team of Tupolski, played by Steve Connor, and Ariel, played by John Barker. We learn dark truths about Tupolski and Ariel, too, and Connor and Baker are up to the task of showing these seemingly two-dimensional characters develop.

The fourth main role is Michal, Katurian’s mentally disabled older brother, who is being held in a cell across from the interrogation room. Another complex character, Michal exudes a childlike innocence, but there is something colder underneath.

Sean McKean does an impressive job in the role; in his bio, he cites the “demented and strange” Pillowman as the reason he returned to the stage after first reading it a few years ago. He’d been waiting for an opportunity to be in a production of it ever since.

Rounding out the cast is adorable young Penelope Rose Teague as Little Girl (don’t worry, she doesn’t appear in any violent scenes — those are left to the audience’s imagination, and, in one case, a plush doll stands in for a real child), assistant director Ashley Thompson as Mother and Pukatsch as Father.

If you’re completely unfamiliar with “Pillowman,” you’ll find it takes some unexpected twists and turns, as all isn’t what it seems in what initially appears to be a simple case of oppressed freedom of expression run amok.

“Pillowman” is not a family play, to say the least, with strong language, descriptions and scenes of graphic violence, and content that is far too disturbing for kids. But for its intended audience — adults who like horror that’s smart, stories that are twisted and a thought-provoking underlying message — it’s not a show you’ll want to miss.

Holly Quinn is a Wilmington freelance writer.

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1984 http://chapelstreetplayers.org/1984/ http://chapelstreetplayers.org/1984/#respond Wed, 02 Aug 2017 20:57:23 +0000 http://chapelstreetplayers.org/?p=2305 Oct 6, 7, 12, 13, 14 @8pm / Oct 8 @2pm / 2017

written by George Orwell
adpated by Robert Owens, Wilton E. Hall Jr. & William A. Miles Jr.
directed by Judith A. David
asst’

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Oct 6, 7, 12, 13, 14 @8pm / Oct 8 @2pm / 2017

written by George Orwell
adpated by Robert Owens, Wilton E. Hall Jr. & William A. Miles Jr.
directed by Judith A. David
asst’ directed by Susan Boudreaux
with the acting talents of Jason Beil, Brooks Black, Patrick Cathcart, Danielle Jackomin, Zachary Jackson, Courtney Lynahan, Heather McCarty, Walt Osborne, Michael D. Peco, Nicole Peirce and Sedric Willis

1984

George Orwell’s dystopian classic “1984” comes to the Chapel Street Players this October. The adaptation by Owens, Hall and Miles depicts the horror of man’s fate in a society where Big Brother is always watching – where everything that is not prohibited is compulsory. Orwell himself said: “I do not believe that the kind of society I describe necessarily will arrive, but I believe something resembling it could arrive. The moral… is a simple one: Don’t let it happen. It depends on you.”

* Mark Your Calendar

Thu Fri Sat Sun
Oct 6 @ 8 PM Oct 7 @ 8 PM Oct 8 @ 2 PM
Oct 12 @ 8 PM Oct 13 @ 8 PM Oct 14 @ 8 PM

* Gallery

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You’re A Good Man, Charlie Brown http://chapelstreetplayers.org/youre-good-man-charlie-brown/ http://chapelstreetplayers.org/youre-good-man-charlie-brown/#respond Wed, 02 Aug 2017 20:58:48 +0000 http://chapelstreetplayers.org/?p=2303 Dec 1, 2, 8, 9, 15, 16 @8pm / Dec 3, 10 @2pm / 2017

book by John Gordon
music & lyrics by Clark Gesner
directed by Jeff Robleto
music directed by William Fellner
choreographed by Dona Marie Pizzo
with the acting talents of Katie Brady,

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Dec 1, 2, 8, 9, 15, 16 @8pm / Dec 3, 10 @2pm / 2017

book by John Gordon
music & lyrics by Clark Gesner
directed by Jeff Robleto
music directed by William Fellner
choreographed by Dona Marie Pizzo
with the acting talents of Katie Brady, Will Bryant, Caitlin Custer, Rebecca Gallatin, Gabby Rambo and Jason Tokarski

You're_a_good_man,_Charlie_Brown

With charm, wit, and heart, You’re a Good Man, Charlie Brown explores life through the eyes of iconic anti-hero Charlie Brown along with his friends from the Peanuts gang and his ever-faithful dog Snoopy. This revue of songs and vignettes, based on the beloved characters created by Charles Schultz, celebrates the everyday joys and pitfalls of childhood, including chaotic baseball games, last-minute homework assignments, unrequited valentines and questionable five-cent psychiatry.

* Mark Your Calendar

Fri Sat Sun
Dec 1 @ 8 PM Dec 2 @ 8 PM Dec 3 @ 2 PM
Dec 8 @ 8 PM Dec 9 @ 8 PM Dec 10 @ 2 PM
Dec 15 @ 8 PM Dec 16 @ 8 PM

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The Price http://chapelstreetplayers.org/the-price/ http://chapelstreetplayers.org/the-price/#respond Wed, 02 Aug 2017 20:58:53 +0000 http://chapelstreetplayers.org/?p=2301 Feb 9, 10, 15, 16, 17 @8pm / Feb 11 @2pm / 2018

written by Arthur Miller
directed by Ray Barto

The_Price

The Price is a 1968 play by Arthur Miller. It is about family dynamics,

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Feb 9, 10, 15, 16, 17 @8pm / Feb 11 @2pm / 2018

written by Arthur Miller
directed by Ray Barto

The_Price

The Price is a 1968 play by Arthur Miller. It is about family dynamics, the price of furniture and the price of one’s decisions. The play premiered on Broadway and it was nominated for two 1968 Tony Awards.
When the Great Depression cost his family their fortune, Victor Franz gave up his dream of an education to support his father. Three decades later, Victor has returned to his childhood home to sell the remainder of his parents’ estate. His wife, his estranged brother, and the wily furniture dealer hired to appraise their possessions all arrive with their own agendas, forcing Victor to confront a question, long-stifled, about the value of his sacrifice.

* Mark Your Calendar

Thu Fri Sat Sun
  Feb 9 @ 8 PM Feb 10 @ 8 PM Feb 11 @ 2 PM
Feb 15 @ 8 PM Feb 16 @ 8 PM Feb 17 @ 8 PM  

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]]> http://chapelstreetplayers.org/the-price/feed/ 0 2301 The Memory Of Water http://chapelstreetplayers.org/the-memory-of-water/ http://chapelstreetplayers.org/the-memory-of-water/#respond Wed, 02 Aug 2017 20:58:59 +0000 http://chapelstreetplayers.org/?p=2276 Apr 20, 21, 26, 27, 28 @8pm / Apr 22 @2pm / 2018

written by Shelagh Stephenson
directed by Kathleen M Kimber
asst’ directed by Christie Cerminaro

The_Memory_of_Water

Three sisters come together on the eve of their mother’s funeral,

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Apr 20, 21, 26, 27, 28 @8pm / Apr 22 @2pm / 2018

written by Shelagh Stephenson
directed by Kathleen M Kimber
asst’ directed by Christie Cerminaro

The_Memory_of_Water

Three sisters come together on the eve of their mother’s funeral, each haunted by their own demons; yet they use humor as an antidote to tragedy. Laughter is as much a guest at this funeral as grief. Part ghost story: mom visits one of the three; part drama: each sister has her own memory of their shared childhood, but mostly, a story of how we all remember childhood differently.

* Mark Your Calendar

Thu Fri Sat Sun
  Apr 20 @ 8 PM Apr 21 @ 8 PM Apr 22 @ 2 PM
Apr 26 @ 8 PM Apr 27 @ 8 PM Apr 28 @ 8 PM  

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