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The 2009-10 Season |
 Sondheim Musical Oct 29-Nov 21, 2009 |
 Ibsen Drama May 6-22, 2010 |
 Folksy Americana Feb 25-March 13, 2010 |
 Stoppard Farce July 15-31, 2010 |
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October 29 - November 21, 2009 |
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You can be sure we’re unveiling a very special season of theater when we start off with Sweeney Todd. Sondheim and Wheeler’s multiple-award-winning musical thriller created a sensation for audiences when it first burst onto Broadway, and it’ll still grab you and hold you from the first chord to the last gasp. This tale of a 19th century barber with a massive chip on his shoulder is a genre-busting, tradition-smashing, brilliant work of theater – sophisticated, macabre, visceral and uncompromising. Sweeney Todd brandishes a razor-sharp sense of humor, drips with suspense and slashes with scintillating wordplay. The aching beauty of its music will pull you inescapably into the pain and desperation that pervades this dark portrait of Industrial Revolutionary London. For masterworks such as this, the accolades of “unparalleled” and “blockbuster” are no exaggeration.. 
Visit Music Theatre International's
Sweeney Todd Web Page
for song excerpts and photos from the original New York production.
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February 25 - March 13, 2010 |
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There’s no denying that a playwright has an advantage when writing about the artistic process. And when a play is crafted around the actual creation of one’s art, as in Lanford Wilson’s Book of Days, it can provide a special perspective on how art reflects, intersects with, and affects the surrounding community. In Dublin, Missouri’s local theater production of Shaw’s Saint Joan, the leading lady, Ruth, takes on that great character in all her complicated, paranoiac intensity. Ruth’s own creative process parallels and intertwines with events both internal and external – and both she and her small hometown are forever changed. Wilson adeptly twists roles and relationships to fashion this compelling fable of faith, customs, social norms, greed … and possibly murder. |
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May 6-22, 2010 |
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Ibsen’s classic gets a breathtaking update with Andrew Upton’s adaptation, a recent worldwide success that starred his wife, Cate Blanchett. All the elements of the "traditional" Hedda Gabler are still present: newlywed Hedda and her dry, academic husband have just returned from their honeymoon; Judge Brack and Aunt Julle are still circling around the couple, pursuing their own ends; and into this constrained sphere comes timid Thea, along with Lovborg, the wildly exciting modern intellectual. But in this rewritten Hedda, the inexorable drama of this famous scenario is made newly fresh and immediate, crackling with energy and pulsing with contemporary rhythms. The resulting impact is both emotionally and intellectually jarring, revitalizing a problem play we thought we’d figured out long ago. |
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July 15 - 31, 2010 |
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On the Razzle sparkles. On the Razzle
shines.
In fact, On the Razzle dazzles.
There is perhaps no script in the English language more chock-full of puns,
double-entendres, silliness and jokes.
Playwright Tom Stoppard once again illuminates the stage with
the brilliant dialogue that has become his hallmark.
The story of two country mice off "on the razzle"
to the big city is merely the framework around which Stoppard
spins a dizzying verbal whirlwind. Disguises, impersonations,
confusions, tricks and counter-tricks abound as skylarking clerks,
elegant ladies, eloping lovers, amorous merchants, clever servants,
and bawdy coachmen tumble all over each other through the rich tapestry
of Vienna in the 1850s. The entrances and exits come so fast and furious
that the actors need to be careful that they don’t overtake themselves.
Leave your troubles behind and join us On the Razzle.
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