In the W. Scott McLucas Studio Theatre
The Story of Sean O’Casey
conceived & directed by Shivaun O’Casey
starring Niall Buggy
January 15- February 16, 1998
“terrific” -New York Times
“touchingly truthful” -New York Daily News
Major Barbara
by George Bernard Shaw
directed & designed by Tony Walton
November 15, 1997 – January 4, 1998
The story concerns an idealistic young woman, Barbara Undershaft, who is engaged in helping the poor as a Major in the Salvation Army in London. For many years Barbara and her siblings have been estranged from their father, Andrew Undershaft, who now reappears as a rich and successful munitions maker. Undershaft, the father, gives money to the Salvation Army, which offends Major Barbara, who does not want to be connected to his “tainted” wealth. However, the father argues that poverty is a worse problem than munitions, and claims that he is doing more to help society by giving his workers jobs and a steady income than Major Barbara is doing to help them by giving them bread and soup. This 1905 play was written before society had fully experienced the vast human cost exacted by industrially produced weapons in modern warfare, as would subsequently be the case in World Wars I and II.
- Drama League Nom., “Best Actress” – Melissa Errico
“incisive talk and brilliant ideas” –Star Ledger
“marvelously inventive…intelligent & pointed.’ –New York Post
Creative Team:
Lighting: Kirk Bookman
Sound: Randy Freed
Fight Director: B.H. Barry
Stage Manager: Elizabeth Larson
Associate Set Design: Klara Zieglerova
Hair: Robert-Charles Vallance
Associate Costume Design: Rachel Gruer
Rafferty Rescues The Moon
In the W. Scott McLucas Studio Theatre
by June Anderson
music by Larry Kirwan
directed & designed by Bob Flanagan & Akira Yoshimura
October 31, 1997 – January 5, 1998
It’s a dirty job, but somebody has to do it. Rafferty Rescues The Moon is the story of a young boy who sets out to rescues the Moon which has been swallowed by the terrible Great Fish. Rafferty is accompanied on his dangerous, heroic journey by a panicky poet named Spider Murphy, and the bombastic Finbar Bat. The trio are confronted by a host of otherworldly creatures for Irish folklore, including Olivia, who just might be a witch, Boneless, a ghostly wraith of the boglands, and Megatroyd, a slippery green Merrow. Rafferty must use his wits, as well as his heart, to rescue Moon from the bottom of the Slaney River, and return her safely to her home in the sky. All in a day’s work.
The Irish…And How They Got That Way
by Frank McCourt
directed by Charlotte Moore
musical direction by Rusty McGee
September 1997 – January 4, 1998
The Irish… And How They Got That Way is an irreverent history of the Irish through the tumultuous 20th and 21st centuries through the eyes of Pulitzer Prize winning author, Frank McCourt (Angela’s Ashes, ‘Tis, Teacher Man).
McCourt’s razor sharp wit, coupled with his trademark bitter irony, and his boundless love for the Irish People are all underscored by glorious music extending all the way from the auld Irish folk ballades, through George M. Cohan’s patriotic love songs to America, World War II standards sung in movies, USOs and foxholes all over the world, and including the latest from contemporary Ireland’s U2.
“Making successful entertainment out of serious history is a rare gift. Yet from the tragic 1840s potato famine to a haunting, modern U2 anthem, Pulitzer Prize-winning author and former history TEACHER FRANK MCCOURT’S RICHLY NARRATED, MUSICAL HISTORY LESSON, “THE IRISH … AND HOW THEY GOT THAT WAY,” IS PURE ENJOYMENT. “An exuberant, mostly Irish cast enacts McCourt’s wide-ranging material that sizzles with outrage, wit, pride and, of course, sentiment. Charlotte Moore, artistic director of the Irish Rep, has cohesively and artfully staged the work, with cast and musicians onstage in a storytelling grouping. Spirited narration of McCourt’s irony-tinged version of Irish history — combining fact, folklore, stereotypes and blarney — is interspersed with snippets or full productions of many familiar Irish songs, often accompanied by lively dancing. The troupe is backed by atmospheric projections of historical paintings, newspaper articles, letters, and black-and-white photos, yet the warmhearted production never feels like a documentary. THIS PRODUCTION OF “THE IRISH …” FULLY SUCCEEDS AS A SOULFUL, OFTEN ROLLICKING JOURNEY THROUGH 150 TUMULTUOUS YEARS OF IRISH-AMERICAN HISTORY.” — Associated Press
“Throughout the show, the music expresses a sentimental nostalgia through catch-in-your-throat numbers that make you reflexively tear up. the show concludes with U2’s “I Still Haven’t Found What I’m Looking For.” IT’S THE PERFECT ANTHEM FOR THOSE WHO PONDER WHAT THEY’VE GAINED — AND LOST.” — NY Post
Mass Appeal
by Bill C. Davis
directed by Charlotte Moore
June 22 through July 1997
Sparks fly when a rebellious young priest with a secret invades the tipsy luxurious world of beloved father Farley. A brilliantly funny yet warmly compassionate play.
“Acting that warms the heart, humor that eases the day’s cares, conflict that engages the emotions and lessons in love and idealism that stimulate the intellect constitute the considerable rewards of Mass Appeal.” –New York Times
Wait ‘til I Tell You: An Evening With Carmel Quinn
In the W. Scott McLucas Studio Theatre
Accompaniment by Dr. Robert Gerrard Manginelli
Spring 1997
This is the charming story of Carmel’s entry into American radio and television via the legendary Arthur Godfrey, who created the catalyst for her lifetime career that included twenty-five consecutive sold-out appearances at New York’s premier venue, Carnegie Hall, where she performed refreshing, original songs of her native Ireland and told magical stories of her childhood in Dublin city. Sit back and enjoy this pleasant story of this wonderful girl who came to America from Ireland and, in little time, won its lasting affection.