The producers of Irving's ICT Mainstage have announced the group's 2013-'14 season, its 42nd, which follows their season formula—four plays mixed with classics, comedy and drama, followed by a summer musical. In 2014, that summer show will be Phantom, Maury Yeston's version of the novel The Phantom of the Opera that was trumped by another musical based on that same story.
Here's the season lineup. For subscriptions and more info, call 972-252-2787 or visit www.irvingtheatre.org.
by Thornton Wilder
Nov. 1-16, 2013
75th Anniversary of its performance
Winner! 1938 Pulitzer Prize for Drama
While all of Wilder's work is intelligent, non-synthetic and often moving, as well as funny, it is Our Town that makes the difference. It is probably the finest play ever written by an American." —Edward Albee The story follows the small town of Grover's Corners through three acts: "Daily Life," "Love and Marriage," and "Death and Eternity." Narrated by a stage manager and performed with minimal props and sets, audiences follow the Webb and Gibbs families as their children fall in love, marry, and eventually—in one of the most famous scenes in American theatre—die.
AN ACT OF THE IMAGINATION
by Bernard Slade
Jan. 17-Feb. 1, 2014
Suspenseful, clever mysteryThis masterful suspense tale involves a successful mystery writer whose latest work has strangely turned into a romance a vivid and adulterous romance. His son, his second wife and his editor marvel at the truthfulness of the work, remarkable since it is inconceivable that he could ever have had such an affair. Enter a woman, who is intent on blackmail and whose story is foolproof and airtight: it appears that Arthur has been trysting away from home. Death stalks: the other woman disappears and evidence incriminates Arthur in her murder. There is a conspiracy to do Arthur in, a conspiracy that entails cunning, deceit and ingenious plotting.Bernard Slade is author of the romantic comedy, Same Time, Next Year.
SOLID GOLD CADILLAC
by George S. Kaufman and Howard Teichmann
Mar. 21-April 5, 2014
The play begins with the annual stockholders’ meeting. Some new officers must be elected because the president has taken a big government post in Washington and has been forced to sell his stock at a large profit. The meeting is about to end when a timid old lady who owns 10 shares asks a question. She has read every page of the annual report and wants to know why the chairman of the board is being paid $170,000 a year. She puts one mild query after another, and pretty soon the new officers hush her up by giving her a phony job at $150 a week. She is to be a liaison officer for the other minority stockholders. She takers her job seriously and writes chatty, friendly letters to the other minority stockholders – asking about their health, their children, and the weather, and makes solid friendships. The officers of the corporation become a bit uneasy at this and they’re all set to fire her when she discovers that the small firm that General Products has just forced into bankruptcy is its own subsidiary firm. When the former president learns what a mess the current directors are making of his business, however, he resigns from his government job, and the big fight is on to regain control. Judy Holliday made the role famous in the 1956 film version.
SHAKESPEARE IN HOLLYWOOD
by Ken Ludwig
May 30-June 14, 2014
It's 1934, and Shakespeare's most famous fairies, Oberon and Puck, have magically materialized on the Warner Bros. Hollywood set of Max Reinhardt's A Midsummer Night's Dream. Instantly smitten by the glitz and glamour of show biz, the two are ushered onto the silver screen to play (who else?) themselves. With a little help from a feisty flower, blonde bombshells, movie moguls, and arrogant "asses" are tossed into loopy love triangles, with raucous results. The mischievous magic of moviedom sparkles in this hilarious comic romp. Commissioned by the Royal Shakespeare Company, Shakespeare in Hollywood had its world premier in 2003 at Arena Stage and won the Helen Hayes award for Best New Play of the Year.
Book by Arthur Kopit and music/lyrics by Maury Yeston
July 25- Aug. 9, 2014
Gaston Leroux’s 1910 novel, The Phantom of the Opera, has been adapted into melodramas, silent films, matinee thrillers, and even a ballet. This version had the unfortunate timing to finish just as Sir Andrew Lloyd Webber, the creator of CATS, premiered his version. Although Maury Yeston has the award-winning musicals, Nine and Titanic, to his credit, Phantom collected dust for a while, but in the early 90s Kopit, who is a two-time Pulitzer Prize finalist and a three-time Tony Award nominee, and winner of a Drama Desk Award was hired to adapt Phantom as a miniseries. Kopit’s success with the teleplay enabled the Yeston and Kopit duo to launch a production of their Phantom at Texas’ Theater Under the Stars in Houston. It has since been performed over a 1000 times. Yeston refers to Phantom as "the greatest hit never to be produced on Broadway." Yeston and Kopit's Phantom is more operetta-like in style than Lloyd Webber's, seeking to reflect the 1890s period, and seeks to project a French atmosphere to reflect its Parisian setting. Its story offers a deeper exploration of the phantom's past and his relationship with Gérard Carrière, the head of the Opera House. However, the story is the same: a frightening caped and masked ‘phantom’ living in the depths of the Paris Opera lives for beautiful music and is mesmerized by a young, beautiful soprano, Christine. He offers to train the girl and make her into a great singer. Trouble ensues when Gérard Carrière is fired as the Opera House Manager and replaced by the revolting diva, Carlotta, and her husband Cholet. Carlotta attempts to sabotage Christine’s voice and in return the Phantom kills Carlotta. Finally, the police come searching for the Phantom. Knowing that the Phantom would be devastated to be taken alive, Carrière, who is actually his father shoots and kills him.