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Companies Reviewed#
Holly Theatre7
The Holly Theatre Company1
Average Rating Given : 3.87500
Reviews in Last 6 months :

Lend Me a Tenor, by Ken Ludwig
Bust a gut.
Tuesday, May 23, 2006
It always makes me so happy to see a comedy at my favorite "haunt". "Lend Me a Tenor" is a fabulously funny ride. I almost bust a "ghoulish gut" during some of the antics in Act II.

Judson Wright takes the stage as a lead after quite a sebaticle. He does a great job as Max. I have a feeling that the character wasn't that big of a stretch for him. At times, I did feel that he was pushing too hard for some of the laughs. I think a lot of his comedy was a bit strained and forced. In his defense the audience the night that I saw the performance was should I put this...more "dead" than I am! However, that being said...I do feel that he carried the show well and really did an excellent job as a leading actor.

Damon Frost is a newbie to the Holly stage as well, I believe. He plays Saunders. He is a very cute man and enjoyable and likeable on stage. Saunders is such an agressive and biting character and Damon was such a sweet-seeming man that at times I had a hard time seeing him as Saunders. On the same hand however, I believe that some of his "sweetness" comes from his voice. He doesn't have one of those huge, loud booming voices that you would expect from his character. That being said, he made the character work with his voice. I don't know if I am making any sense at all...but Damon did a very nice characterization of Saunders.

Linda favorite character in the entire play! Maria...Tito's wife. I can't say enough good about her. Her Italian accent was fantastic, her look was fantastic, her comedic timing was fantastic! I hope that she will be in more shows at the Holly. I have been going around saying "I'm'a gonna geeve a you tree, two, tree". So funny. Bravo.

Tito Merelli a.k.a. Bill Wilson graces the stage with another bought of post-prandial pains. I am beginning to wonder if it is in this guy's contract that he will only play parts that the characters suffer from gastric grief (Big Daddy...need I say more?) Okay...enough said about his gas. Bill is hysterical! I was so pleasantly surprised to see that he was such a talented comedic actor. I assumed that he was mostly a dramatic actor after having seen him in "Cat on a Hot Tin Roof". His performance as Tito was great! His bewildered looks in that black-face are unforgettable!

Craig Lovell, like Linda, plays a very small part in the play. But I think I am safe in saying that he is an audience favorite with the few lines that he does have. He plays the singing bell hop and even the senior audience that I viewed the show with was applauding him by the end of the show. I wonder if the singing of the scenes was written in the script or added to the show. If it was added BRAVO to whomever decided to do that. I found it funny that the bellhop sang better opera than any of the rest of them.

Colleen Quigley, appears once again as Maggie on stage. The scenes between she and Judson were great. Her character was very youthful and fun. I don't know how she kept a straight face at times...especially the times when she had the black grease paint all over her face. Very funny stuff.

This show surprised me with appearances by several greenhorns. Jan Fambrough and Marissa Chancon are two former OK chorus girls. In "Tenor" they grace the stage as leads.

Jan Fambrough (who just so happens to be the director's mother) is outstanding. I was able to cast from my mind any thoughts of nepotism after her first scene. She plays the part of Julia...the chairman of the opera guild. She is delightfully "high-society" and her chrysler-buildingesque gown topped off with that lovely silver/grey hair was too much. She was beautiful.

Marissa plays the part of Diana...the opera company's whore. She did a very good job, but sometimes she seemed a little uncomfortable on stage and her lines a little stiff. That being said, I did laugh the hardest at one of her scenes. The double-entendre laiden scene between she and Tito is hysterical. I hope to see her again on stage soon.

Overall...great show. Director Jamie Fambrough has masterfully directed another side splitting comedy. The curtain call was very innovative. They did the entire show in 90 seconds...very funny and amazing to watch all of those doors opening and closing without someone running into them. Jamie adds so much to the Holly shows he directs and they are very fortunate to have him as a director. Justin Gilstrap on lights and sound did a wonderful job as there were not snaffoos in the sound or light. KUDOS to all.

Hope you guys get bigger's a shame audiences are missing it.

Proof, by David Auburn
'Proof' proves perfect!
Monday, April 24, 2006
If A = a beautiful script, B = a talented cast, and C = amazing direction, then the sum of these exponents is The Holly Theater's production of "Proof." To my knowledge, the Holly hasn't really tackled a contemporary drama to date, but it's something they should certainly do more often.

"Proof" centers around Catherine, 25, who has to adjust after her talented father's death. Over the course of a week, relationships are created, broken, and finally changed forever as she accepts her genetic predispositions for both brilliance and madness. Auburn's script is refreshingly blunt, with little excess dialogue. Every line pushes the story forward. Funny at times, but strikingly poignant most often, it was an 'honest' script. I don't think there was a single person that left without identifying with the characters.

Valerie West, one of the Holly's hidden gems, was breath-taking as Catherine. There wasn't a moment when I saw Valerie peeking out from her character. She was totally engrossed, and engrossing. I've never seen someone so totally take on a role before. It was simply amazing. Her pain, joy, confusion, etc. was felt by each and every person in the audience. Her last major role being that of Sister Robert Anne in Nunsense last spring, Catherine was a bit of a switch, but Valerie certainly proved she could handle it, effortlessly. She should have gotten a standing ovation just for memorizing so many lines...

The rest of the cast I lump together, simply because the show really is Catherine and everyone else. Jamie Fambrough once again shows that he is perfectly comfortable in either comedy or drama, his character Hal having its share of both. I get the sense that Jamie very well is a geek in real life. If that thought is incorrect, I mean no disrespect. Simply that as the geeky Grad student, Jamie really plays the part quite convincingly. Jennifer Rager plays Claire, Catherine's older sister. I wonder if Valerie and Jennifer really are sisters separated at birth, because the fights were positively amazing. Jennifer's comments and slightly snobbish attitudes were perfect. I hope to see Jennifer in future productions for sure. Then there's Foy Tootle as Robert, Catherine's dead father. I am almost at a loss for words. Foy was able to capture a man at war with himself, literally. His facial expressions during scenes where he struggles to keep his mind intact were nothing short of brilliant. Watching his character 'decompose' almost, it really was both awe-inspiring and frighteningly painful to watch. I don't know where Foy came from, but don't let him get away!

And finally there's Colleen Quigley, director. With such an intimate setting, the play almost came across as a film, playing itself out with detail. Everything seemed to just blend, the actors, the music, the lighting, the set, everything. And though the action in the play isn't very complex, there was a sense of layers, of everything having more than one meaning, of ordered chaos. It was mind blowing how simple actions meant so much more in this production. It couldn't have been an easy journey. But the results were incredible.

I know the show has closed, and to be honest that might be the biggest tragedy of all, but I felt it my duty to report on the show and its success. My highest congratulations and kudos to the cast and crew. If you missed out on this show, its quite possible that you missed the best show that the Holly has produced. I give out 5's only to those shows that I can find absolutely no fault with. That being said, I gladly bestow a 5 on the Holly's "Proof." You have more than earned it.

Oklahoma!, by
Oklahoma is more than OK!
Wednesday, March 15, 2006
The Holly did something different this year. They opened their 2006 season with a show they already presented back in 1999. An encore, if you will. Not a particularly large gamble, it’s a solid show with recognizable music, and judging from the Holly’s track record, these “western” type musicals seem to go over well with audiences. But, if a company has already done a show, it only puts more pressure on them to do it well. They’ve had practice. They know what does and doesn’t work for the show. And “the little theatre that could” certainly pulled it off.

“Oklahoma!” is one of my favorite shows, so I was extra excited to see the Holly present it once again. A new cast and a fresh feel to it really make this show come to life. The characters are entertaining, and the music is quite beautiful. Kudos to Leigh Ann, Butch, and Bob. Since I didn’t see Joseph, I’ll assume that it was as wonderful a show musically as this one was. The set was simple and quite suiting to the show. The lighting was subtle and complimentary. The costumes looked fantastic. All in all, the technical aspects were just great. And the model train was a nice touch.

Making their debuts at the Holly, Steve Batchelor and Leah Colston, Curly and Laurey respectively, did a fine job. I’m not sure if it was nerves, but both sounded a little softer than I would have liked, but nevertheless, both did a great job with the characters. Gloria Szokoly once again proves she’s one of the most versatile actors the Holly has, and as the spitfire Aunt Eller, she shows us who wears the pants in the family. Karla Brookreson-Owens returns to the Holly once again as the very funny, and slightly confused Ado Annie. Opposite her, Nick DeMore gets his first big shot on the Holly stage, as Will Parker. Both Karla and Nick positively steal the show. Their chemistry is palpable, and they play their characters effortlessly. A wild standing ovation for Karla and Nick! Craig Lovell plays the unfortunate Ali Hakim caught in between Ado and Will. A great actor to be sure, I’m gald to see him in another role that stretches his range. He obviously had fun playing the part. Also new to the Holly, David Pylate plays the moody ranchhand, Jud. He plays the part quite well, and I hope to see more of him att the Holly in the future. The other actors and the Ensemble did a good job too. Many new faces and several old stand-bys gives the show a great mix, and the voices join together for a beautiful sound. In particular, “The Farmer and the Cowman” which opens Act II is very entertaining and is one of the best numbers in the whole show. And the ballet at the end of Act I is haunting, with style and a foreshadowing that really makes it a fantastic piece of theatre.

“Oklahoma!” isn’t generally considered to be the toughest show to produce, but the Holly Theatre certainly makes it seem easy. Beautiful to watch and delightfully acted, director Tim Quigley once again brings a fine show to life on the Holly stage. Keep up the good work!

Love Letters, by A.R. Gurney

Thursday, February 9, 2006
Well, the Holly has started off admirably this season. A.R. Gurney's "Love Letters" isn't an easy project, resting the show squarely on the two actors who barely interact except for the letters they read to one another. The letters span fifty years or so from a next door neighbor accepting a birthday party invitation to Christmas and birthday cards to the outpourings from an unspeakable affair.

Jen Rager, director, makes a good debut. It looks like she really let the actors get into their roles, and the blocking is very natural most of the time, though sometimes you do sort of wonder why the character just up and moves to another area for no discernable reason. But overall, the direction seemed relatively natural.

The two actors, Vanessa Cowie and Dr. Pat Conneroe (I apologize if I misspelled his name, I don't have the program in front of me...) both were quite believable in their roles. Dr. Pat is a newcomer and I hope to see more of him. But Vanessa has performed at the Holly before, and she's always so powerful in her roles. The contrast of the two characters was nice, with Vanessa up and vibrant, while Dr. Pat sat most of the time, staying reserved. And the ending was very nice, with both actors playing the final scene with emotion but without overplaying it.

To be a little picky though, I thought that the stage was too cluttered and played up too much realism for the show. I think if they were going to play the show the way they did, less would have been more. A simple desk for both with the letters and the actors. Really put the focus on the characters and what they say. But with a couch and sveral different chairs and an easel and lamps and vases and side tables and on and on, it just kinda took the focus away.

Overall, an enjoyable show. It could have been better, but I think that may just be my particular tastes coming in. I don't know. Worth seeing for certain though.

A Christmas Story, by Philip Grecian
Happy "Holly"days!!!
Wednesday, December 14, 2005
Sorry I'm late with this review. The Georgia Board of Theatre Ghosts honored me for presiding over one of the seven top theatres in the state. Congrats on the Company for the honor, and thanks to GBTG for that trip to the Bahamas. I am certainly one tan spectre now...

Anyway. On with the review.

A Christmas Story is a delightful script. I would expect nearly everyone has seen the movie, so I won't summerize the plot. But even if you don't like the film (which I'm not very keen on), you'll love the play (which I did). The show is perfectly cast, and all parts are played with overwhelming enthusiasm. They really care about this show. Jamie Fambrough makes a fantastic sophomore directing effort, and should be commended for his ability to make such a technically challenging show seem so effortless.

Speaking of the technicalities... The show is full of sound cues, light cues, scene changes, costume alterations, and props. I'm not sure I've seen a show that is this laden with props. But it all comes together to paint a brilliant painting of Christmas pre-WWII, with no technical mistakes that I could see. I saw plenty of opportunities for things to go wrong, but they never did. The sound cues were on time and the volume was good (one of my pet peeves), the lights set the mood without being intrusive, and the stage crew should be commended with a congressional medal. I can only imagine the chaos that is backstage during this show. Some scenes require full set changes and only last a few lines before changing to something else. The "running" crew certainly earns its name in this show. Kudos!

The cast is delightful to watch. The kids are amazingly talented. The girls Samantha Rotuno and Cassie Reichert capture that giggly schoolgirl perfectly. Ben Higgins and Taylor Hall are the perfect best friends for Ralphie, and add so much comedy to the show. The four characters are barely mentioned, if at all, in the movie, but here they are fully realized beautifully. Karla Owens (though I see in the program that she got married...?) is the perfect school teacher. Firm, yet a slightly crazy streak to her. Two "dream sequences" really let her cut loose and she's fabulous in both. And rounding out the supporting roles, Kevin Riddle makes his Main Stage debut as the neighborhood bully. And as nice a guy as he is, he plays a great bully. My favorite part is when he hitches up his pants after most scenes.

That brings us to the family. Sydney Oliver, only 5, is Randy Parker if I ever saw him. And he's a complete ham on stage. I get the sense that you never really know what he's going to do next, though he is always ready with his lines. He's a nut and I really hope we see more of him in the years to come. Gabe Russo and Heatherly Wannamaker-Nelson are the perfect parents. They both parent their "sons" as if they really were related. The two of them have a brilliant comedic timing that would be hard to duplicate. Their chemistry is second to none, and my favorite part is the Nutcracker "Dance" scene. I can only imagine how long they had to practice that. And rounding out the cast are the two Ralphs, Sean Newman, the younger and Tim Quigley, the older. They look almost alike, they talk alike, and their physicality is alike too. In one scene, Ralphie is being "scolded" in the classroom, and though Tim's Ralph is only the narrator and "not really there", they both rock back and forth simultaneously. They must have studied each other's movements forever to achieve the effect. Both play the role amazingly. And a big standing ovation to Tim for his memorization skills. He must have half the script all to himself. Good grief!

My only complaint with the show is it runs a little long. Not really the fault of the actors, as pacing was quite good. But the script is just kinda long. The show started at 8pm and the show ended at about 10:40. Just kinda long for a show that I know lots of families and kids came to see. However, that being said, I only know of one person that left the show not liking it, but that was for their own reasons. Everyone else that has come to see the show has loved it, and most of the comments I overheard were quite complimentary.

Overall, an absolute delight. If you haven't caught this one, I suggest you do before it closes. Tip-top job Holly Company. You do me proud!

Cat On A Hot Tin Roof, by Tennessee Williams
Back from the Dead...
Thursday, October 6, 2005
Well I am back from the dead...I was unable to review the Holly's production of Joseph and the Amazing Technicolor Dreamcoat as I was away at my GHP Conference (Ghosts of Historic Places). I did hear very good things however upon my return in regards to the production.

That being said...

The Holly was very ambitious in it's selection of the play Cat on a Hot Tin Roof. I must admit that I was a little frightened that this one would not come together from health related problems with the director and leads, to casting difficulties, to scheduling conflicts, to problems with a lighting technician, this show had all the drama off stage as it does on. HOWEVER, none of this is evident in the production itself. I feel they did a nice job with this production and deserve a hearty pat on the back.

The leading couple, Maggie and Brick, played by Colleen Quigley and Jamie Fambrough respectively did a fantastic job. Although some of Ms. Quigley's monologues in the first act did drag a little, the arguments between Brick and Maggie of them were fantastic. There really was a great dynamic between the two of them on stage. Ms. Quigley looked stunning in her blue dress on stage and for being a girl from New York she played the part of Maggie the Southern "Belle" very well. Mr. Fambrough is always so interesting to watch on stage. As Brick, his anger is almost tactile. His eyes are so sharp and piercing and then dull and sad. I am happy to see him in a part like Brick that requires him to stretch and struggle. Hopefully this role will open the door for future challenging roles. Brick and Big Daddy set the stage on fire with their altercation in Act II, when he breaks the news to Big Daddy that he is dying of cancer after all. (I must admit I had to reach for my "haunted" hankie to wipe the "ghastly" tears from my eyes when Brick breaks down followed by Big Daddy...)

Big Daddy is played by Bill Wilson who is only in his late thirties I believe. Not once does anyone realize his young age while he is on stage. He is so incredibly believable as 65. Big Daddy and Big Mama truly steal the show. Mr. Wilson has such a commanding stage presence and does an impeccable job. Gloria Szokoly plays big Mama. As Big Mama, Ms. Szokoly sparkles and flits about the stage being a busybody. She is such an endearing character and Ms. Szokoly makes the audience sympathize with Big Mama even more in the scenes where Big Daddy is verbally assaulting her. I do wish that I could just wrap Big Mama up and take care of her myself. Her fragile side that she tries so desperately to hide/ignore is evident in Ms. Szokoly's portrayal. I can't be sure, but I think that the night I saw the show, Big Mama may have forgotten one of her lines, as she seemed to fumble around for a few moments, but then she covered just fine.

Sandee McGlaun and John Hammond play Mae and Gooper. As the pesky sister-in-law, Ms. McGlaun does a fantastic job. Her voice is so shrill, like nails on a chalkboard, and every time she entered the room a wave of irritation crawled over me. She really does have the pregnant walk down to a "t". Although, towards the end of the show she started walking really kind of fast for someone as pregnant as she is. I didn't realize that she was a blond until after the show. I thought that her wig was her real hair. Props to whoever found that ugly wig. Mr. Hammond played Gooper as the needed comic relief in this show, sometimes he took it a little far, but overall he was very funny and entertaining to watch. I am not sure if he was having trouble with a few of his lines or not towards the end of the play, but it seemed that during a scene between he and Big Mama, there was a bit of confusion.

Tim Quigley and Bob Miller play Doc Baugh and Reverend Tooker. Both men did a nice job with such small roles. Mr. Quigley was very believable as the doctor. Mr. Miller did a great job with the Reverend and managed to really work in some great moments, and his accent is delightful.

The show fell under the direction of Mrs. Rhonda Brown and Ms. Jennifer Rager. I feel that it was a well-directed show, however I do feel that the characters could have undergone a bit more character development. Other than that I am amazed at how great this show is given its short rehearsal period. Mrs. Brown did a fantastic job conveying her vision of the show on stage. It is obvious that a lot of time and effort went into her plans. Ms. Rager also did a very nice job "substituting" for Mrs. Brown when she was unable to attend rehearsals.

The tech side of the show was all right. There were several things that bothered me. Some of the sound cues were a little modern for this time period, such as the fireworks. At times the volume was a little loud on cues such as the children's laughter. The sound effects were a little more distracting to the show than enhancing. Some of the cues were not delivered on time...AND IT WAS NOT MY FAULT...everyone always blames it on the ghost! There was also a lightening effect that was done with a red light during the storm. It looked more like fireworks than lightening. The placement of intermission was a bit off. It felt like an awkward point to have everyone get up and stretch. These are my only complaints. Otherwise I hope that the Holly will plan more dramas in their seasons to come.

Oops here comes to fly
Looking forward to “A Christmas Story”!

Yours "Boo"-ly,
The Holly Ghost.

Crimes of the Heart, by Beth Henley
A show with more Heart than Crimes
Sunday, May 15, 2005
"Crimes of the Heart" is at its core a moving drama about being happy about what you have and who you are. The play takes place in the kitchen of old Granddaddy MaGrath, over the course of about 24 hours. The Greeks would be proud. Granddaddy is in the hospital, his health failing. Lenny, the oldest of the three sisters, has moved in with the old man to try to help out where she can. Meanwhile, Babe, the youngest sister, has shot her husband in the stomach for no real reason. Meg, the middle and "wild" sister, comes home from Hollywood to see about Babe and Granddaddy. More troubles in the forms of local gossip Cousin Chick, a shrunken ovary, old boyfriends, new boyfriends, and a forgotten birthday all make this a funny, yet quite poignant story.

Kerry Rosewall, as Lenny, nicely portrays the eldest of three sisters. She does a great job acting more maternal than fraternal as older siblings can often do. Her hard work on the role is easily visible, as the character seems completely effortless to her. She is a quite welcome newcomer to the Holly stage.

Charity White plays Babe, and her vacant looks as she talks about shooting her husband are downright hysterical. She does an amazing job of balancing the just slightly crazy side of the character with the completely sane side. This creates a character that we love, simply because she’s so cute and almost innocent, despite anything wrong she may have done. Charity also worked very hard on her character, and it too shows. Another welcome newcomer.

Brooke Adams, as Meg, adds an electricity to the stage that ignites the tension in the air. The most vibrant of the three sisters, Brooke somehow manages to not overpower the other two, but keep the character even with the others. In Brooke, I completely believed that she was the role. She convinced me that she was in fact Meg. And she should be applauded for that alone. Though not new to the Holly stage, I would certainly love to see her in more shows in the future.

Therena Cook, Cousin Chick, plays the gossipy counterpoint to the other three. All the “he said”s and “she said”s and “did you know”s are all played so well, makes you wonder if she used to be a gossip in a former life…? And though Chick has that amazing talent of killing your self-esteem at precisely the right moment, what happens in Act III elicits an ovation all by itself. Playing the “villain” in a show like this one isn’t easy, but Therena pulls it off just right.

John King, Barnette Lloyd, Babe’s young attourney, earns the most improved award. Stepping up from parts like “Fairy #3” and “Dungeon Keeper #2”, a part with substance was due him. He took the role seriously and has turned himself into a lawyer with more than just Babe’s interests in mind. Young, relatively inexperienced, and passionate, the part actually mirrors the actor somewhat, and it has proved a good match. I expect big things from John in the future.

Finally, Jamie Fambrough plays “Doc” Porter, Meg’s former flame, whom she left after a hurricane smashed his leg. Jamie seemed quite comfortable in the role, and as the only real laid back character in the whole show, provided a nice change of pace. My only gripe is that his limp, like his accent, would sometimes disappear. But both were slight to start with, so perhaps I’m just being really picky. But overall, his acting was just fine.

Colleen Quigley’s direction for the play was brilliant. Her blocking was subtle, but powerful at the same time. She easily understood the odd nature that is sibling dynamics, and it translates to the stage beautifully. This is the second show in a sprint of three that she is directing back to back.
You can do it Colleen! I believe in you!

Overall, a good example of what the Holly has to offer. Cast and crew, I applaud you!

Sister Amnesia's Country Western Nunsense Jamboree, by Dan Goggin
What a hootnanny!
Monday, May 2, 2005
I have sat in the back and watched the Holly Theatre's productions for a long time. Finally, I feel the need to start voicing my opinions on their efforts. Granted I don't get to see much other theatre (I follow the Holly wherever it goes), but I enjoy the Holly's shows immensely.

At any rate, Sister Amnesia's Country Western Nunsense Jamboree is an exciting continuation of the Nunsense series. Though the script itself is weaker than the original, in my opinion, this one dances along with a fun country theme that leaves one laughing until it hurts.

Colleen Quigley's direction was rather simple (it was quite a small stage), and the influences from Hee-Haw and the Grand Ole' Opry were easily visible. The staging for the dialogue between songs seemed more natural that the staging of the actual music, but that may have been intentional as it is supposed to be a traveling music revue of sorts. There were a few glitches in the music, but when Sister Robert Anne stopped the show to make "Brother Nick" start over, it became a cute and quite funny way to fix said problem.

The cast as a whole worked well together. Nathan Gerrells was a little unsure at times, and I felt like he backed off a bit on some of the higher notes, but his voice has that purity of innocence that sometimes is lost after a singer goes on to bigger and better things. Overall, he was very good, especially being the only male in the whole cast. Suzanne Higgins was good, as is expected from her. Her younger sounding voice added a degree of variety to the chorus, not overpowering, but a nice counter to some of the more classical voices in the show. Gloria Szokoly brought a warmth and maturity to the show that made you smile whenever she appeared on stage. And her voice is beautiful! I could listen to her sing anything... *happy sigh* Rebekah Williams was relatively new to the Holly, having only recently appeared on the scene in Man of LaMancha last month, but her portrayal of Amnesia was top notch. I do wish she had been more puzzled by some of the jokes and such, but her vacant stare in some of the scenes are positively hysterical.

The whole cast was great, but Valerie West as Robert Anne was simply stellar. Her voice soared in her solos, specifically in her song about Sister Rose Francis, the notes floating out of her mouth effortlessly. The song is awe inspiring and at the same time modest in its content. Bravo! I cannot wait to hear her again and again at the Holly.

The show was not the best the Holly has offered, but certainly on par if not a birdie (to use golf lingo). And knowing what the show (and its cast and crew) has gone through during the production process, it is quite a pretty gem. I look forward to Crimes of the Heart next month, and Joseph after that.

Four Old Broads
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by William Shakespeare
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Almost, Maine
by John Cariani
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Daddy Long Legs
by John Caird (book) and Paul Gordon (songs)
The Legacy Theatre
Four Old Broads
by Leslie Kimbell
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Midnight at the Masquerade
by The Murder Mystery Company
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