Cast: Margaret Eginton, Paul Roebling, Alice McLane, Peter Byrnes, Sally Burtenshaw, Herbert Berghof
(Lighting): Lisa Pinkham (Sound): Robert Fleri (Costume): Lydia hamza (Stage Manager): Mia Alicea (Lighting Assistants): Sandt Litchfield, James Windus (Sound Assistant): Andrew Nelson
Easter was performed August 20th through August 31st, 1990
Synopsis: The Heyst family live under a shadow. The father is in prison for embezzlement and the daughter, Eleanora, has been committed to an asylum. Mrs Heyst and her son Elis live from day to day on the edge of collapse. They fear that they are on the brink of ruin, but as the snow melts and a single daffodil appears, Easter Eve brings them hope, joy and mercy.
Cast: Richard Mawe, David Troup, Brian Mulligan, Patricia O’ Grady, Sally Burtenshaw
Costumes: Anna Hill Johnstone Set: Hal Tine Lighting: Howell Binkley Production Manager: Marlene Mancini Technical Director: Steven Douglas Cook Costume Assistant: Lydia Hamza Director’s Assistant: Andrea Grover Stage Manager: Scott Kuchak Assistant Stage Managers: Ann Day, Rudy Mella Electrician: Meg Ryan Sound: Michelle von Rheinhardt Wardrobe: Therese Traber Poster: Diana Perez
The Dark Lady of the Sonnets was performed March 14th – 26th
Synopsis: It is midsummer night on the terrace of the Palace at Whitehall, overlooking the Thames. The Palace clock chimes four quarters and strikes eleven. The Man arrives at Whitehall where he meets a Beefeater guard. He persuades the Beefeater to allow him to stay to meet his girlfriend, a lady of the court, who will be arriving soon for a secret tryst. The Man notes down various interesting phrases used by the Beefeater. The Lady arrives, cloaked, but it is not the woman he is expecting. The Man immediately falls for her.
Cast: Linda Sue, Thea D’ Alvia, Alice McLane, Katharine Cullison, Elizabeth Yager, Ann Day, Aurora Kaschner, Jess Osuna, Richard Mawe, Steven Douglas Cook, Rudy Mella, Sally Burtenshaw, Jean-Paul Moreau, Stanley Taub, Gilbert Ron, Peter Gaitens, Christian Arin, Noel O’Neill, Timothy McCall, Caterina Xiroyanni
(Costumes): Anna Hill Johnstone (Set): Hal Tine (Lighting): Howell Binkley (Production Manager): Marlene Mancini (Technical Director): Steven Douglas Cook (Costume Assistant): Lydia Hamza (Director’s Assistant): Andrea Grover (Stage Manager): Scott Kuchak (Assistant Stage Managers): Ann Day, Rudy Mella (Electrician): Meg Ryan (Sound): Michelle von Rheinhardt (Wardrobe): Therese Traber (Poster): Diana Perez
The Shewing-Up of Blanco Posnet was performed March 14th through March 26th, 1990
Synopsis: The author describes the play as a religious tract in dramatic form. Blanco Posnet, the protagonist is wrongfully accused of horse-theft and sentenced to be hanged. By great good-fortune he is rescued by the testimony of a female witness, Feemy—the local harlot—for whom he has uncharacteristically performed an act of charity. His exoneration is spiritually transforming: His status changes abruptly from pariah to pillar of the community. He does not marry Feemy, but shakes hands with her before they part.
Cast: Edith Meeks, Sally Burtenshaw, Sheryl White, Patricia O’ Grady, Thea D’ Aliva, Ben Walden, Brad Waller, Kenneth Furie, Frederikke Borge, Matthew Conlon, Jess Osuna, Francesco Zerlenga
Director: Carol Rosenfeld Set Design: Al Doyle Lighting: John Harrison Costume: Denise Hudson Sound: Robert Fleri Production Manager: Lawrence Arancio Stage Manager: Alice McLane Technical Director: Steven Cook Lighting Assistant: Ana Maia Rodriguez WardrobeMistress: Liz Yager Property Mistresses: Patricia Day, Mary Ezell Sound Technician: Christian Arin Production Electricians: Craig DuPlessis, Steve Cook Production Assistant: Anette Sorensen House Managers: Coral Bodkin, Jennifer Edwards, Ann Day, Princess Wilson Poster: Linda Pasteuing
Summertime was performed September 13th – 24th, 1989
Synopsis: Alberto has been seeing a young widow Noemi and she has mistaken his friendship for more. Her brother is upset that her feelings have been trifled with and they both set of after him. Alberto runs up into the mountains to hid with the picnickers. He meets Francesca who accidentally pushes him off a cliff.
Cast: Program #1 Mathilda DeDios, Ruomi Lee Hampel, Liz Newman, Matthew Tischler, Eva DePaola, Aurora Kaschner, Cirkl Piper, Monique Ellis, Rachel Kavish, Sara Rice, Heather Haggerty, Jamie Marsh, Jasmine Savio, Daniel B. Wooten JR Program #2 Alexa Angel, Vanessa Flores, Tara La Dore, Jethro Redstone, May Talman, Antonia Cucciara, Yvonnne Flores, Abby Lester, Ghana Smith, Matthew Tishcler, Mathilda Dedios, Sasha Graff, Shelly McCoy, Christopher Sturge, Dana Wright, Judy Zimbler, Monique Ellis, Sarah Krupnick, Makesha Oucre, Maude Sutherland and Jason Zimbler
Program #1 Director: Marlene Mancini Set & Costumes: Kathe Berl Lighting: Rick Butler Technical Director: Steven Cook MusicalDirector:Hope Albrecht Original Music:Carol Hall Stage Manager: Ann Day Production Electricians: Anton Graham, Kenji Larsen Program#2 Director: Marlene Mancini Set and Costumes: Kathe Berl Lighting: Rick Butler Musical Director: Michelle Grace Assistant MusicalDirector: Hope Albrecht Costume Assistant: Lydia Hamza Original Music: Carol Hall Production Manager: Brad Waller Technical Director: Steven Cook Stage Manager: Ann Day
The Second Shepherd’s Play was performed December 19th – 30th of the year 1968.
The play’s first speaker is Coll, who begins his soliloquy complaining of the cold weather. He is “ill happed” (badly covered) no matter the weather, since whether “in storms and tempest” he must still tend to his flock. He also complains about his poverty, which he blames on the rich landowners, “these gentlery-men,” who keep him “so hammed, / Fortaxed, and rammed” (hamstrung or confined, overtaxed, and beaten down) that he cannot escape poverty. Coll continues his list of complaints, which he then directs to the rich landowner’s overseer, who interferes with the work on the farm. Coll uses the word “husbands” at line 33, not to mean a spouse, but in the archaic use of the word, as one who takes care of the land. Coll does not own the land on which he shepherds the sheep, and he feels himself oppressed by the wealthy. He is brought near to “miscarry” or ruin and thus will never be in a position to work his own land. Coll continues to lament his lack of power and that he dare not complain to anyone about how he is treated, since the landowner’s servant has too much power. Coll concludes his soliloquy with the more cheerful expectation that he will soon meet with other shepherds who also share his lonely life.
Gib soon enters the stage. He does not initially see Coll and begins to grumble about the terrible weather. It is so cold and the wind so fierce that his eyes water from the misery. Between the snow and sleet, his shoes have frozen to his feet, and he laments that life “is not all easy.” Gib also whines that his wife nags him. According to Gib, “she cackles” and thus “Woe is him” since “he is in the shackles,” imprisoned in marriage. The rest of Gib’s soliloquy continues to articulate his argument that men would be better off forgoing marriage. Men have no will after marriage, says Gib, because their wives control them, whether “in bower nor in bed.” Gil has learned his lesson about marrying, but he does note that some men marry a second time, some even a third time. At this point, Gil offers a warning and tells young men that there is little point in later saying, “Had I wist” (wished), since that serves no purpose. It is best for young men to “be well ware of wedding.” Gil describes his wife as one who has brows like a pig’s bristle and a bitter look on her face. She also has a loud voice and is as “great as a whale.” Had he known that she has so much “gall” he would have run until “I lost her” before marrying. At this point in Gib’s complaining, Coll finally speaks up and asks that God watch over the audience, who have had to endure Gib’s increasingly vicious harangue about his wife and marriage, in general. When Gib realizes that he is not alone he asks if Coll has seen the third shepherd, Daw.
Daw enters and does not see Coll and Gib. Like the others, he begins his soliloquy with a complaint about the miserable weather. The rain and wind is so fierce that Daw compares it to Noah’s flood. Daw, though, has faith that God will “turn all to good!” The floods afflict everyone, those in town and those who watch over the sheep and cattle in the fields. The weather creates equality among all men. When Daw greets Coll and Gib they tell him that they have already eaten and since he is late, he has missed the evening meal. His reply is that he will work as little as he is paid. This section of the play ends with Coll, Gib, and Daw singing together to cheer themselves.