New York, 1959, Max Bialystock was once the King of Broadway, but now all his shows close on opening night. Things turn around when he's visited by Leo Bloom, a neurotic accountant who proposes a scheme that's tailor-made for producers who can only make flops – raise far more money than needed, then make sure the show ... is a flop! No one will be interested in it, so the surplus can be pocketed. Together they produce musical called Springtime for Hitler written by escaped Nazi Franz Liebkind. Then they get an insanely flamboyant director and hire a loopy Swedish bombshell (whose last name has over fifteen syllables) as lead actress. As opening night draws near, what can go wrong? Well, there's just no accounting for taste...
Based on Louisa May Alcott's classic 1869 semi-autobiographical novel, it focuses on the four March sisters - feisty, tomboyish, aspiring author Jo, romantic Meg, pretentious Amy, and kind-hearted Beth - and their beloved Marmee, at home in Concord, Massachusetts while the family patriarch is away serving as a Union Army chaplain during the Civil War. Intercut with the vignettes in which their lives unfold are several recreations of the melodramatic short stories Jo writes in her attic studio.
After Sister Julia, Child of God prepares an unfortunate and fatal vichyssoise, there's a blue nun – or four – in the freezer and the Little Sisters of Hoboken are staging a variety show to raise money to pay for the funerals. Join the ballet-loving Sister Leo, street-wise Sister Robert Anne, befuddled Sister Mary Amnesia, the Mother Superior Sister Regina, and mistress of the novices Sister Mary Hubert as they stage a talent show to raise the money to bury their dearly departed.
With its lively, spirited score, bursting with bright entertaining songs and an unabashed desire to make you laugh, Nunsense: the Mega-Musical offers a cornucopia of hilarity for the whole family, proving conclusively that 'nun' rhymes with 'fun'!
Artistic Visionary: Len Boone
Artistic Director: Debbie Miller-Smith
Musical Director: Gabriel Leury
Choreographer: Debbie Miller-Smith and Aileen Szkwarek
Maria Rainer, a postulant at Nonnberg Abbey in Austria, is sent to the home of a widower, Captain Georg Von Trapp to serve as governess for his seven children.
Although the Captain is engaged to wealthy Elsa Shraeder, both he and Maria find themselves falling in love with each other. After their marriage their happiness is short-lived because the Germans, who have invaded Austria, want Von Trapp to serve in their navy.
Ever since the Christmas Eve seven years before when Ebenezer Scrooge buried his long-time friend and business partner Jacob Marley, Scrooge's melancholy had settled into an angry bitterness toward the holidays and caused him to behave with animosity towards all his fellow men. His loyal but meek clerk, Bob Cratchit, was the constant target of his cruelty. Even Scrooge's nephew was unable to inspire in his uncle any holiday sentiment warmer than “Bah! Humbug!”. But this Christmas Eve proves startlingly different because Ebenezer receives some unexpected company. The ghost of his old partner Marley appears to warn him of the consequences of the suffering his is unwittingly causing to both himself and to others. Marley extends to Scrooge an invitation to change his ways.
The invitation comes by way of visits from three spirits. First, the Ghost of Christmas Past appears to show Scrooge errors he made in his youth and remind him of his lost true love, Emily. Next, the Ghost of Christmas Present invites the miserly old man to witness the Cratchit family's Christmas. Even though their youngest son Tiny Tim is crippled and ailing, the Cratchits are blessed, happy, and grateful for all they have. Scrooge's last visitor is the Ghost of Christmas Yet to Be who leads him through a vision of his bleak future, including a scene of his own death where he is mourned by “nary a soul.” Pleading with the spirit to grant him another chance, the penitent Scrooge promises to alter his future and to know Christmas in his heart all year round.
Being in business for 100 years is no small feat and Orpheus Musical Theatre Society is very proud to be able to exercise bragging rights, just for this! We've been entertaining audiences for a century and the spirit of Orpheus is just as alive today as it was in 1906.
To celebrate this milestone, The Spirit of Orpheus was written and orchestrated specifically for us. This anniversary musical extravaganza is a wonderful reprise of some of the best numbers to ever grace an Orpheus stage. You'll be enjoying music from over 65 different shows as well as three original songs created for this celebration. It features Glee Club favourites, Gilbert and Sullivan ditties, operetta excerpts, and song & dance selections form Broadway's greatest hits. It's a cavalcade of the most memorable musical moments - past, present, and future - with everything from Oklahoma to Mamma Mia!
Orpheus is thrilled to pay tribute to 100 years of entertaining Ottawa and we're very pleased that you can join us for this exciting stroll down memory lane. Tap your toes, clap your hands and smile - that's the spirit of Orpheus!
Guys and Dolls has been called the quintessential Broadway musical. It sets wonderful Loesser music to Damon Runyonland, the Broadway of the 1940's inhabited by gamblers, nightclub performers, and Salvation Army members trying to cure the sins of the Times Square population. The rich plot revolves around a bet made by gambler Sky Masterson with Nathan Detroit, organizer of a floating crap game.
Sky bets Nathan that he can woo any doll Nathan chooses and take her to a romantic Havana getaway. Nathan chooses none other than straight laced Sarah Brown of the Salvation Army.
The status of the bet, the crap game, and the end of the 14-year engagement of Nathan and his girl, Adelaide, result in confusion amidst great song and dance.
Once upon a time in a faraway land, a very handsome but unkind Prince lived in a magnificent castle. One winter's night, a hideous beggar woman came to the castle and offered him a single rose in return for shelter from the bitter cold. Repulsed by her ugliness, he refused her request. Suddenly turning into a beautiful Enchantress, she transformed him into a hideous Beast and cast a spell over all who lived within the castle. The rose would bloom for many years but gradually the petals wold fall off. If the Beast could learn to love another and be loved in return before the last petal fell, the spell wold be broken. If not, he would be doomed to remain a Beast for all time.
The tale now turns to Belle, a gentle and sweet girl lusted over by Gaston, a vain and crude lout, who has vowed to make her his wife, Her father, Maurice, off to the Fair, is attacked by a pack of wolves and saves himself by escaping into the Beast's castle only to be thrown into a dungeon. Belle begs the Beast to release her father and volunteers to take his place. The Beast tells her she will never be free to leave. But the Beast is intrigued by her; gradually, this intrigue turns to admiration, and admiration to love.
Meanwhile, Gaston gathers a mob and they set off for the castle, ready to kill the Beast and rescue Belle. In a thrilling fight, the Beast defeats Gaston but is stabbed in the back when he turns away to find Belle. Mortally wounded, the Beast manages to thrown Gaston to his death. Belle pleads with the Beast not to die as she loves him. With these words, the spell is broken and the Beast is transformed into a handsome Prince. And, like in all fairy tales, they lived happily ever after.
Cold and penniless, unemployed opera singer Victoria Grant wanders into the gay bar, Club Chez Lui. There she is in Paris befriended by Carroll Todd (Toddy to his friends) who offers her the use of his apartment. He reassures her that she is safe, as he is gay.
One there, they talk about life and Victoria tells of what she could do if she were a man. The wheels start to spin in Toddy's brain and, asking her to trust him, he convinces her that she could be a woman impersonating a man impersonating a woman.
Count Victor Grazinksy, Poland's greatest female impersonator, is all the rage in Paris...
All goes well until the arrival of King Marchand, a Chicago mobster, his bodyguard Squash and his moll Norma. For King and Victor, it's love and lust at first sight. King is convinced that he is a she. But what if he isn't?
Things get worse when Sal Andretti, King's partner, and two thugs show up in Paris. There are charges, counter-charges and general mayhem ... but we'll let you in on a little secret: there is a happy ending and all the problems are solved in a rousing finale.
Meet Me in St. Louis is a delightful classic. Nostalgic, poignant, and romantic, this musical tells the story of the well-to-do Smith family in suburban, midwestern St. Louis. They have four beautiful daughters and a son and live in a stylish Edwardian home at 5135 Kensington Avenue. The city is on the verge of hosting and celebrating the arrival of the spectacular 1904 World's Fair. However, the father, Alonso, is beckoned to New York due to a promotion and he might have to uproot the Smith family, scuttling his daughter Esther's romance with boy-next-door John Truett and causing similar emotional trauma for the rest of the household. This possible move to New York threatens to indelibly change the lives of the family members forever. The decision to remain in St. Louis affirms however, that nothing will be altered for this American family after all.
Damn Yankees is about a fanatic, middle-aged, Washington Senators' fan who keeps glued to his T.V. set during the baseball season. The distraught real estate agent rants against the Yankees who are clobbering the league's clubs, including his beloved Senators. In an impulsive oath, he says he would sell his soul if he could just stop those Yankees. A happily cynical Devil appears and the fan is transformed into something the Senators need: a young, phenomenal, long-ball hitter.
Joe Boyd becomes Joe Hardy, the sensation of the leagues, leading his team as they rise in the league standings. This newcomer with his success is the target for speculation by the press. As a safety precaution to keep Joe in line and to cure his unexpected loneliness for his wife, the Devil introduces Joe to Lola, his prize powerful weapon. However, when the Devil is ready for Joe to live up to his end of the bargain, Joe outwits him in the final moments of the big game.
Crazy For You, the Gershwin musical might appear to have a familiar storyline. Spoiled New York playboy is sent out west to foreclose on an aging theatre. There he meets the proprietor’s daughter and falls head over heels in love. Naturally she rejects him because of his mission. To prove his love, he tries to save the theatre only to meet with apparent failure at both love and business. When she comes to realize that she is in love with him the result is a happy ending.
But it’s not that simple...Add to the mix,a fiance seeking commitment, some eccentric Deadrock citizens, a domineering mother and a Broadway impresario who shows up at the most inopportune time resulting in some very comical interactions. In fact, the twists and turns that lead to the happy ending are among the most hilarious ever conceived for a Broadway musical. And with twenty-two of the best known George and Ira Gershwin songs and melodies helping to tell the story, Crazy For You becomes one joyous romp as it moves between Broadway and Nevada’s Deadrock city.
An idealistic doctor comes to a small maritime village in Canada and transforms the world of a deaf-mute girl by teaching her sign language. But, just as it appears that her life has improved, she is raped by one of the men in the town and ends up pregnant. When the rapist threatens to take Belinda's child, the young mother is driven to murder her attacker, and a gripping trial ensues.
Charity Hope Valentine is a warm-hearted taxi-dancer who wears her heart on her sleeve and her arm as she looks for love in all the wrong places. Her trusting nature and dangerously naive outlook on life make the dance hall girl prey for a succession of opportunistic men. However Charity's innocent spirit remains uncrushed, despite her many misadventures and she continues to live "Hopefully Ever After".
Rydell High, 1959: fast cars, dreams, love, loss, leather jackets, Brylcreem, bobby sox, poodle skirts, pajama parties, rock and roll, burger joints, sock hops, drive-ins, fitting in, busting out, growing up. Greaser Danny Zuko meets good girl Sandy Dumbrowski and teenage sparks fly. But can Danny maintain his cool image and still win the girl? It’s complicated. The whole gang sings and dances around Danny and Sandy’s romance, through such hit songs as “Summer Nights”, “Greased Lightnin’”, and “We Go Together”, recalling the music of Buddy Holly, Little Richard and Elvis Presley that became the soundtrack of a generation. A bright, nostalgic look at senior year in the fabulous fifties, Grease is (still) the Word.
Our story follows the rise of J. Pierrepont Finch (a.k.a Ponty), from washing the windows of the World Wide Wicket Company (a.k.a. WWWC) to being its Chairman of the Board. Along the way he progresses from the mail room to junior executive in the Planning and Systems Dept. (and, through sheer cunning, to being its senior executive) finally ending up as V.P, in charge of Advertising.
The path to the top, while rapid, is anything but smooth. He must not only woo our heroine, Rosemary, a steno pool gal who falls madly in love with him at first sight, but at the same time he must avoid the tempting clutches of the delectable Hedy LaRue. This would normally be a pleasant situation except for the fact that Hedy's the girlfriend of J.B. Biggley, the head of the WWWC. To complicate matters even further, the bumbling, fumbling nerd and toady Bud Frump wants the top job for himself. Bud would present no problem to our hero except that he is the favourite nephew of J.B.'s wife. However, you mustn't worry. There is a happy ending for everyone. Oh, except Bud, of course. But you will surely agree that he richly deserves his horrific and ignominious fate.
Artistic Director: Richard Elichuk
Musical Director: Drum Hudson
Choreographer: Lisa Chisholm