How to find STAGE TOO:
The best way to find STAGE TOO is to enter the alley between PCA and the merchants on Cortez St between Willis and Sheldon. From the alley, Murphy's is on the far left (south) and Peregrine is on the far right (north). Walk through the alley until you arrive at STAGE TOO, one door to the south of the freight entrance to Peregrine Books. There will be signage to mark the location.
PCA is very grateful to Ms. Judith Hardes and to the Prescott Lowes for their generosity which is assisting PCA with making Stage Too possible. PCA is also extremely appreciative to all of our AMAZING volunteers who have put in many hours and lots of physical labor making Stage Too a viable space for performers, students, and patrons.
Additional Contributors: MaryAnn and Allan Dutton, Art and Doris Winkler, Lindquist Realty, Anonymous.
March 19 - April 4
Directed by Jean Lippincott
By David Lindsay-Abaire
Welcome to Southie, a Boston neighborhood where a night
on the town means a few rounds of bingo, where this month's paycheck covers last month’s bills, and where Margie Walsh
has just been let go from yet another job. Facing eviction and scrambling to catch a break, Margie thinks an old fling who's
made it out of Southie might be her ticket to a fresh new start.
But is this apparently self-made man secure enough to face his humble beginnings? Margie is about to risk what little she has
left to find out. With his signature humorous glow, Lindsay-Abaire explores the struggles, shifting loyalties and unshakeable
hopes that come with having next to nothing in America.
Margi - Lyssa Romaine
Mike - Kevin Nissen
Dottie - Julie Cargill
Jean - Debra Duncan
Stevie- Tim Ward
Kate - Gwen Henderson
Priest - Kenn Duncan
"David Lindsay-Abaire pays his respects to his old South Boston neighborhood with this tough and tender play about the insurmountable class divide between those who make it out of this blue-collar Irish neighborhood and those who find themselves left behind. The scrappy characters have tremendous appeal, and the moral dilemma they grapple with—is it strength of character or just a few lucky breaks that determines a person's fate?—holds special significance in today's harsh economic climate." —Variety.
"…shot through with aching authenticity, GOOD PEOPLE is that rare play that is both timeless and completely keyed into a specific moment in American life—without the need to grasp for topicality. Bringing the same clear-eyed emotional observation that distinguished his Pulitzer winner, Rabbit Hole, David Lindsay-Abaire has crafted another penetrating drama about deeply relatable issues, albeit this time with more warming doses of humor." —Hollywood Reporter.
"…incisively drawn characters and sharp, witty dialogue. The interactions between the characters feel vividly real, from Mike's increasing registers of annoyance to Margie's edgy sarcasm to Kate's genuine attempts at civility. Even Steve, the dollar shop manager who fires Margie, is revealed to have unexpected depths in the bingo playing scenes that amusingly riff on the lower class characters' financial desperation." —Scheck OnTheater.
"Wonderful…this isn't a manipulative tear-jerker or a simplistic diatribe. GOOD PEOPLE is poignant, brave and almost subversive in its focus on what it really means to be down on your luck."
NEVER THE SINNER
May 11 - 22
Directed by Don Langford
By John Logan
Chicago, May 21, 1924. Nathan Leopold Jr., age 18, and Robert Loeb, age 19, killed 14 year old Bobby Franks and were quickly apprehended when Leopold's glasses were found near the corpse. Clarence Darrow defended them, pleading eloquently against capital punishment. Why would wealthy young men murder an innocent boy? What demons lurked behind Leob's flashing good looks? Behind Leopold's saturnine intellect? This exquisite Off Broadway hit explores the complex relationship between these two who longed to create a private world of fevered intellect and romantic passion. The author suggests that, given twists of fate and character, Leopold or Loeb could be anyone who has loved too much, had a broken heart, wanted to prove everlasting devotion, or looked at a loved one and thought "I'd die for you ... I'd kill for you." This is a love story set to themes of crime and punishment, the press, the times, humanism, Nietzsche's philosophy and the end of the jazz age.
"Remarkable." - The New York Times
"Great theatre. One of the year's best! An excellent and compelling play!" - New York Post
"Riveting." - New York Daily News
"Brilliant, powerful and cinematic!" - Associated Press
"Sweeps the audience into the boys' friendship without losing sight of the brutal murder. Lays out the furor and the legal maneuvering surrounding this "Trial of the Century' particularly well, suggesting that nothing much has changed." - The New Yorker
"A taut, compelling psycho sexual waltz." - Newhouse Newspapers "Electrifying." - WOR Radio