Written By Phil Grecian
Based on the book by Margery Williams
Directed by Diane Edgar

"There are two ways to be real," the Skin Horse says. "The first is when you are real to one special child, and the second is when you are real to the world." More than anything he wants to be a real rabbit—real to the world. One night, the Toy Fairy offers him his chance, but he must leave with her immediately. The boy, who is ill with scarlet fever, will die without him. Will the Velveteen Rabbit go with the Toy Fairy, or will his love for the boy cause him to turn his back on the thing he wants most? If he stays, what will happen to him? Margery Williams' beloved tale is faithfully told and carefully expanded for the stage. The Velveteen Rabbit provides young audiences with comedy, pathos, adventure and a final triumph for the hero, who learns that love makes all things real.

Written By Phil Grecian
Based on the book by Margery Williams
Directed by Diane Edgar

"There are two ways to be real," the Skin Horse says. "The first is when you are real to one special child, and the second is when you are real to the world." More than anything he wants to be a real rabbit—real to the world. One night, the Toy Fairy offers him his chance, but he must leave with her immediately. The boy, who is ill with scarlet fever, will die without him. Will the Velveteen Rabbit go with the Toy Fairy, or will his love for the boy cause him to turn his back on the thing he wants most? If he stays, what will happen to him? Margery Williams' beloved tale is faithfully told and carefully expanded for the stage. The Velveteen Rabbit provides young audiences with comedy, pathos, adventure and a final triumph for the hero, who learns that love makes all things real.

Written By Phil Grecian
Based on the book by Margery Williams
Directed by Diane Edgar

"There are two ways to be real," the Skin Horse says. "The first is when you are real to one special child, and the second is when you are real to the world." More than anything he wants to be a real rabbit—real to the world. One night, the Toy Fairy offers him his chance, but he must leave with her immediately. The boy, who is ill with scarlet fever, will die without him. Will the Velveteen Rabbit go with the Toy Fairy, or will his love for the boy cause him to turn his back on the thing he wants most? If he stays, what will happen to him? Margery Williams' beloved tale is faithfully told and carefully expanded for the stage. The Velveteen Rabbit provides young audiences with comedy, pathos, adventure and a final triumph for the hero, who learns that love makes all things real.

Written By Phil Grecian
Based on the book by Margery Williams
Directed by Diane Edgar

"There are two ways to be real," the Skin Horse says. "The first is when you are real to one special child, and the second is when you are real to the world." More than anything he wants to be a real rabbit—real to the world. One night, the Toy Fairy offers him his chance, but he must leave with her immediately. The boy, who is ill with scarlet fever, will die without him. Will the Velveteen Rabbit go with the Toy Fairy, or will his love for the boy cause him to turn his back on the thing he wants most? If he stays, what will happen to him? Margery Williams' beloved tale is faithfully told and carefully expanded for the stage. The Velveteen Rabbit provides young audiences with comedy, pathos, adventure and a final triumph for the hero, who learns that love makes all things real.

Written By Phil Grecian
Based on the book by Margery Williams
Directed by Diane Edgar

"There are two ways to be real," the Skin Horse says. "The first is when you are real to one special child, and the second is when you are real to the world." More than anything he wants to be a real rabbit—real to the world. One night, the Toy Fairy offers him his chance, but he must leave with her immediately. The boy, who is ill with scarlet fever, will die without him. Will the Velveteen Rabbit go with the Toy Fairy, or will his love for the boy cause him to turn his back on the thing he wants most? If he stays, what will happen to him? Margery Williams' beloved tale is faithfully told and carefully expanded for the stage. The Velveteen Rabbit provides young audiences with comedy, pathos, adventure and a final triumph for the hero, who learns that love makes all things real.

Written By Phil Grecian
Based on the book by Margery Williams
Directed by Diane Edgar

"There are two ways to be real," the Skin Horse says. "The first is when you are real to one special child, and the second is when you are real to the world." More than anything he wants to be a real rabbit—real to the world. One night, the Toy Fairy offers him his chance, but he must leave with her immediately. The boy, who is ill with scarlet fever, will die without him. Will the Velveteen Rabbit go with the Toy Fairy, or will his love for the boy cause him to turn his back on the thing he wants most? If he stays, what will happen to him? Margery Williams' beloved tale is faithfully told and carefully expanded for the stage. The Velveteen Rabbit provides young audiences with comedy, pathos, adventure and a final triumph for the hero, who learns that love makes all things real.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Pat Cook
Directed by Brenda Lyttle

Missing the Christmas spirit? Has the Yuletide you up in knots? Then subscribe to the Herald Tribune, where editor J.J. Garnes makes sure he uses the holiday to his own advantage, whether it be to expose the crooked mayor or sell a few more issues with just the right angle. And he thinks he finds that angle when he receives a letter from a small boy who "don't want no more Christmases." Delilah and Sarah, Garnes' assistants, are equally cynical until they find a "Wish Moose," a Christmas ornament that grants their fondest wishes. Do they believe? It's up to Barney, the janitor, to show them how to develop the St. Nick knack. And wishes do begin to come true - with hilarious consequences - whether it's Garnes, dressed as Santa Claus, falling out of a crop duster, or maybe St. Nicholas himself showing up. This fast-paced tribute to Frank Capra has you laughing with a lump in your throat with all the season's warmth and wit.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Stephen Sondheim
Conceived & Directed on Broadway by James Lapine
Directed by Keith Thomson

His story. His inspiration. His genius. The tapestry of creativity that characterizes Stephen Sondheim remained largely undiscussed, especially by the man himself, until the creation of Sondheim on Sondheim. Ranging from the beloved to the obscure, the carefully selected two-dozen songs hang from a framework of in-depth video interviews, delving into Sondheim's personal life and artistic process. Far from the typical song cycle, Sondheim on Sondheim has massive theatrical potency, as well as inarguable staying power.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Robert Harling
Directed by Rory Mack

The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, ("I’m not crazy, I’ve just been in a bad mood for forty years"); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

Written by Agatha Christie
Adapted for the stage by Ken Ludwig
Directed by Mary Hall

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.