Short Plays from the Inhuman: A Festival Manage to Entertain But End Too Soon

Death Quad (Shorts)

Various writers and directors

                                                                   

Reviewed by Keith Waits

Entire contents are copyright © 2012, Keith Waits. All rights reserved.

Death Quad. Photo courtesy of The Alley Theater.

Maybe I’m old fashioned, but it never fails to amuse me how zombies have become such a ubiquitous presence in popular culture. Once upon a time, the image itself was enough to give people the heebie-jeebies. Yet today, it is as likely to provoke laughter as screams. The challenge in actually frightening the audience, or at least creeping them out a little bit, has become greater and greater – it not being enough to simply throw stumbling, bloody, flesh-eating creatures at them.

Unlike the two longer plays (Mama Didn’t Raise No Zombie and Zombie! A New Musical), Death Quad, the second of two programs of short pieces included in this “Festival of New American Undead Theater,” employs only a few proper zombies, and then to mostly comic effect, turning its attention to other undead forms for the best moments.

Two Zombies Having a Conversation, written by Jeff Smith and directed by Melissa Gaddie, opens the evening with a nicely observed comic scene of two zombies (Denny Grinar and Chris Petty) taking a break from their hunt for fresh humans to get better acquainted. The somewhat humiliating origin of one zombie is described in a vivid, sharply funny turn from Mr. Grinar.

Even better is the morbidly exotic situation comedy of Nina Mansfield’s Bite Me, which features Meg Caudill as a wife providing her spouse (Todd Zeigler) the opportunity of eternal domestic bliss –to be provided by the vampire (a sleek and stylish Andrew Villier) she has conveniently captured while shopping. As directed by Kathryn Furrow, the tidy narrative is given a delightful rendering, fueled by the irrepressibly wicked gleam in the eye of the delicious Ms. Caudill.

Ghost?, by Eoin Carney, is such a slight piece of material, it seems like a snatch of an idea in need of development, or inclusion in some larger dramatic construction, so that it hardly registers during its brief few minutes of duration.

Fortunately, the program ends on a strong note, with a theatrical satire entitled Storms, Sheets, and Show Tunes. The script by Stacey Lane is clever and focused in depicting an “audition” among ghosts, each vying for the recently vacated position of haunting a venerable old theater. Two notable performances fortify the production: Robert Hatfield is a riot as the flamboyantly arrogant director in charge of the audition, while Ben Wood is a forceful and spooky presence as his best candidate, a dead confederate soldier. The piece is staged with confidence by director Herschel Zahnd III and ends with an intriguing cameo moment played by Madeline Dee, who, although given very little to do, does it honestly .

It must be said that the whole enterprise seems all too brief, clocking in at a scant 45 minutes, begging the question of whether the two bills of short plays combined might not have made for a more impactful evening of theatre. I suppose there is a virtue in leaving the audience wanting more, and an argument to be made in favor of material that does not overstay its welcome. The slight nature of the program is alleviated by a handful of key performances that illuminate some brief, if imaginatively crafted, writing. And if we settle for that, perhaps it is enough.

DEATH QUAD (SHORTS)

Featuring: Meg Caudill, Madeline Dee, Denny Grinar, Robert Hatfield, Faith Hoover, Chris Petty, Sara Renauer, Audra Todd, Andrew Villier, Ben Wood & Todd Zeigler.

Part of Inhuman: A Festival of the New American Undead Theater

Running March 1-24, 2012, at The Alley Theater. Check here for the exact schedule: 
http://thealleytheater.org/shows/inhumana-festival/the-tickets


Tickets:  $15

The Alley Theater
1205 East Washington Street
Louisville, KY 40202
502-589-3866

"Offbeat" Fuddy Meers Is "Truly Fun" Theatre from Louisville Repertory Company

The cast of Fuddy Meers. Photo courtesy
 of Louisville Repertory Company.

Fuddy Meers

By David Lindsay-Abaire 

Directed by Amy Lewis Zeigler

Reviewed by Craig Nolan Highley

Entire contents are copyright © 2012, Craig Nolan Highley. All rights reserved.

Fuddy Meers is a difficult play to categorize. Billed as a comedy, it does have a lot of (increasingly dark) humor. But the gradual revelations of cruelty and abuse make it more dramatic than you might expect.

The first play by David Lindsay-Abaire (who would go on to be known for Rabbit Hole), it tells the oddball story of Claire, a psychogenic amnesiac who wakes up each morning with no memory of her previous life. Her doting husband spends each morning telling her who she is and reintroduces her to himself and their son. On the day in which the play is set, everything goes to Hell when a masked, limping man kidnaps her and takes her on an odyssey of increasingly bizarre characters and situations.

The Louisville Repertory Production has turned out another fine production in bringing this odd but wonderful play to the Mex. Strong performances abound, especially Diane Stretz-Thurmond’s lovably bewildered Claire, a woman determined to keep her sanity during the chaos escalating around her. Sean Childress is hysterically funny as The Limping Man, her scarred, half-blind, half-deaf, lisping kidnapper.

Ann Myers is completely believable as Claire’s mother, whose stroke-induced speech impediment provides the play’s title. And I don’t think any actor in the Louisville area can play crazy like Darren McGee, delightfully stealing scenes as The Limping Man’s sidekick Millet, a damaged and very high-strung individual who copes with life through a foul-mouthed sock puppet.

Less showy roles are also given heartfelt performances by Drew Cash as Claire’s son Kenny; Brent Gettelfinger as her husband Richard; and Susan Crocker as Heidi, a traffic cop.

One of these days my own theater company is going to have to steal away LRC’s set designers, as they once again have done an incredible job of showing what amazing sets can be designed in the Mex. In this case, the show’s director, Amy Lewis Zeigler, has created an elaborate landscape covering a bedroom and kitchen in two separate homes, a cluttered basement and even a car ride.

If you like comedic dramas and are looking for something a little different, this show should be right up your alley. Good acting, solid directing and an offbeat story combine to make a truly fun evening of theater.

Fuddy Meers

Featuring Drew Cash, Sean Childress, Susan Crocker, Brent Gettelfinger, Darren McGee, Ann Meyer, and Diane Stretz-Thurmond.

March 2, 3, 5, 8, 9, and 10 at 8:00 p.m
March 11 at 2:00 p.m

TICKETS: $16; $11 on Industry Night (March 5). http://tinyurl.com/fuddymeers or 502-584-7777. Or, save box-office fees by using The Kentucky Center's drive-thru ticket service.

Louisville Repertory Company

The MeX Theatre, Kentucky Center

501 West Main Street

Louisville, KY 40202

502-584-7777
www.lourep.org

2nd Humana Entry Is an "Energetic & Engaging Addition" to This Year's Roster of Plays

Crystal Fox as Selector in How We Get On.
Part of the 36th Humana Festival of 
New American Plays. Photo by Alan Simons.

How We Got On

Written by Idris Goodwin

Directed by Wendy Goldberg

A review by Kate Barry

Entire contents are copyright © 2012 Kate Barry. All rights reserved.

Idris Goodwin has written a symphony of words in the style of rap and hip-hop in his play, How We Got On. The wordplay, rhyme and meter of Goodwin’s script are pure poetry, describing the life of three teenagers from Ohio and how they fell in love with Rap music. Actors Theatre of Louisville's production of How We Got On is an energetic and engaging addition to the current Humana Festival of New Plays.

Before I get too far into the play, set in 1988, I have to take a moment to explain this play’s verbal relevance. Not only is Idris Goodwin a playwright, but he also has a substantial career in poetry and rap as well, having appeared on Def Poetry on HBO. Undoubtedly owing to this unique background with the written word, the vernacular of the play is both hip-hop inspired and beautifully simple. Goodwin weaves prose explaining the essentials of rap with elegant urban poetry. For a play like this, if you pay attention to the construction of the words and how they fit together in their poetic nuance, the entertainment value increases two-fold.

Now on to the performance itself:  Think of it as a hip-hop musical. Upon entering the theater, we meet our narrator and deejay, known as “Selector,” played by Crystal Fox. She spins records on her two turntables while keeping the story moving, remaining at her deejay post, laying down beats for the other actors. On a side note, I couldn’t help but notice the senior citizen couple (not your typical hip-hop fans?) who sat right in front of “Selector’s” deejay booth. I kept watching their reactions to “Selector” to see if they were as engaged as the rest of the audience. They seemed to enjoy themselves. With that in mind, Fox was the perfect deejay. She laid down fresh beats; kept the “party” going, as it were; and commanded your attention with style. Her character reminded me of something straight out of The Warriors or Do the Right Thing.

This play is a history lesson about the early days of rap and how it came to be so influential and popular. We learn all sorts of things about MPC systems, Big Daddy Kane, Slick Rick and Boogie Down Productions. It’s also about a boy named Hank or “John Henry” (Terrell Donnell Sledge) and his friend Julian “Vic Vicious” (Brian Quijada). These boys are in love with rap and have big dreams of becoming famous rappers. They come from the suburbs of Ohio, also known as The Hill, where rap and hip-hop are in the back seat and hair metal and other disposable pop music reign supreme.

Sledge is the heart of the play. As Hank, he is a smart and gifted teenager who wants to break into the rap world with fresh new rap lyrics. Sledge carries a giant boom box with an attached microphone throughout the entire production. Where Fox’s Selector incorporates history lessons about Rap’s evolution, Sledge’s Hank provides big dreams for stardom as he is the “hype man” for his own life. He partners up with Julian in rocky artistic friendship. Having to deal with pride and pressures from parents, by the end of the play they choose different paths. As Julian, Quijada provides a perfect foil for Sledge’s Hank. Quijada is playful and a little bit stubborn. But his shining moment is when he realizes that he can make noises with his mouth, or beat box. Deonna Bouye plays Luanne, “a rich black kid who thinks rap is ghetto.” Instead of a predictable story line where Bouye’s character could very well have developed  romantic feelings for either of her male counterparts, Luanne is a strong young woman who proves that she can play with the boys with her ability to make up rhymes “without paper,” or freestyle.

I am very delighted to see Actors Theatre, after a slight obsession with plays focusing on rock and roll music (Hedwig, Rock and Roll: The Reunion Tour and  Marc Masterson’s 1960s-set A Midsummer Night’s Dream), exploring other contemporary musical styles. With a play like How We Got On, which fuses rap as a literary form and as musical genre, they have the chance to reach a whole new audience. In conclusion, to borrow a phrase from the play itself, the show was “dope.”


How We Got On


March 2-April 1


Part of the 36th Humana Festival of New American Plays


Actors Theatre of Louisville
Bingham Theater
Third & Main Streets
Louisville, KY 40202
502-584-1205
ActorsTheatre.org

Two of "Four Pack" Provide Laughs, Thrills in Third Entry from the Inhuman: A Festival

Four Pack of Death (Shorts)

Various writers and directors.

Reviewed by Carlos Manuel

Entire contents are copyright © 2012, Carlos Manuel. All rights reserved.

The excitement of attending a festival of new plays lies in the fact that audiences get to experience the staged work for the first time. This experience can be a blessing, a curse, or a combination of both. The Alley Theater’s “Inhuman: A Festival of the New American Undead Theater,” as “the first one of its kind in the nation” according to the theater’s president, gives audiences a bittersweet experience when attending at least one of the three festival bills titled “Four Pack of Death,” a series of short plays lasting a little less than an hour.


"Four Pack of Death” consists of The One Minute Zombie Fuck Play (because the one minute zombie shit play was too disgusting) by Martin French; Necromas by Ben Unwin and Matt Muerer; Keep Hope Alive, a staged reading (sort of) by Gregory T. Fugate; and Entranced by Ron Burch. And while Dana Hope directs two of the shorts, The One Minute Zombie Fuck Play and Keep Hope Alive, Ben Unwin directs his own play, Necromas, and Kenn Parks directs Entranced.

The One Minute Zombie Fuck Play was cleverly visual and except for a couple of lines, the play—longer than a minute but shorter than three—depended on the music, physical acting and the energy of its male lead. Necromas was funny because of its “Christmas Consumerism” concept and because two actors (a singing Christmas zombie and an unapologetic wife) had perfect timing. I wish I could say the same thing about Keep Hope Alive, a play that has a very “The Walking Dead” feel and Entranced, play that has a very “Saturday Night Live” feel.

In a theatre performance, the director becomes responsible for what is presented on stage. With a new play, the director is supposed to capture the playwright’s vision and transport it from the written page onto the stage. The actors then are supposed to understand such vision and with their talent add to it, thus creating a new artistic and theatrical piece. Yet, somehow, Dana Hopes as the director of Keep Hope Alive and Kenn Parks directing Entranced aren’t able to completely translate the playwrights’ visions. The first play becomes uninteresting while presented as a stage reading, and as it slowly turns into a full-staged play, it loses its focus; and by the end, the play is dead and it is not coming back to life. In the case of Entranced, the problem lies with its staging and transitions. The cast is good, delivering lines with sharp timing, thus making the audience laugh out loud. Unfortunately the actors are lost on stage (even though it is small) and the transitions from one scene to the next are slow and unclear. This creates unwanted moments of dead silence, interrupting the fluidity and rhythm of the play, which is regrettable because the play has a very good premise.

By the end of the evening, you leave the theatre thanking Dionysus that “Four Pack of Death” was less than an hour long. And by the time you get to the parking lot you realized you chuckled, you laughed, you got bored, and you had forgotten about the inhuman, mainly because you’ve seen two short good plays and two longer bad ones.

As an overall evening of New American Undead Theater, “Four Pack of Death” leaves you wishing for better production values, higher quality in the directing, and a more controlled theatrical experience. I only hope the other presentations are much better and tighter, thus keeping this festival alive and not worse than a zombie: DEAD!

Four Pack of Death:  Shorts

Part of: Inhuman: A Festival of the New American Undead Theater

Running March 1-24, 2012, at The Alley Theater. Check here for the exact  schedule:

http://thealleytheater.org/shows/inhumana-festival/the-tickets

Tickets $15

The Alley Theater

1205 East Washington Street

Louisville, KY 40202

502-589-3866

Inhuman: A Festival Brings Strong New Musical to the Alley Theater

ZOMBIE! A New Musical

By Anthony R. Miller, music by Brendan West

Directed by Courtney Hardin and Jillian Spencer

Reviewed by Keith Waits

Entire contents are copyright © 2012, Keith Waits.  All rights reserved.

The Alley Theater’s cheeky alternate festival of new “undead” theater, deliberately scheduled to coincide with the higher profile festival a few blocks away at Actors Theatre, has come a cropper with Zombie! A New Musical. Originally developed in San Francisco, the smart, witty script builds upon a solid dramatic structure to present an engaging romantic comedy punctuated with a well-constructed rock score.

The low rent nature of the production is apt, although I do wish a live band could have been employed to give the heavy metal-ish songs a full-blooded rendering. They deserve it. But the pre-recorded backing, organized by Music Director Cristina Mullins, is fairly good; it would just be better if the music had more power. The quality of the singing varied, with a few fine, strong voices capable of belting it out, but a few that struggled a bit. Yet all the cast brought a good delivery to the songs.

The story follows two runaway teenagers, Trent and Violet, whose love for each other is tested when she becomes a zombie. Her transformation is gradual, so that we, for the first time that I can think of, are treated to a fully developed zombie character struggling with issues of love, morality and the ethics of surviving a zombie apocalypse. (I told you it was a smart script.) Hallie Dizdarevic brings unexpected depth and pathos to her heavy metal mistress with a wild black and red proto-punk haircut, while Tony Smith is an energetic presence and one of the better voices as her lover.

Trent’s crazy Uncle, a U.S. Army general deeply involved in the origin of the zombie plague, is played by Joey Arena with a relish for the overripe language and penchant for absurd metaphors he is given the privilege to deliver. He also does double duty as a certain iconic heavy metal legend that makes a surprise appearance later in the show. I won’t give away the surprise, but Mr. Arena brings a light touch to his impersonation that just makes it that much more delicious in its effect.

Among the rest, two standouts were Cristina Mullins, one of the more forceful singers, as a mercenary television reporter, and Alan Canon, an Alley Theater fixture, plays Violet’s neo-hippie father by hilariously channeling Robert Young (Father Knows Best).

Valerie Hopkins provides some raucous choreography, but it seems to be restricted to the opening and closing numbers featuring the entire cast, while there were several instances in the duets where actors appeared to be waiting for the musical cue to begin singing. Some well-chosen movement would have eliminated these deadly pauses and helped maintain the energy and momentum.

But the vagaries of staging could not disguise the quality of the script and lyrics. While the clichés of zombie storytelling are very present, I love that the focus was on developing the relationship between the lovers and their “special problem” as much as on the growing zombie threat. The story finds room to place satirical attention on the phenomenon of reality TV celebrity, flirting, however fleetingly, with the not-so-far-fetched idea that zombies could be absorbed into the voracious media culture without skipping a beat.   

And the music is very good; well-structured and consisting of clever, thoughtful lyrics enveloped in tuneful, light-metal tunes. “The Hunt,” a song shared by Joey Arena, Cristina Mullins, Tony Smith and Hallie Dizdarevic, jostles multiple lead vocals and succinct narrative exposition with aplomb that would not be out of place in a big-budget musical working its way to New York. Who knows? Maybe this is one of those opportunities to catch a show early in its development, before it becomes the next big thing. If the Humana Festival can do it, why not the Inhuman: A Festival and Zombie! A New Musical?


ZOMBIE: A New Musical!


Starring: Joey Arena, John Aurelius, Kristy Calman, Alan Canon, Hallie Dizdarevic, Riker Hill, Lily Jones, Cristina Mullins, Tony Smith, Rich Williams

Part of: Inhuman: A Festival of the New American Undead Theater

Running March 1-24, 2012 at The Alley Theater. Check here for the exact  schedule:

http://www.thealley theater.org/shows/inhumana-fesitival/the-tickets

Tickets $15

The Alley Theater

1205 East Washington Street

Louisville, KY 40202

502-589-3866

Alley Theatre Opens “Inhuman: A Festival” with Revamped Work by Local Playwright

Mama Didn't Raise No Zombie 

By Brian D. Walker

Directed by George Robert Bailey

Reviewed by Craig Nolan Highley

Entire contents are copyright © 2012, Craig Nolan Highley.  All rights reserved.

Ah, zombies.

Something about the idea of the dead rising with a mindless craving for living human flesh has always fascinated me. I think it tracks back to when I was ten years old and would get freaked out by the TV commercials for that forbidden “unrated” film Dawn of the Dead. Those were the days before home video, and there was no way in Hell my conservative parents would ever let me see such a movie, and I had to satisfy my curiosity with the snatches of plot details I would hear from my friends at school with less discerning parents.

Around that time I had the same problem with the Italian film Zombie and scores of others over the years. My curiosity was at a fever pitch before I could finally see them for myself, which didn’t happen until late into my twenties.

So I have always had a love for the zombie sub-genre of horror. These days it has almost reached the point of overkill, now that everybody and their brother can buy a cheap movie camera and create their own zombie apocalypse, and usually with sub-par results. There is even a can’t-miss-an-episode TV series called The Walking Dead, which brings the genre full-circle, back to the original ideas set forth by George Romero himself over forty years ago.

In 2009 I had the pleasure of catching a zombie-themed stage play (a venue I never expected to find zombies in!) written by Louisville’s own playwright Brian Walker. It was called Zombie!, part of a Finnigan Productions double-feature of short plays and it was just an incredible production. I even posted a review for it back then: http://www.theatrelouisville.org/reviews2009/ch_wrong.php

Imagine my delight then, when I saw that the play I was assigned to review for The Alley Theater’s Inhuman: A Festival of the New American Undead Theater was a new zombie play by Mr. Walker!

I was disappointed to learn that Mama Didn’t Raise No Zombie was not, in fact, a new Brian Walker play, but an expanded version of the Finnigan play – but only slightly disappointed because I realized I would get to see a new production of a play I loved. It still tells the tragic story of a grandmother desperately trying to hold her family together during a zombie outbreak, gathering her loved ones on her farm surrounded by an electric fence. Everything goes wrong on the day she tries to throw her grandson a birthday party.

Sadly, though, the version playing at the Alley pales in comparison with the Finnigan production. Walker’s script is still solid, equal parts funny, dramatic and suspenseful; some of the performances are quite good, and director George Robert Bailey gives the show some clever moments in its staging. Unfortunately, some of the performances are truly sub-par and the overall pacing of the show needs some heavy tightening.

I say this is an extended version because it did run about twice as long as the Finnigan version, but I honestly couldn’t tell what was added, other than (I think) a very brief and awkwardly staged dream sequence.

On the technical side, the set and lighting effects were quite good, and the zombie makeup effects were convincing (although it’s a little strange how many zombies share a liking for white T-shirts, which really show off blood-spatter). The basement location of the theater and the construction zone you have to walk through to get to it rather add to the sense of desolation.

I can’t really single out any of the actors for high praise or harsh criticism (even though there were definitely members in the cast that deserved one or the other) because the program doesn’t tell us who was who, it just provides a list of actors, almost all of which were new faces to me that I hadn’t seen before.

Not a bad production, though, and that is largely due to the power of Walker’s writing. My companion and I jumped in our seats more than once, and that’s saying something because I don’t scare easily. If you’re a zombie fan like me, this (and the rest of the shows in the Festival) is still a must-see.

Mama Didn't Raise No Zombie

Starring: John Aurelius, George Robert Bailey, Brittany Blau, Abby Braune, Megan Claire, Mandy Cox, Riker Hill, Carter Mullins, Cristina Mullins, Shelly Reid, and April Singer, with voices by Gabe Bullard, Stan Cook, Laura Ellis, Kristin Espeland, and Tony Smith.

Part of: Inhuman: A Festival of the New American Undead Theater

Running March 1-24, 2012, at The Alley Theater. Check here for the exact  schedule:

http://www.thealleytheater.org/shows/inhumana-festival/the-tickets

Tickets $15

The Alley Theater

1205 East Washington Street

Louisville, KY 40202

502-589-3866

Humana Festival Opens with "Madcap," Crowd-Pleasing Satire

The Veri**on Play

by Lisa Kron
directed by Nicholas Martin

A review by Keith Waits.

Entire contents are copyright © 2012 Keith Waits. All rights reserved.

The opening slot in Actors Theatre's 36th Humana Festival of New American Plays should play like a shot across the bow: a fast and funny declaration of intent that what follows will be fresh, inventive and perhaps, with some luck, provocative. The Veri**on Play certainly fulfills this goal and then some, setting the bar high for the remainder of the Festival entries.

Borne of the playwright’s own frustrating experience with her phone company, the story follows the naive and trusting Jenni as she moves from patience to militancy in her struggle to win satisfaction from the world of Customer Service. As played by the author herself, Jenni has a winning-every-person quality that gains the audience’s empathy quickly and drags them easily into the wilder, more freewheeling aspects of the journey. Jenni joins a support group for customer service victims called PHBICS – “People Hurt Badly by Inadequate Customer Service,” populated by some comically damaged characters who actually have a much larger agenda – and conspiracy – on their minds. I wouldn’t dare say more, but suffice it to say that their efforts result in some truly madcap globe-trotting adventures that are as hilarious as they are unexpected.

Scene from The Veri**on Play.

Ms. Kron has more on her mind than a simple satire of customer service issues, slyly depicting eccentric yet highly individual characters rebelling against the corporate forces that increasingly control every aspect of modern life. It is a comic updating of the concept of Future Shock cross-bred with a tongue-in-cheek action film, staged with enough audacious cleverness to keep the balloon in the air for more than 90 minutes (without intermission), if just barely. By the time the play ends on a decidedly upbeat, populist note, it was clear that the energy and pace had stumbled ever so slightly around the 80-minute mark – but the warmly appreciative audience hardly seemed to notice.

Ms. Kron’s ingratiating work in the lead was ably supported by a hard-working ensemble called upon to play multiple roles. Hannah Bos as Ingrid/Cydney takes this idea to an absurd degree that at one point engages the audience so fully in the artifice as to render the “fourth wall” meaningless. How nimbly she switches character on, quite literally, the spin of a heel was a sight to see. The other players were right there with her, and in the guise of their PHBICS characters, especially, were given to crowd-pleasing moments of verbal and physical slapstick of great endearment. It was a pleasure to see the gifted Joel Van Liew return to Actors Theatre after his memorable work in Pride and Prejudice a couple of seasons ago; and Ching Valdes-Aran, Calvin Smith and Kimberly Hébert-Gregory filled out the rest superbly, with Carolyn Baeumler as Anissa, Jenni’s sister with a secret, and Clayton Dean Smith proving once again how “utility players” can seem to be having the most fun onstage.

Another unexpectedly important quality was the music, with dense and vivid transitional pieces composed by noted Broadway composer Jeanine Tesori (a past collaborator with Lisa Kron) that include some measure of musical performance ably supervised by local music and theatre veteran Scott Anthony. Another local talent, Delilah Smyth, served as Movement Director.

A smart and nimble script that meshes pointed satire and call-to-arms populism with surprising ease, The Veri**son Play wins the hearts and minds of the audience with unashamed low-brow humor and shoot-the-moon energy.

The Veri**on Play

February 26 – April 1, 2012

Actors Theatre

Bingham Theatre
Third & Main Street
Louisville, KY 40202
502-584-1205
ActorsTheatre.org