Macbeth by William Shakespeare
February 13 – November 1
"All hail, Macbeth, that shalt be king hereafter!" This shocking prophecy, uttered by three witches, sets the noble warrior Macbeth on a tragic course. Prodded by his ambitious wife, he attempts to hasten his royal destiny, but in seizing the throne of Scotland, he traps himself in a spiral of evil that drags him down into nightmare visions, brutal murders, and final ruin. A bleak and compelling cautionary tale about a man who goes against his own better judgment, Macbeth is exciting, straightforward and tells a vivid story that student audiences can easily follow. One of Shakespeare’s fiercest tragedies, Macbeth plays out its horrors onstage—there are frightening scenes of witchcraft, the slaughter of a mother and her children, and a decapitated head. It is most suitable for well-prepared, mature 13-year-olds and up capable of handling the violence, sensuality and disturbing imagery. Prologue recommended.
Death and the King's Horseman by Wole Soyinka
February 14 – July 5
Nigerian playwright Wole Soyinka won the 1986 Nobel Prize for literature. Death and the King’s Horseman, his greatest work, is a vibrant, musical, poetic tale of Yoruba people and British colonials who occupy the same land, mingling but never truly comprehending each other. Elesin, Horseman to the King, is a splendid, charismatic figure, renowned for his amorous conquests, bursting with love of life. But the King is dead, and custom decrees that his Horseman must follow him into death. To the colonial government, this is a barbaric practice that must be prevented. To the Yoruba people, it is the action that keeps the universe in balance. No longer secure in his traditional beliefs but not fully convinced of British principles, Elesin wavers—life is sweet and he hasn’t had enough. He accepts his responsibility, but too late for the fractured universe. Can Elesin’s British-educated son, who understands both cultures, redeem his people and restore the Yoruba ways? Based on an actual event in Nigeria in 1946, the play begins with a colorful scene of Yoruban music and dance and ends with an onstage suicide. In between, the play deals with thought-provoking and mature issues, but is also suspenseful, musical and often full of action. Mature students 12 and up who are prepared to handle a bit of bawdy language will both enjoy and learn from this exploration of an exciting and unfamiliar culture. Prologue recommended.
The Music Man by Meredith Willson and Franklin Lacey
February 15 – November 1
Meredith Willson called The Music Man his "valentine," a loving tribute to his hometown. The folks of River City get along very well with their rituals, their rivalries—and, yes, their Iowa stubbornness—until a fast-talking outsider bursts into their comfortable but static situation. Professor Harold Hill convinces the citizens that the town’s pool hall is a symptom of "Trouble—right here in River City!" Evoking "76 Trombones" and promising that a boys’ band is a sure remedy for juvenile delinquency, he sells the anxious parents musical instruments and uniforms—intending to hightail it out of town with the money before anyone notices that his "Think System" of musical instruction is a sham. But the slick con artist’s scheme doesn’t take into account the sharp eyes and skepticism of Marian the Librarian—and music teacher—the person most likely to see through his scam. She’s an outsider too, right in her own hometown, and she’s never given up on her dream of finding her "someone." What are the chances that these two lonely people can recognize love when it sings to them? Befitting the intimacy of the Bowmer Theatre, this faithful yet original production will feature a small musical ensemble rather than the traditional full orchestra. A delightful story of moving past just dreaming to actively reaching for those dreams, it is suitable for ages 6 and up.
Equivocation by Bill Cain
April 15 – October 31
Bill Cain’s ingenious new play reaches back to the age of Shakespeare for a tale that echoes in our own time. The historical background is the infamous Gunpowder Plot, a Catholic conspiracy to blow up the English Parliament and the Protestant King James I, on November 5, 1605. A year later, Shakespeare composed a tragedy to honor and compliment the King and his legendary ancestors—Macbeth, set in medieval Scotland, with allusions to the King, the Gunpowder Plot and the "equivocators" who perpetrated it. In Equivocation, our hero, Will Shakespeare, has been commissioned (that is, ordered) by the King’s sinister agent, Cecil, to turn the Gunpowder Plot into a play. But what kind of theatre can you squeeze out of an event that was thwarted before it could happen? As Shakespeare tries to make sense of the government’s official version—both helped and hampered by his fellow players—he enters a murky realm where lies sound like truth, truth sounds like lies, and testimony is wrung out of suspects by "extraordinary" interrogation methods. Equivocation is an exciting, dangerous, funny and provocative story, containing disturbing onstage violence and torture, as well as frequent strong profanity. It is best suited for mature students age 14 and up. Prologue recommended.
Paradise Lost by Clifford Odets
July 22 – October 31
Clifford Odets has been called "a poet of the people." In Paradise Lost, the people to whom he gives poetic voices are the middle-class, well educated Gordons, whose "paradise" is their share of the American Dream. Down-to-earth Clara keeps her tribe together with good sense and good meatloaf. Leo provides for his family as the creative half of a partnership that manufactures handbags. Their oldest child, Ben, an Olympic champion, faces for the first time the need to find a job. Julie, the "smart" son, suffers from a mysterious ailment that keeps him at home. The "highly strung" daughter, Pearl, lives for her piano. But it’s the early 1930s, and as the Great Depression tightens its grip on the nation, the Gordons, their friends and their business associates begin the agonizing descent from prosperity into poverty. In such desperate times, corrupt politicians seize power, unions are under attack and even patriotism and loyalty can be questioned. For some, shady dealing is an acceptable price to pay for survival—but what becomes of the people whose pride and integrity keep them honest but leave them penniless? Suitable for mature students 12 and up, Paradise Lost will be best enjoyed with some preparation on the Great Depression and America in the 1930s. Prologue recommended.
Dead Man's Cell Phone by Sarah Ruhl
February 19 – June 19
Kind, conscientious Jean would rather spin a tale to make people happy than tell them the truth. One day in a café, she tries to make a man answer his cell phone, but he doesn’t because…well…he’s dead. By answering dead Gordon’s phone, she enters his world and becomes the keeper of his memory—as well as an object of great curiosity to his survivors: Why, they wonder, did Jean answer the phone? Who and what was she to Gordon? The truth is far less comforting than the tales she spins. But lies beget more lies, and the fiction that makes one person happy may make another miserable. And Gordon’s life may have had more complications than Jean is ready to handle. Sarah Ruhl’s quirky, poetic serio-comedy contains strong profanity and a frank discussion about sex. It deals with moral questions about the black market trade in human organs, as well as telling lies to try to make people’s lives better. Best suited for students 14 and up.
The Servant of Two Masters by Carlo Goldoni
March 25 – November 1
What a pickle Beatrice is in! Her true love Florindo has killed her brother, Roderigo, and fled. Beatrice still loves Florindo, but she has no money—and in her world, money is more important than love or honor. Disguised as the dead Roderigo, she goes to Venice to collect a debt owed to him by Pantalone, the father of Roderigo's fiancée, Clarice. But Clarice, freed by Roderigo’s death, is now engaged to her true love, Silvio. When Beatrice/Roderigo shows up alive, Pantalone retracts his approval of Clarice and Silvio’s marriage, provoking protests from Clarice and promises of revenge from Silvio’s father. To complicate matters further, Florindo arrives in Venice and takes a room at the inn next door to the room occupied by Beatrice, who is pretending to be the man that Florindo killed. Meanwhile, Truffaldino, servant of Beatrice/Roderigo, is hungry and underpaid. He decides to moonlight as Florindo’s servant, thereby becoming "the servant of two masters" (and gaining a double income as well as a double dinner). Carlo Goldoni’s crazy 18th-century farce is rich in physical comedy and clever dialogue and is suitable for ages 6 and up. Familiarity with the traditional characters and situations of classic commedia isn’t necessary for a good time, but it may add to students’ enjoyment. Prologue recommended.
All's Well That Ends Well by William Shakespeare
June 30 – November 1
Helena is deeply in love with young Count Bertram, but as the daughter of a doctor, she can never aspire to one as far above her as a "bright particular star." But Helena’s late father was no ordinary physician, and he bequeathed to her his deepest and most potent medical secrets. It happens that the King of France is afflicted with a mysterious malady that is likely to kill him. Helena wagers her life that she can heal him, and as her reward when she succeeds, she claims Bertram for her husband. Unfortunately, the spoiled young man bitterly resents being forced to marry a low-born woman he doesn’t love. Daring the King’s wrath, he runs away to the wars in Italy rather than consummate his hateful marriage. Helena, blaming herself for the dangers Bertram prefers to her, goes secretly to Florence, where her reluctant husband is gaining a reputation as a valiant warrior and a seducer of innocent maidens. Hearing of Bertram’s plan to lure a young virgin named Diana into his bed, Helena concocts a scheme to have Diana appear to acquiesce, then trade places with her under cover of night and trick Bertram into consummating his marriage. How can such an unpromising situation end well? For 400 years, people have been arguing that very question. This "problem" play contains sophisticated themes and dark humor, as well as physical and verbal comedy. Suitable for students 13 and up. Prologue recommended.
Henry VIII by William Shakespeare
June 2 – October 9
For more than twenty years, King Henry and Queen Katherine have tried and failed to produce a male heir to the throne of England. Yet Henry must have a son, and he believes Anne Bullen can give him one. Wishing to be free to marry Anne, he petitions the Church in Rome to annul his marriage on the grounds that Katherine was first married to his brother. Historically, Henry responded to the Church’s refusal of the annulment by separating from Rome, founding the Church of England with himself as the head and confiscating all Church properties—events that reverberate on our stages in 2009 in Equivocation. Shakespeare’s Henry VIII, however, ignores the generations of violence and destruction that Henry unleashed on England to concentrate on Henry’s long overdue recognition of the vicious hypocrisy of his most trusted—and ruthless—advisor, Cardinal Wolsey. Wolsey’s downfall is inevitable, for in his insatiable craving for personal wealth and power, he serves his King better than he serves his God, and serves himself better than either. Henry VIII is a history play without battles, full of court intrigue, plots and plans, pomp and pageantry. It is suitable for playgoers 12 and up, although students with some knowledge of the history of Tudor England will have a better understanding of the complexities of the plots. Prologue recommended.
Don Quixote adapted by Octavio Solis from the novel by Miguel de Cervantes Saavedra
June 3 – October 10
Shakespeare’s Spanish contemporary Miguel de Cervantes Saavedra gave the world one of its first and greatest novels, the satirical farce Don Quixote. OSF’s 2009 production is the world premiere of a stage adaptation by Octavio Solis. Middle-aged Alonso Quijano, his brain dried up from reading too many chivalric romances, believes that he is the wandering knight Don Quixote de la Mancha. Clad in rusty armor, astride a broken-down nag, he gallops from one knightly adventure to another, chastely faithful to his Lady Dulcinea (in truth, a girl named Aldonza from a neighboring farm). But his quests go wrong at every turn, leaving him and his "squire" Sancho ever more battered and bruised. He mistakes windmills for evil giants, sheep for enemies, and chain-gang prisoners for honorable men in need of rescue. Eventually Don Quixote’s delusions lead him to wander in the wilderness, raving like King Lear. This down-to-earth adaptation is more faithful to the source than the popular musical Man of La Mancha—less sentimental, more challenging and more ambiguous. The play contains some bawdy language and occasional mild profanity and is therefore best suited for students ages 12 and up. Prologue recommended.
Much Ado about Nothing by William Shakespeare
June 4 – October 11
Don Pedro and his soldiers arrive in Messina to visit his friend Leonato. Don Pedro’s two favorite officers are the quick-witted, cynical Benedick and his earnest young friend Claudio. In Leonato’s household are two women: his earnest young daughter, Hero, and his quick-witted, cynical niece, Beatrice. Benedick and Beatrice have long waged a "merry war" of clever insults. It’s clear to everyone but the two combatants that their battle of words is their way of disguising their feelings for each other. But it will take a monumental comic deception by their friends to make them realize and admit the truth. Meanwhile, Don Pedro’s wicked brother, Don John, launches a more sinister deception that threatens to destroy the newfound love of Hero and Claudio. This sophisticated and delightful comedy is suitable for students ages 6 and up, although the complex verbal banter may be best enjoyed by ages 10 and up. Younger viewers will enjoy the low comedy of Messina’s well-intentioned lawmen. Prologue recommended.