2005/2006 SEASON

Preliminary information sheet - updated 3/20/06

Here is some basic information about our upcoming season - our 45th!!

The dates for the Theatre in '05-'06 are as follows:
Oct. 21,22,23, 28,29,30; Dec. 2,3,4,9,10,11; Feb. 17,18,19,24,25,26; March 31, April 1,2 7,8,9

 Charley's Aunt    by   Brandon Thomas

" a hilarious farce of manners and mistaken identities" [click here for Director's Notes] 


{ directed by Professor James P. McGlone }


        F 10/21 , Sa 1O/22 , Su 1O/23 matinee,      

        F 10/28 , Sa 1O/29, Su 1O/30 matinee

        My Three Angels      by  Sam and Bella Spewack

…”  a warm comedy where good deeds come in unlikely packages”…  [click here for Director's Notes]  

          { directed by Professor Peter Reader }

      F 12/2 ,  Sa 12/3,   Su 12/4 matinee

         F 12/9 , Sa 12/10 ,  Su 12/11 matinee 


        _A Midsummer Night's Dream    by  Shakespeare

  ... ”  one of the Bard's most enjoyable comedies...        [click here for Director's Notes]  link to be updated

               {directed by Professor James P. McGlone }

          F  2/17 ,  Sa 2/18 ,  Su 2/19 matinee   

         2/24 ,  Sa  2/25 ,  Su  2/26 matinee


        _One Flew Over the Cuckoo's Nest      by  Dale Wasserman  

.. " the moving drama which illustrates the power of the human spirit"...     [click here for Director's Notes]   

        { directed by Professor Deirdre Yates }

    3/31  ,   Sa 4/1   ,   Su 4/2 matinee,

      F  4/7  ,    Sa 4/,  Su 4/9 matinee

* All evening performances begin at 8:00 and matinees are at 2:00.

* All performances take place in the Theatre-in-the-Round in the University Center. 

* Ticket Prices:  $6.00 – Regular

                  $4.00 - Senior Citizens, & Children, & SHU Alumni

                  $3.00 – SHU Students[One ticket per ID], Faculty, & Staff





 Charley's Aunt  - notes by Professor James P. McGlone 

In his book of critical theory, The Decline of Pleasure, Walter Kerr advocated a return to theater-going just for the fun of it. Somewhere after World War I, it became fashionable to extol things Russian, say Stanislavski or Maxim Gorgy. Art seemed to exclude the notion of entertainment. You went to the theater to learn what the world was really like. At the same time, the bread and butter farces that attracted large audiences and paid production costs were denigrated with the condescending title, Commercial.

Charlie's Aunt is one of those plays you will never find in a University anthology. It makes no sense in the classroom and only comes to life on a stage before an audience. Its reason for existence is to make audiences laugh. A play, of course, is not strictly speaking a work of literature. It might better be called a blueprint that needs a construction team to bring it to life. You wouldn't , for example, hand a symphony score to a music lover and say read it and enjoy. If a playwright meant his script to be a work of literature, he needn't worry about entrance and exit symbols, always being concerned about the time it will take an actor to change his costume before his next entrance. It is in short, a craft, which is pointed out in the spelling of the word playwright.

Charlie's Aunt was first performed in the 1880's in London, and it has been produced continually throughout the English-speaking theatrical world since it first saw stage light. And that is the important thing to remember when you watch the play; it is only alive on the playhouse stage. It is a sunny picture of College life, youthful exuberance, flirtation in familiar and pastoral surroundings. There isn't any theme or subtext to be ferreted out by the enterprising doctoral student. What you see, is what you get. Mistaken identity, boy meets girl, boy loses girl, boy gets girl, and everybody lives happily ever after.

Walter Kerr, I think, would approve of Charlie's Aunt. To give you pleasure is the whole point of the evening. So , in our own small way, we are arresting the decline, if indeed there be one, of fun in playhouse fare. We are only asking that you let us entertain you, which, from a performance point of view, may not be as easy as it looks.

All the best,

Jim McGlone




     My Three Angels     - notes by Professor Peter Reader

Director's Notes:
“My Three Angels” is a wry comedy that takes place in the tropics at Christmas.  It’s too hot for the usual winter festivities. As we all know, Christmas is more than sleigh bells and holly.  It is a season of hope and new beginnings.  In the play we meet an incompetent shopkeeper who runs a tidy store in a prison colony.  The store and clientele are more than he can handle.  Faced with financial ruin, all he has left is hope. He is an optimist in a tumultuous sea of fate. 

Sometimes fate works in mysterious ways. “My Three Angels” is a play that examines the nature of fate in a dark, comic way. What may be a crime to some could be a blessing to someone else.   It’s a matter of circumstances. Is it fate or coincidence that three convicts eavesdrop on the family’s worries?  They find themselves drawn to the family and offer them help.  Their own fates have given them the wisdom to intervene and right wrongs; but, as Papa Jules says, “Do the ends justify the means?”.  In the end it depends on what side of fate you are on. All we can do is hope for the best.



   A Midsummer Night's Dream     - notes by Professor James P. McGlone 

Dear Patron:


All the best,

Jim McGlone



_One Flew over the Cukoo's Nest_   =  notes by Professor Deirdre Yates }

Director's Notes:

Control – we’ve all experienced it.  Whether it be a Democratic Senator trying to censure a Republican President for eavesdropping on the American public, a faculty deposing the President of Harvard University for dictating academic choices or a 16 year old running away from home to escape parental authority, we all know the feeling. 

This play, written in the sixties, reflects what we still grapple with today.  Is it time once again to stand and yell, as Peter Finch claims in the movie Network, “I’m mad as hell and I’m not going to take it anymore!”?

What I particularly find intriguing about this play is the depiction of control.  Our rebel is not unblemished; our protagonist is not our rebel and our antagonist is not without feeling or good intent.  As in life, nothing is black or white.

 We therefore present to you - the grey . . .