May 11
9
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Driving Miss Daisyby Alfred Uhry |
Winner of the 1988 Pulitzer Prize and the Outer Critics Circle Award for Best Off-Broadway Play. A warm-hearted, humorous and affecting study of the unlikely relationship between an aging, crotchety white Southern lady, and a proud, soft-spoken black man. A long-run Off-Broadway success and an Academy Award-winning film. “The play is sweet without being mawkish, ameliorative, without being sanctimonious.” —NY Times. “…a perfectly poised and shaped miniature on the odd-couple theme.” —NY Post. “Playwrights Horizons has a winner in this one…gives off a warm glow of humane affirmation.” —Variety. “DRIVING MISS DAISY is a total delight.” —NY Daily News.
THE STORY: The place is the Deep South, the time 1948, just prior to the civil rights movement. Having recently demolished another car, Daisy Werthan, a rich, sharp-tongued Jewish widow of seventy-two, is informed by her son, Boolie, that henceforth she must rely on the services of a chauffeur. The person he hires for the job is a thoughtful, unemployed black man, Hoke, whom Miss Daisy immediately regards with disdain and who, in turn, is not impressed with his employer’s patronizing tone and, he believes, her latent prejudice. But, in a series of absorbing scenes spanning twenty-five years, the two, despite their mutual differences, grow ever closer to, and more dependent on, each other, until, eventually, they become almost a couple. Slowly and steadily the dignified, good-natured Hoke breaks down the stern defenses of the ornery old lady, as she teaches him to read and write and, in a gesture of good will and shared concern, invites him to join her at a banquet in honor of Martin Luther King, Jr. As the play ends Hoke has a final visit with Miss Daisy, now ninety-seven and confined to a nursing home, and while it is evident that a vestige of her fierce independence and sense of position still remain, it is also movingly clear that they have both come to realize they have more in common than they ever believed possible—and that times and circumstances would ever allow them to publicly admit.
Apr 11
11
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Adults: $20
Seniors: $18
Groups of 10 or more: $16
Students: $10
This is a real, honest to goodness hit Broadway comedy, as in the Good Old Days. Written by one of Hollywood’s top comedy screenwriters and directed by the great Mike Nichols, this hilarious comedy starred Marlo Thomas and Ron Silver as a married couple who are art dealers. Their domestic tranquility is shattered upon the arrival of the wife’s goody goody nerd of a sister, her uptight CPA husband and her Archetypal Jewish Mother. They are there to try to save their college student daughter from the horrors of living only for sex. The comic sparks really begin to fly when the mother hits it off with the elderly minimalist artist who is the art dealer’s best client!
“Just when you were beginning to think you were never going to laugh again on Broadway, along comes Social Security and you realize that it is once more safe to giggle in the streets. Indeed, you can laugh out loud, joyfully, with, as it were, social security, for the play is a hoot, and better yet, a sophisticated, even civilized hoot.” N.Y. Post
Mar 11
20
The much anticipated third installment in the Tuna trilogy takes the audience through another satirical ride into the hearts and minds of the polyester-clad citizens of Texas’ third smallest town.
Along with Tuna’s perennial favorites, some new Tuna denizens burst into the 4th of July Tuna High School Class Reunion. This sets the stage for a show full of fireworks and fun from the land where the Lion’s Club is too liberal and Patsy Cline never dies.
It’s been several years since we left Bertha and Arles dancing at the end of A Tuna Christmas …Did the romance blossom? Has Didi Snavley received any “cosmic” communications from R.R.’s UFO? Did Stanley make his fortune in the Albuquerque taxidermy business? These and other burning questions will be asked and answered in the side-splitting spoof of life in rural America.
“At first glance, it appears there are only two men in room — one slim and ferretlike, the other a big round fellow with a sweet, pillowy face. But sit down for a chat with Jaston Williams and Joe Sears — the creators and stars of the hilarious, home-fried theatrical trilogy Greater Tuna, A Tuna Christmas and the current Red, White & Tuna, and before too long a host of others have horned in on the conversation. They all hail from the fictional burg of Tuna, the third smallest town in Texas. One’s more of a fruitcake or troublemaker than the next. And each has a crystal-clear agenda.”—The Washington Post