The decade of the 2020s started with ACT being dark for the entire 2020 mainstage season. While closed
for the pandemic, there was a change in leadership as Anita Shah moved in as Managing Director. The
first play after the pandemic closure was Hotter Than Egypt, written by Core Company member Yussef el Guindi
- a world premiere.
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2014
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Little Shop of Horrors (2014)
This delightfully demented comedy of hapless lovers and a man-eating plant blends doo-wop, rock, and Motown into a hilarious send-up of B-movie horror flicks
Bethany (2014)
The reality of the economic meltdown as seen through the life of a struggling suburban single mom trying to keep it all together. It all comes down to one big sale, and when the pressure is on, she pushes her own limits to get back everything she wants – including her daughter.
The Price (2014)
Two grown brothers get a hard lesson in truth and consequences. After taking separate paths in life, their versions of family history collide when they meet after 16 years to settle their late father’s estate. The New York Times says, “The Price is one of the most engrossing and entertaining plays that Arthur Miller has ever written.”
An Evening of One Acts (2014)
Three celebrated writers and their trio of short plays stretch the imagination with magic, surprise, wonder, and a dose of science fiction fantasy to the summer. Famous for their successes on the big screen and the stage, we take a look at what Martin, Allen, and Shepard bring to their respective short stories.
PATTER FOR THE FLOATING LADY (1999) by Steve Martin
The bittersweet conclusion of a romance between a lovesick magician and his aloof assistant.
RIVERSIDE DRIVE (2003) by Woody Allen
A paranoid vagrant confronts a screenwriter he's been stalking for weeks, convinced that his prey stole his idea.
THE UNSEEN HAND (1970) by Sam Shepard
Loners, outlaws, and aliens come together in a wild affirmation of free will and pioneering human spirit.
The Invisible Hand (2014)
When Nick, an American financial guru is captured and held by a militant Islamic organization in Pakistan, he is forced to raise his own 10 million dollar ransom. In his desperate quest to gain his freedom, he warms to the task, as does his captor and avid student, Bashir, with terrifying results. An important new voice in the American Theatre, Ayad Akhtar delivers a chilling examination of personal and political responsibility, and the shifting sands of the global power structure.
Vanya and Sonia and Masha and Spike (2014)