COMEDY TONIGHT: An Evening with Durang and Ives
Presented by Middletown Lyric Theatre
May 30-June 7
Middletown
Directed by Michael Schlotterbeck & Charley Shafor
FOR WHOM THE SOUTHERN BELLE TOLLS
In this parody of THE GLASS MENAGERIE, the fading Southern belle, Amanda, tries to prepare her hyper-sensitive, hypochondriacal son, Lawrence, for “the feminine caller.” Terrified of people, Lawrence plays with his collection of glass cocktail stirrers. Ginny, the feminine caller, is hard of hearing and overbearingly friendly. Brother Tom wants to go the movies, where he keeps meeting sailors who need to be put up in his room. Amanda tries to face everything with “charm and vivacity,” but sometimes she just wants to hit somebody.
TIME FLIES
Two lonely but sweet young mayflies meet at a pond and really hit it off. Unfortunately, Horace and May watch a nature program on this first night out and discover they have a lifespan of only one day—and their lives are half over.
VARIATIONS ON THE DEATH OF TROTSKY
Shows us the Russian revolutionary on the day of his demise, desperately trying to cope with the mountain-climber’s axe he’s discovered in his head.
UNIVERSAL LANGUAGE
Brings together Dawn, a young woman with a stutter, and Don, the creator and teacher of Unamunda, a wild comic language. Their lesson sends them off into a dazzling display of hysterical verbal pyrotechnics—and, of course, true love.
THE ACTORS NIGHTMARE
Having casually wandered onstage, George is informed that one of the actors, Eddie, has been in an auto accident and he must replace him immediately. Apparently no one is sure of what play is being performed but George (costumed as Hamlet) seems to find himself in the middle of a scene from Private Lives, surrounded by such luminaries as Sarah Siddons, Dame Ellen Terry and Henry Irving. As he fumbles through one missed cue after another the other actors shift to Hamlet, then a play by Samuel Beckett, and then a climactic scene from what might well be A Man for All Seasons—by which time the disconcerted George has lost all sense of contact with his fellow performers. Yet, in the closing moments of the play, he rises to the occasion and finally says the right lines, whereupon make-believe suddenly gives way to reality as the executioner’s axe (meant for Sir Thomas Moore) instead sends poor George to oblivion—denying him a well-earned curtain call.
- Fri-Sat, May 30-31 at 8pm
- Fri-Sat, June 6-7 at 8pm
