One Crazy Day, a multicolored genderbent televangelist musical farce, Book, Music, and Lyrics by DS Magid, directed by Patrick MacDonald
One Crazy Day, a multicolored genderbent televangelist musical farce, is the love-child of Mozart/Da Ponte’s slyly political class-war opera “The Marriage of Figaro” and Beaumarchais’ death knell of the aristocracy play “Une Folle Journée,” by way of the American South. The Soulpepper Ranch, property of singer Rosie Faye, is home to the Church of the Wake Up And Take Notice Or Else. It’s high summer in her rosebush-choked garden, where her husband Rev. Timmy Braggart’s Daily Sermon Livecast is livecast. There’s a wedding planned for this afternoon – singer-songwriter Suzy will wed Newton, makeup artist to Rev. Timmy, whose on- camera weeping requires a lot of touch-ups. The Braggarts’ daughter Cher is a natural evangelist about to be banished for her love of the gardener’s daughter, Timmy’s preaching the abomination of same-sex sex is about to cause a lot of fireworks on the ranch and off, and backup singer Marcy holds a secret that could blow the whole enterprise sky-high. One Crazy Day features regendered male roles, a multiracial story line, and a roadmap for the empowerment of women and other disenfranchised classes.
The Mystery of Irma Vep, by Charles Ludlam, directed by Gwen Lewis
The definitive spoof of Gothic melodramas, The Mystery of Irma Vep – A Penny Dreadful, is a quick change marathon in which two actors play all the roles—the saucy maid, the leering manservant, the haunted lord, his timid new wife, the murderous monster, the Egyptian guide, the ancient goddess and the mysterious Irma Vep—with some 35 costume changes in the course of two hours. Ludlam parodies at least a dozen literary and cinematic paragons, including Joyce, Wilde, Poe and Ibsen (the play steals its opening lines directly from Ghosts), classic horror movies, Gaslight, Wuthering Heights, Gothic novels and the movie Rebecca, which provides the basic plot points. The play was given glowing reviews by every major paper; Clive Barnes told his readers not to read his review, just to buy tickets. It appeared on both the New York Times and TIME magazine’s “Best of the Year” lists. During its run, it became a coveted honor to be allowed to watch it from backstage (to see the quick-changes in action).
Eurydice, by Sarah Ruhl, directed by Jazmine Torres
In Eurydice Sarah Ruhl reimagines the classic myth of Orpheus through the eyes of its heroine. Dying too young on her wedding day, Eurydice must journey to the underworld, where she reunites with her father and struggles to remember her lost love. With contemporary characters, ingenious plot twists, and breathtaking visual effects, the play is a fresh look at a timeless love story.
A Wrinkle in Time, by Madeleine L’Engle, Stage Adaptation by James Sie,
directed by Mimi Adams
One of literature’s most enduring young heroines, Meg Murry, is back–braces, stubbornness and all. Once again, she’s joining forces with Mrs. Whatsit, Charles Wallace, Calvin O’Keefe and more to battle the forces of evil so she can rescue her father, save humanity and find herself. In the end, we know two things for sure: 1. Love CAN overcome evil and 2. There IS such a thing as a tesseract.