Vokes Logo The 2006-7 Season
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Urinetown
Musical
Oct 26-Nov 11, 2006
Twilight of the Golds
Thought-Provoking Drama
May 3-19, 2007
Richard III
Shakespeare's Brilliance
March 1-17, 2006
Blithe Spirit
Noel Coward Fun
July 19-Aug 4, 2007
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Urinetown, the Musical

October 26 - November 11, 2006
Music & Lyrics by Mark Hollmann
Book & Lyrics by Greg Kotis
Directed by Donnie Baillargeon
Musical Direction by Mario Cruz
Choreography by Jennifer Condon


A musical named Urinetown, the Musical better have a lot going for it. So what does an unfortunately named show have to do to prove that it is, in fact, a poignant tale of found love, an ardent story about following your heart, and a side-splittingly funny yet affectionate spoof of the American musical? Actually, all it has to do is be itself. This show has been winning audiences over right from the start, in a historically unlikely evolution from Fringe Festival to off-Broadway and then finally to its Tony® Award-winning run on Broadway. The show blends a gritty, industrial world view with modern-day irony and humor to create a plausible story that proves you should never judge a musical by its title.

Visit the Official Urinetown Web Page for song excerpts and photos from the original New York production. .

Cast List and Production Credits
Urinetown, the Musical

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Richard III

March 1-17, 2007
By William Shakespeare
Directed by John Barrett


Richard III is a magnificent storm of a play - with a human tornado at its heart. The Wars of the Roses rage across the land and England's Crown is won and lost on the battlefield. Vast armies struggle over bloodied land, powerful nobles trade alliances, and beautiful women offer their favors - and every land, alliance, and favor holds both profit and peril. Only the most cunning, and the most ruthless, survive. Richard of Gloucester is all of that and more - soldier, seducer, assassin, lover, and - finally - King; sly as a fox, quick as a panther, and charming as a cobra, he is more than a match for any man - or any woman. Richard III is, perhaps, at once the most evil and the most charming character ever to grace the stage. You won't be able to take your eyes off him, which is good because you wouldn't want to turn your back on him.

Read more about the play at www.william-shakespeare.info


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Twilight of the Golds

May 3-19, 2007
By Jonathan Tolins
Directed by James Barton


We meet the Golds as they come together to celebrate Suzanne and Rob's third wedding anniversary. Suzanne uses this occasion to announce her pregnancy to her entire family: her parents, her brother David and her husband. The news is greeted with universal jubilation, but it also sets in motion choices that expose closely held feelings and hard-to-face truths, and that change forever the dynamics of the Gold family. The potency of Tolins' play lies not only in its examination of these increasingly relevant issues, but also in its rich throughline of humor and in the moments of theatricality that illumiate the life questions raised. As the drama heightens and the tensions within the family tear at the seams, we find ourselves in a situation where nobody is clearly right or wrong, nothing is completely cut-and-dried, and the Gold family will never be the same again.




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Blithe Spirit

July 20 - August 5, 2007
By Noel Coward
Directed by D Schweppe


Noel Coward's delightful comedy Blithe Spirit provided just the jolly good laugh that the English needed during the darkest days of World War II. It tells the story of an unusual threesome, as Charles Condomine, a novelist, finds himself caught between his first wife, Elvira, for whom he finds he still has feelings, and his second wife, Ruth, who is ... alive. This predicament develops after the Condomines invite Madame Arcati, the local psychic, to a dinner-party seance, where she accidentally materializes Elivra. Ruth is not amused, and her initial anger soon turns to desperation when she finds herself caught in a love triangle with a rival she cannot see. The gloves come off as Ruth and Elvira fight for Charles with every weapon at their disposal, including Madame Arcati. The sophisticated banter in this ever-pleasing classic is Coward at his best: droll and disarming, light and charming, elegant and urbane.


Read the reviews from Dublin's Gate Theatre production (2001) in Culture Vulture


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