KRCB-FM: Second Row Center

Ten down-on-their-luck Texans gather on a car lot to compete for a cherry red Nissan pickup. They must lay their gloved hands upon the truck and, except for scheduled breaks every six hours, never let go. The last person standing wins. That’s the premise behind Hands on a Hardbody, a 2012 musical now in its Bay Area premiere run at Napa’s Lucky Penny Community Arts Center.

Based on a 1997 documentary that followed 24 contestants in an actual endurance competition, Pulitzer Prize-winning playwright Doug Wright trimmed the number of contestants to ten and Trey Anastasio (Phish) and Amanda Green composed a Tony-nominated score to tell their backstories.

For those who don’t think there’s enough here for a full-length musical, Benny Perkins (Brian Watson) makes it clear to the audience that it’s a “Human Kind of Thing”, and then each contestant explains what they’d do “If I Had This Truck”. Benny’s won the contest before but since lost the truck and his wife. Ronald (Michael David Smith) thinks his all-Snickers diet is the ticket to victory (he’s mistaken.) J. D. (Barry Martin) sees the truck as a way to regain his virility. Greg (Ryan Hook) and Kelli (Kirstin Pieschke) meet cute and then make plans to drive away to Hollywood together. Janis (Lucinda Hitchcok Cone) is doing it for her kids. Jesus (Alex Gomez) could use some help putting himself through veterinary school. Chris (Michael Scott Wells) is a military vet who’s looking to make his son proud. Heather (Jenny Angell) may have the inside track, but Norma (Daniela Innocenti Beem) has God on her side.

Benny is the ostensible lead, but it’s a true ensemble piece with each character, including the non-contestants involved (spouses, the car dealers, a radio DJ) having their moments. Credit to director Taylor Bartolucci for assembling a talented, diverse cast to explore the themes beneath the surface and to choreographer Staci Arriaga for figuring out how to make the cast move with one hand attached to a truck at all times (well, mostly.) By the way, the truck is on rollers and is frequently spun by the cast, so no one section of the audience spends the bulk of the show staring at the back end of a truck (or cast member.) Musical director Craig Burdette leads a four-piece band in the heavily country and western-influenced score whose musical highlight is the raucous gospel number “Joy of the Lord”.

Basically, it’s A Chorus Line with a truck and at two and a half hours it runs a bit long, but by the end you’ll be giving a hand to this Hardbody.

‘Hands on a Hardbody' plays Thursdays through Sundays through June 17 at the Lucky Penny Community Arts Center in Napa. Thursday performances are at 7pm; Fridays and Saturdays are at 8pm; the Sunday matinee is at 2pm.

For more information, go to www.luckypennynapa.com

High atop Mount Tamalpais, at about the 2,000 foot level, sits the Cushing Memorial Amphitheatre where the “great outdoor theatre adventure” known as The Mountain Play has been produced for the past 105 years. Your all-day adventure includes a slow, winding ride up the mountain, a hike to the 4,000 seat amphitheatre and a trek down to your seat lugging coolers full of food and ‘adult’ beverages (they’re allowed.) You get your umbrella and seat cushions arranged, unpack your goodie basket and just as you start to enjoy a pleasant afternoon picnic, a show breaks out.

Ah, yes. There is a show. This year’s production is Mamma Mia!, the 1999 jukebox musical that uses the slightest of stories as an excuse to perform the catalogue of pop super group ABBA.

Set at a Greek island taverna run by Donna Sheridan (played by Dyan McBride), the story centers on the circumstances of her daughter’s upcoming wedding. Sophie (a very charming Carrie Brandon) is about to get married to a slab of British beefcake (Jake Gale) and wants to invite her father to her nuptials. The problem is, she doesn’t know who it is!

A quick trip through her mother’s diary leads her to three possibilities – Harry (played by Sean O’Brien) is an uptight British banker, Bill (played by David Schiller) is a travel writer and adventurer, and Sam (played by Tyler McKenna) is an architect and, the other two possibilities notwithstanding, her mother’s one true love. Sophie decides, in proper musical theatre tradition, to invite them all and sort everything out later. Chaos, hilarity, singing, and dancing ensue.

Folks don’t go to shows like Mamma Mia! for their complex storylines or deep psychological subtext, they go for the songs. Put no thought into why the story leads to a particular song being sung, just enjoy the 20 + ABBA tunes including “Chiquitita”, “Dancing Queen”, “S. O. S.” and the title tune.

Director Jay Manley gets generally solid performances from the large cast, but it took a couple of songs for the vocals to really hit their stride culminating in a very powerful delivery of “The Winner Takes It All” by McBride. There’s colorful and clever scenic work by Andrea Bechert, some nice energetic choreography (including a chorus line of swim-finned dancers) by Nicole Helfer and Zoë Swenson-Graham, and the ABBA songbook is well played by Musical Director Jon Gallo and a nine-piece band.

The Mountain Play provides a unique Bay Area theatrical experience. Where else can you catch a pleasant Broadway musical that comes with a pre-show warning about ticks and rattlesnakes?

‘Mamma Mia!’ runs Sundays through June 17 (and there’s one Sing-Along Saturday performance on June 9), at the Cushing Memorial Amphitheatre in Mount Tamalpais State Park. All shows are at 2pm. Be sure and pack the sunscreen.

For more information, go to mountainplay.org

That the name ‘Jeeves’ immediately conjures up the image of a staid British manservant is a tribute to the staying power of author P. G. Wodehouse’s character. Since his first appearance in 1915, he’s been featured in films, television, and even an internet search engine. There was but a single theatrical venture until playwright Margaret Raether began writing a series of plays beginning with Jeeves Intervenes, running now at Sonoma Arts Live.

Jeeves (Randy St. Jean) is the unflappable valet to Bertie Wooster (Delaney Brummé), an upper-class twit who Jeeves is constantly rescuing from troubles of his own making. Under pressure from his imperious Aunt Agatha (Jennie Brick), Bertie finds himself engaged to Gertrude Winklesworth-Bode with whom Bertie’s ne’er-do-well friend Eustace Bassington-Bassington has fallen hopelessly in love. Other complications arise, but leave it to Jeeves to sort it all out.

It’s a snazzy production with nice costume and set design work. Director James Jandak Wood has cast it well with St. Jean perfect as the imperturbable Jeeves. There’s good work from the supporting players, especially Nick Moore as Eustace and Libby Oberlin as Gertrude, but Jandak erred in having Brummé play Bertie with a voice that can best be described as “annoying”.

How annoying? Well, he had me envisioning a sequel entitled Jeeves Drowns Bertie in the Thames.

“Jeeves Intervenes” runs through May 27 on the Rotary Stage in the Sonoma Community center in Sonoma. Thursday through Saturday evening performances at 7:30pm; there’s a Sunday matinee at 2pm.

For more information, go to sonomaartslive .com

Wodehouse published a collection of essays under the title Louder and Funnier, which is the stage direction Jared Sakren must have given the cast of the 6th Street Playhouse production of The Compleat Wrks of Wllm Shkspr (Abridged).

Significant energy is expended by the hard-working and talented Nick Mandracchia, Zac Schuman and Erik Weiss in comically presenting 38 Shakespeare plays in two hours, but it needn’t be delivered almost entirely at a decibel level that rivals the nearby SMART train.

The show is a fast paced series of jokes, bad puns, quick changes, and audience interactions. Some things worked, others (like the attempts at topical humor) didn’t. What comedy there was to be found was often drowned out by the vociferous cast.

C’mon, guys. If I wanted to spend two hours being yelled at, I can just go visit my mother.

“The Compleat Wrks of Wllm Shkspr (Abridged)” runs through June 3 at the 6th Street Playhouse Studio Theatre in Santa Rosa. Thursday through Saturday evening performances are at 7:30pm; there are Saturday and Sunday matinees at 2 pm.

For more information, go to 6thstreetplayhouse.com

Female protagonists in peril are the focus of one very silly and one very melancholy production running now in the North Bay.

Left Edge Theatre’s “Women in Jeopardy!” is a laugh-out-loud look at the changing dynamic among a group of single friends once one of them begins a relationship. That the friends are middle-aged women makes for a nice change of pace.

Mary (Shannon Rider) and Jo (Sandra Ish) are having a tough time adjusting to a new addition to their circle of friends. Their friend Liz (Angela Squire) has a new man in her life and Jackson (Richard Pallaziol) is not quite their cup of tea. He’s a dentist who makes Little Shop of Horrors’ Orin Scrivello, DDS look like a pussycat. His hygienist has gone missing and it doesn’t take long for Mary and Liz to leap to the conclusion that he’s the responsible party. What’s worse, he’s about to take Liz’s daughter off on a camping trip. What do you do when your best friend is dating a serial killer?

All three wine-swilling ladies have their comedic moments, with Ish’s frequently flabbergasted second-banana Jo garnering a lot of laughs with just a look. Pallaziol is hilariously creepy as Jackson and equally amusing as a Dudley Do-Right-ish police sergeant. Victoria Saitz as Mary’s daughter and Zane Walters as her cougar-hunting on again/off again boyfriend also contribute to the fun.

The show is a lot of fun with Wendy MacLeod’s script full of witty lines and amusing bits. What the show doesn’t have is an ending as things just sort of conclude with an abrupt wind-up that you shouldn’t think too hard about.

You really don’t have to expend many brain cells at all as there’s no great message to be found in “Women in Jeopardy!”, just a lot of laughs.

“Women in Jeopardy!” runs through May 27th at Left Edge Theatre in Santa Rosa. Thursday through Saturday performances are at 8pm; there’s a Sunday matinee at 2pm.

For more information, go to leftedgethreatre.com

If Greek mythology is more to your taste, then Main Stage West has a production of Sarah Ruhl’s “Eurydice” running through June 2. Ruhl has flipped the focus of the classic tale of Orpheus (Taylor Diffenderfer) and his quest to bring his wife Eurydice (Brianna Rene Dinges) back from the dead to Eurydice’s time in the Underworld and her relationship with her father (John Craven).

Director Chris Ginesi flips it even further with the non-traditional casting of Orpheus that while seeming to fit Ruhl’s alternative world of raining elevators, a tricycle-riding Lord of the Underworld (Neil Thollander), and a Greek Chorus of Talking Stones (mollie boice, Nick Christenson, Samantha Bolke-Slater), actually detracts from it.

It’s a visually arresting piece with inventive design elements that complement the script’s other-worldliness and the performances are good, but there’s a hole in the heart of this production.

“Eurydice’' runs through June 2 at Main Stage West in Sebastopol. Thursday through Saturday performances are at 8pm; their Sunday matinee is at 5pm.

For more information, go to mainstagewest.com

J. M. Barrie’s Peter Pan has been seen on stage in one form or another for well over 100 years. It’s survived being Disney-fied and even Christopher Walken-ized in a disastrous live television spectacle. The most popular adaptation is the 1954 musical starring Mary Martin. It’s that version that takes flight in a well-mounted production running at the Spreckels Performing Arts Center through May 20.

Peter Pan (a winsome Sarah Wintermeyer) has lost his shadow while eavesdropping on story time at the Darling household. While retrieving it late one night, he awakens eldest child Wendy Darling (Lucy London) and after a quick flight demonstration, Peter convinces Wendy and her brothers to join him in Neverland. They’ll soon cross paths with some warriors and the dastardly Captain Hook (David Yen) and his scurvy pirate crew.

Director Sheri Lee Miller and her team get almost everything right here, from casting to costumes and sets, from choreography to musical direction. Wintermeyer is so good as Peter that she almost gets me to put aside my bucket list wish to see a production cast with a male in the role. This is actually the first production I’ve attended where I haven’t been surrounded by little tykes asking “Why is Peter a girl?”

David Yen must be on a low-fiber diet as he doesn’t really chew up the scenery as much as one would expect with such a role. Still terrifically entertaining, his decision to go ‘small’ with some things puts the bits in danger of being lost on the large Spreckels stage.

Nice supporting work is done by Craig Bainbridge as Hook’s right-hand man Smee, Morgan Harrington as Mrs. Darling and the entire cast as Wendy’s siblings, various warriors, pirates and Lost Boys. Honorable mention goes to the backstage “flight crew” and to Andy Templeton who spends the show costumed as either Nana the dog or a tick-tocking crocodile but manages to get some of the biggest audience reactions.

Miller handles the problematic parts of Barrie’s script - its depiction of Native Americans - by transmogrifying them from an “Indian” tribe to non-specific “warriors” and costuming them in a patchwork of styles and designs. It helps, but dialogue (“Let’s smoke a peace pipe!”) and lyrics are still a bit cringe-worthy.

The show is in three acts and runs about two hours and forty minutes, which seems long, but the first and third acts only run for a peppy 35 minutes. Act II runs about an hour and does get a bit sluggish. There are intermissions between the acts to give the kiddies a restroom break.

In toto, Peter Pan makes for a great evening of family entertainment.

Peter Pan runs Friday through Sunday through May 20 at Spreckels Performing Arts Center in Rohnert Park. Friday and Saturday evening performances are at 7pm; Saturday and Sunday matinees are at 1pm. There’s a Thursday, May 17 performance at 7pm.

For more information, go to spreckelsonline.com

It’s been thirty-five years since La Cage aux Folles took Broadway by storm. What began in 1973 as a French stage farce followed by a series of films, the Harvey Fierstein and Jerry Herman musical was considered daring for its time with its portrayal of a happily domesticated male couple thrown for a loop by a request from their son. With marriage equality the law of the land and RuPaul’s Drag Race a crossover hit, it seems less daring today but its message of self-acceptance still packs a punch.

Anthony Martinez plays Geirges, the proprietor of La Cage aux Folles, a French Riviera nightclub that features drag entertainment. The headliner is “Zaza”, otherwise known as Albin, Georges’s partner of twenty years as played by Michael Conte. Together they have raised their a son who’s come home to announce his engagement to a girl whose politician father happens to be the leader of the right-wing “Tradition, Family, and Morality” Party. He wants his fiancé’s father and mother to have dinner with his father and mother - that is, his biological mother. Albin is not to be included. It’s going to be quite some dinner party.

Herman’s Tony Award-winning score runs from the romantic (his “Song on the Sand”) to the comedic (the funny “Masculinity”) to the joyous (the popular “The Best of Times”) and hits its apex with “I Am What I Am”, a defiant ode to individuality. Musical conductor Ginger Beavers and a six-piece band handle the jaunty Herman score well.

There are two terrific lead performances in this Russell Kaltschmidt-directed production, both delivered by Michael Conte. As bombastic as he is as diva-deluxe Zaza, he’s even better as Albin. Conte brings real emotional depth to his character as he deals with his son’s rejection. It’s a depth that’s lacking from Martinez’s rather bland Georges.

Nice comedic support is provided by Joseph Favalora as their butler/maid Jacob and Michael Fontaine as the stuffed-shirt politician. His twelve-syllable delivery of a five-syllable word had me laughing out loud. Lorenzo Alviso also does well as the turncoat son who soon sees the error of his ways.

The design budget must have gone almost entirely to the costumes as there’s almost no set to speak of, but Zaza’s and Les Cagelles’ couture almost makes up for it.

Social progress may have dimmed some of the ‘novelty’ from La Cage, but it still has plenty of heart.

'La Cage aux Folles' runs Friday through Sunday through May 20 at the 6th Street Playhouse in Santa Rosa. Friday and Saturday performances are at 7:30pm, there are Saturday and Sunday matiness at 2pm. There’s also a Thursday, May 3rd performance at 7:30pm.

For specific show dates and times, go to 6thstreetplayhouse.com

The Santa Rosa Junior College theatre season ends with their production of James Lapine and Stephen Sondheim’s Into the Woods. It’s a fairy tale mash-up with elements of Cinderella, Rapunzel, Jack and the Beanstalk and Little Red Riding Hood set to a classic Sondheim score. As in the original tales - and not like most adaptations - things do not end well for the characters.

A childless baker (Brett Mollard) and his wife (Katie Smith) make a bargain with a witch (Alanna Weatherby) to lift a family curse and grant their wish for a child. They are tasked with acquiring four items – a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold. Their search leads them to cross paths in the woods with the characters from the aforementioned fairy tales, all seeking fulfillment of their own wishes. The first act ends on a happy note as everyone seems to have their wishes granted but Act II gets very dark as the consequences of the characters’ actions play out.

In other words, be careful what you wish for…

With the JC’s Burbank Auditorium undergoing renovations, the limitations of the high school auditorium utilized for this production led director Laura Downing-Lee and her design team to get even more inventive than usual. They’ve reached back to the source material and set the show in a library. Scenic designer Peter Crompton loads the stage with oversized books that work as doors and steps. Other library materials are ingeniously worked into scenes – flapping books as birds, library carts as horses, etc.

Under the vocal direction of Jody Benecke and musical direction of Justin Pyne and a nine-piece offstage orchestra, the creatively-costumed cast did well with the often-challenging Sondheim score. Mollard, Smith, and Weatherby lead the talented ensemble which includes Levi Sterling as Jack, Serena Poggi as Little Red Riding Hood, Ella Park as Cinderella, Shayla Nordby as Rapunzel and Cooper Bennet and Roberto Perez Kempton as Princes who were “raised to be charming, not sincere”.

Unfortunately, the opening night performance was marred by numerous technical difficulties. Erratic microphone work and a failing projection system really distracted from the fine work being done onstage. My wish is that they get it all fixed so that audiences can fully enjoy this very entertaining production.

'Into the Woods' runs through May 6 at the Maria Carrillo High School Theatre in Santa Rosa. It’s recommended for ages 12 and above. Performances run Thursday through Saturday at 7:30pm with Saturday and Sunday matinees at 1:30pm.

For more information, go to theatrearts.santarosa.edu

Dramas old and new dominate North Bay stages with two good ones continuing their runs.

Film, television, and theatre veteran Charles Siebert headlines the 6th Street Playhouse production of Arthur Miller’s Death of a Salesman. Miller’s Pulitzer Prize and multi-Tony Award winning treatise on the elusiveness of the American Dream is considered by many to be the greatest American play ever written. While almost seventy-years-old, in the hands of the right artistic team it can seem as fresh as ever.

Director Craig Miller has assembled that team to surround Siebert’s towering central performance as Willy Loman, a traveling salesman whose days on the road are rapidly coming to an end. Frustrated at still living paycheck-to-paycheck at his late age, Willy is coming unraveled to the consternation of his wife Linda (Sheila Lichirie) and son Happy (Ariel Zuckerman). Things aren’t helped by the return of semi-prodigal son Biff (Edward McCloud). The action glides between the present and the past and between fantasy and reality as we see why Willy’s dreams for his boys and himself have come to naught.

The Studio theatre setting brings a level of intimacy to the show that makes Willy’s downfall, Linda’s helplessness, and Biff’s acknowledgement of his own failures even more gut-wrenching. In a very strong ensemble of North Bay regulars, take note of Bay Area newcomer Zuckerman’s performance as the son most like his father.

Attention should be paid to this excellent production of an American classic.

‘Death of a Salesman’ runs Thursday–Sunday through April 28 at the 6th Street Playhouse Studio Theatre in Santa Rosa. Thursday through Saturday performances at 7:30pm; Sunday matinees at 2pm.

For specific show information, go to 6thstreetplayhouse.com

If political drama is more to your liking, then the scrappy Redwood Theatre Company is presenting Farragut North by Beau Willimon (who’s responsible for Netflix’s House of Cards). Willimon turned his time as a press aide during Governor Howard Dean’s 2004 Presidential run into this tale of the inner-workings of a similar campaign.

Set in Iowa over two days before their caucuses, Press Secretary Stephen Bellamy (Kot Takahashi) is a 25-year-old political hot shot working on what everyone thinks is a winning campaign. Clandestine meetings and questionable decisions lead to double-crosses, triple crosses and unemployment before the first votes are cast.

RTC’s no-budget productions are always interesting and director Ron Smith uses the energetic young troupe to good advantage here. What they lack in production value, they make up for in talent and heart.

'Farragut North' runs Friday through Sunday through April 22 at the Redwood Theatre Company Studio Theatre in Healdsburg. Friday and Saturday evening performances at 7:00pm; Sunday matinee at 2pm.

For more information, go to redwoodtheatrecompany.com

Pulitzer Prize-winning dramas hit North Bay stages, first with the Raven Players production of Neil Simon’s Lost in Yonkers. Simon, whose best-known works are comedies tinged with a little melancholy (The Odd Couple, The Sunshine Boys) won the 1991 Pulitzer for Yonkers, which is a melancholy family drama tinged with comedy. With their mother deceased and their father off to work to pay off a loan shark he owes for covering his late wife’s medical bills, Jay (Ari Votzaitis) and Arty (Logan Warren) find themselves living for ten months in 1942 with their tyrannical grandmother (Trish DeBaun) and their mentally-challenged Aunt Bella (Priscilla Locke) in Yonkers, New York. Grandma Kurnitz is cold, demanding, and unable to express affection of any kind. She does not want the children there, but Bella does. The battle is on, first between Kurnitz and her grandchildren, but ultimately between mother and daughter. Director Joe Gellura has a strong ensemble at work in this piece with laughs generated by Warren as Simon’s alter ego. The key performance is delivered by Locke, excellent as the daughter simply looking for a little happiness in her life. It’s a sensitive performance that grounds this show and gives it more heart than one expects from a typical Simon play. ‘Lost in Yonkers ' runs Friday through Sunday through April 15 at the Raven Performing Arts Center. 115 North St., in Healdsburg. Friday & Saturday evenings at 8pm; Sunday matinee at 2pm. For more information, go to raventheater.org There may be no more “community theatre” in our area than the folks at the Cloverdale Performing Arts Center. A glance through the bios in their programs shows a mix of trained veterans, community actors, and a fair number of newcomers. This willingness to cast from the community, while commendable, often leads to a variance in the quality of their productions. Their current presentation of William Saroyan’s prize-winning-but-severely-dated The Time of Your Life is a good example. The show, a sort of pre-WWII Cheers, has a cast of sixteen with various levels of experience playing the denizens of a San Francisco dive bar circa 1939. There’s no real plot, just a variety of human flotsam and jetsam floating through the tavern. In an early scene, one character asks another if a performance they’re watching is any good. The response – “It’s awful, but it’s honest and ambitious...” I can’t improve on Saroyan. 'The Time of Your Life' runs Friday through Sunday through April 15 at the Cloverdale Performing Arts Center, 209 N. Cloverdale Blvd., in Cloverdale. Friday & Saturday evening at 7:30pm; Sunday matinee at 2pm. For more information, go to cloverdaleperformingarts.com.

In Peter Shaffer’s Amadeus, Count Franz Orsini-Rosenberg assesses Mozart’s The Marriage of Figaro with the criticism that it has “too many notes.” Cinnabar Theater’s current production suffers from the opposite - it’s missing a few.

Amadeus is actually the story of Antonio Salieri (Richard Pallaziol), the most celebrated composer of his time and a man who’s dedicated his life to God and mankind as thanks for God’s granting him the gift of musical talent. Enter Wolfgang Amadeus Mozart (Aaron Wilton), a crude, boorish reprobate for whom reasons Salieri cannot fathom has been gifted by God with musical genius. Salieri, feeling mocked by God and unhinged by what he sees as a betrayal, seeks revenge on Him by destroying His vessel. He will bring about Mozart’s ruin while seeming to be his friend but destroy himself in the process.

Shaffer’s historical fiction won the 1981 Tony Awards for Best Play and Best Actor in a Play (Ian McKellen) and the film adaptation matched that with its 1985 Oscar wins for Best Picture and Best Actor (F. Murray Abraham). Both Pallaziol and Wilton have their moments as Salieri and Mozart with Pallaziol at his best when Salieri is at his most duplicitous. While Wilton succeeds in bringing a high level of obnoxiousness to his Mozart, there’s little chemistry displayed in scenes he shares with Rose Roberts as Mozart’s wife Constanza.

Chad Yarish leads an uneven supporting cast as the amusingly befuddled Austrian emperor Joseph II with Tim Setzer also effective as the pompous Count Johann Kilian von Strack.

Where this Jennifer King-directed production really falters is in its design elements. Scenographer Peter Parrish brings little more than a few platforms and some haphazardly hung drapes to a play whose settings include an 18th century Viennese palace. A large center scrim used occasionally for shadow projections went curiously unused for most of the production. Parrish’s lighting design was also lacking, really only effective in a scene where Salieri collapses in frustration after he reads page after page of Mozart’s compositions and finally succumbs to his genius.

Skipper Skeoch’s period costume design had to do double-duty in providing a sense of time and place with wigs and makeup by Jolie O’Dell also providing nice atmospheric support.

The show concludes with Salieri, speaking for all “mediocrities” in the word, absolving them. Sadly, that’s not in my power here.

“Amadeus” runs Friday through Sunday through April 15th at Cinnabar Theater in Petaluma. Friday and Saturday evening performances at 8pm; Saturday and Sunday matinees at 2pm.

For specific dates and times, go to cinnabartheater.org