Floyd Street Theater showcases 2021 Halloween lineup Thursday, Oct 21 2021 

By Tate Luckey

The Floyd Street Theater has announced its lineup for Halloween-themed movies for the month. There are two screenings of each movie, one at 5:00 PM and one at 7:30 PM.

  • Psycho (1960) – October 27th and 28th
  • Candyman (1992) – November 2nd
  • Candyman (2021) – November 3rd and 4th

File Photos // The Floyd Theater //

The post Floyd Street Theater showcases 2021 Halloween lineup appeared first on The Louisville Cardinal.

Louisville Playwright Chosen For New Festival Exploring Race And Politics Wednesday, Sep 30 2020 

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Louisville artist Cris Eli Blak, “writer for the page, stage and screen,” said he learned about Regina Taylor’s new theater festival via a social media post. 

“I don’t have an agent, don’t have a manager or any kind of that showbiz stuff,” Blak said. “I get my opportunities from going online and just going on the hunt and being in way too many Facebook groups.”

He saw someone post about the opportunity to submit a short play in consideration for “Regina Taylors VOTE!,” presented by The Oaks Collective, and decided to give it a try. He wrote a play, titled “For Liberty, For Justice, For All,” and submitted it. Then, about two weeks ago, he received a phone call from a number he didn’t recognize.


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Coal Country: Can A Play About A Mine Disaster Help Bridge A National Divide?  Sunday, Apr 5 2020 

Written by Jessica Blank & Erik Jensen Original Music by Steve EarleDirected by Jessica BlankThe actors deliver their lines from a sparse stage — just a few benches around them and 29 modest lights above. For the most part they speak directly to the audience, sharing memories of the lives of husbands, sons, fathers and nephews, some of the 29 men who died on April 5, 2010, when an explosion ripped through the Upper Big Branch Mine in West Virginia.  

It’s a powerful performance, made even more so by the realization that nearly all of the actors’ dialogue is drawn directly from court transcripts and hours of interviews with about a half dozen people who lived through that tragic day and the many long days that followed.

“Coal Country,” which opened in New York’s storied Public Theater, introduced New York theater-goers to the real lives of families affected by the tragedy. 

The coronavirus pandemic forced the early closure of the play. But shortly after its opening I visited the playwrights, Jessica Blank and Erik Jensen, at their Brooklyn home to learn more about their approach to documentary theater. The wife-and-husband writing duo say they hope their work will help urban audiences better understand life in the real coal country, where people have long sacrificed to help build and power America’s cities.     

Joan Marcus, The Public Theater

Jessica Blank, Erik Jensen and Steve Earle in rehearsal

Blank explained that the work starts with outreach to potential subjects, a delicate job given the grief and need for privacy among family members. At first, Blank said, she wondered if she would get people to agree to talk. They were not returning her calls.

“I finally figured out after a couple of weeks of this, I said, ‘You know, I think that this is a community where you have to show your face.’” She said. “Just getting a phone message from some person in New York being like, Hey, I’m doing a project, do you want to talk to us? That isn’t going to do the trick.”

So in April, 2016, she traveled to a Charleston, West Virginia, courthouse. She sat with family members of victims as Massey Energy’s CEO Don Blankenship was sentenced for conspiracy to violate mine safety rules.

“And then I think what happened is that word got around that we were okay,” she said. “Because then we started sitting down with more and more folks.”

Blank and Jensen recorded hours of interviews during extended visits with people who had worked in the Upper Big Branch Mine and who had lost family members there. Despite being long-time New Yorkers they found an instant bond with the West Virginia families they met.

“I’m from the rural Midwest, and, you know, grew up in a small town,” Jensen said. “And so like, I immediately related to people kind of on that level.”

“Every experience we had sitting with every person we sat down with was incredibly powerful and incredibly eye opening and incredibly moving,” Blank said. She recounted learning details about long-wall mining — something she’d never heard of before — and the way that long traditions of union mining gave way in West Virginia over the past couple of decades. 

“And we learned a lot about humanity, as we often do, when we do this kind of project,” she said. 

Blank and Jensen have the very married couple’s habit of finishing each other’s sentences and picking up on their spouse’s thoughts. Jensen continued with the thread Blank had started. 

“My thing about it was, I learned a lot about grief.” He said that during the course of the project he lost both his father and uncle. His own grief helped him relate to what people in the West Virginia community were experiencing.  

“I think that was when I finally understood what we were writing. Because I multiply that by 29 and, my heart couldn’t take it,” he said. “I finally understood what it was like to be in that community, and it broke my heart open.

“And thank God for Steve’s music,” he added. “Because his songs address grief in such a beautiful way.” 

Greek Chorus Of One

“Steve” is singer-songwriter Steve Earle, who sat in on some of the interviews and wrote songs which he performs to accompany the play. “Steve, to me, is the heir to Woody Guthrie,” Jensen said. “He tells real stories with his songs, you know, stories of the heart.”

“Coal Country” is not a musical. The characters rarely sing and the songs do not propel the narrative, as in a musical. Rather, Earle sits on stage with a guitar or banjo and listens intently to the actors, then adds a song that might echo a characters’ loss or hint at deeper themes. Jensen described his role as akin to a Greek chorus of one.  

“He’s there to kind of hold down the play and to orient us when we need it, or to, to break our hearts when we need that.”

In a reworking of the traditional ballad of John Henry, for example, Earle weaves in allusions to the decline of union representation among miners.

The Union come and tried to make a stand

West Virginia miners voted union to a man

You wouldn’t know it now but that was then

The Union come and tried to make a stand

Joan Marcus, The Public Theater

Steve Earle performs during “Coal Country.”

And in the lovely, simple “The Mountain” (a song he first recorded with the Del McCoury Band in 1999) Earle sums up the conflicted feelings of people who are both tied to the natural world and to an industry that wreaks great natural destruction.  

I was born on this mountain, this mountain’s my home

She holds me and keeps me from worry and woe

Well, they took everything that she gave, now they’re gone

But I’ll die on this mountain, this mountain’s my home

Earle is pulling together several of the songs from “Coal Country” into a new album, “Ghosts of West Virginia,” which is scheduled for release in May.

Bridging Divides

I grew up in West Virginia, and my family roots there go back several generations. As with many West Virginia natives, I greet any outsider’s depiction of the place and its people with a degree of wariness. We’ve been burned more than a few times by hurtful stereotypes, even by those who meant well.  

That is perhaps why I was surprised at my very emotional response to “Coal Country.”

[At the time I saw it, the coronavirus threat was just beginning to emerge in public awareness to the degree that I knew not to touch my face. Reader, it is hard to avoid touching your face while weeping.]

It is, of course, deeply emotional content to begin with. This is, after all, the story of one of the worst mining tragedies in recent history. But beyond that I was struck by, and grateful for, the simple details about West Virginians that Blank and Jensen recognized and relayed to their New York audience.  

Their commitment to deep listening brought some deep truths to the stage. 

“I think it’s our job in making this kind of work,” Blank said. “Find the people who lived that story, sit down with them, and then get out of the way.”

Joan Marcus, The Public Theater

The cast in rehearsal for “Coal Country.”

It occurred to me, watching their play in an audience mostly made up of New Yorkers, that this is an opportunity to perhaps help overcome, in some small way, the great divide between urban and rural America. 

“Well I certainly hope,” Blank started. “It would be a privilege,” Jensen finished.

“This is a really big blind spot in communities that I move in, where people are so conscious about their politics,” Blank continued. “The things that people say sometimes about the rural working class — otherwise, really thoughtful people — are shocking to me. And I think it’s a really big blind spot that mostly comes from not having any contact with folks who come from a really different place and a really different lifestyle.”

“People have dignity, people have history,” Jensen said. “And whether you’re pro-coal or against coal, coal miners helped build this country, and they should be treated as such.” 

“Built these buildings here,” Blank interjected, gesturing at the street scene outside the window.

“And right now what they’re doing is they’re blocking trains with their bodies in order to get their benefits or in order to get their last paycheck,” Jensen said. “And I just think workers should be treated better than that.”

‘Shakespeare In Love’ To Open 60th Anniversary Kentucky Shakespeare Festival  Sunday, Feb 23 2020 

The Kentucky Shakespeare Festival will kick off its 60th anniversary season with a play written not by William Shakespeare, but one written about The Bard. 

The season will begin in May with “Shakespeare in Love,” a stage adaptation of the 1999 Academy Award-winner for Best Picture. The plot certainly sounds like it could be a Shakespeare play: a young Will Shakespeare is dealing with writer’s block as he works on his new play. He finds his muse in a young woman who poses as a man in order to act in one of Shakespeare’s plays.

Kentucky Shakespeare Producing Artistic Director Matt Wallace said this is not the first time Kentucky Shakespeare has featured a mainstage production written by someone other than Shakespeare. 

“We did ‘Rosencrantz and Guildenstern Are Dead’ in 2002,” Wallace said. “My wife and I played Rosencrantz and Guildenstern, so I remember that one.” 

“Rosencrantz and Guildenstern Are Dead” was written by playwright Tom Stoppard. Stoppard also co-wrote the screenplay for “Shakespeare in Love” with Marc Norman. It was adapted for the stage by Lee Hall. 

Wallace said opening the 60th anniversary season of the festival with “Shakespeare in Love” is a fitting “love letter to Shakespeare.” He said the presenting sponsor, Churchill Downs, is making it possible to extend the run of the production, so when it’s said and done, “Shakespeare in Love” will have the longest run in the festival’s history. 

Also on stage this season will be the fourth and final installment of Kentucky Shakespeare’s Game of Kings series with “Henry V.” Like the previous productions in the series, “Henry V” will feature original music by Scott Carney from Wax Fang. If you missed any of the previous plays or need a refresher on the plot, Wallace said there’s no need to worry. 

“Shakespeare has it all for you right at the top of the play with one of the greatest speeches, ‘O for a muse of fire,’ where the prologue is going to explain everything you need to know,” he said. 

Rounding out the mainstage productions for the upcoming season will be the comedy “The Merry Wives of Windsor,” which was last performed by Kentucky Shakespeare 29 years ago. Wallace said Shakespeare wrote this play as a spinoff for the character of Sir John Falstaff because the character was so popular in the “Henry” plays. 

“As our audiences have gotten to know Falstaff over the past few years, we thought this would be fun to do this total farce,” Wallace said. “It’s not like the history plays, it’s an Elizabethan farce, and it follows these two women outsmarting Falstaff.”

More festival offerings

  • Kentucky Shakespeare’s Globe Players High School Troupe will present “A Midsummer Night’s Dream” July 29-August 1
  • The Cincinnati Shakespeare Company will bring its touring production of “Macbeth” to the Central Park stage August 2 and 4
  • Louisville Improvisors will improvise Shakespeare in “Late Night Shakes” on June 6 and 20, July 11 and 25
  • For fifth time with the festival, Louisville Ballet will present “Shakespeare in Dance” August 5-9

The 60th anniversary season of the Kentucky Shakespeare Festival runs May 27-August 9, in Old Louisville’s Central Park. More information is available here

REVIEW: Musical Meets Carnival In Acting Against Cancer’s ‘Pippin’ Thursday, Aug 29 2019 

“Pippin,” currently on offer from Acting Against Cancer (AAC), has a delicious contradiction at its core; it’s full of outrageous spectacle, but the central message is that outrageous spectacle is empty and pointless. 

With music and lyrics by Stephen Schwartz (“Wicked,” “Godspell,” lots of other classics), and a book by Roger O. Hirson, “Pippin” is nevertheless unmistakably a creation of the original production’s choreographer and director, Bob Fosse.

The 1972 musical recounts the story of Pippin (Michael Detmer), son of eighth-century conqueror Charlemagne. Pippin is seeking a meaningful and fulfilling life, and looks all over to find it. That story is told as a play within a play of sorts, with a Leading Player (Myranda Thomas) addressing the audience as a narrator. This setup suggests that on some level Pippin is an actor playing Pippin — probably just the latest in a long line of Pippins. 

AJ McCawley/First Light Image

Michael Detmer and the cast of “Pippin”

The Leading Player has as much stage time and as many songs as the titular Pippin. Like a lot of Fosse, it’s a meta-sexy pseudo Brechtian attempt to be deeply silly and deadly serious at the same time. It’s also probably asking the same question that Albert Camu asked in “The Myth of Sisyphus:” Is life completely pointless and should we all kill ourselves? 

Acting Against Cancer’s production, directed by Remy Sisk, walks the tightrope between the show’s serious and seriously-empty aspects. That balancing act is key to making “Pippin” work at its best.

Considering the budget and time constraints that AAC works within, Sisk has staged a huge version of this show. About half the 29-member ensemble is made up of performers from Louisville-based circus group CirqueLouis. A 12-person orchestra plays just offstage. 

AJ McCawley/First Light Image

Ashley Kennedy and Jordan Clark in “Pippin”

The circus folk not only inhabit the stage, they also take to the audience, juggling, balancing on rolling globes, and climbing aerial silks to perform 15 feet above the audience’s heads. 

The musical theater actors function as a tight unit, dancing, moving swiftly from one scene to the next, and taking snarky asides to the audience. This speaks well of Sisk, and of choreographers Zachary Boone and Paul McElroy.

The circus performers similarly hit their marks quickly and efficiently, and seem to all be good at doing what they do circus-wise. But several of the younger circus performers had a newbie deer-in-the-headlights look, robbing some big theatrical moments of their full impact.

The use of circus in this production is at its best when it leaves the youngsters offstage, and lets the professionals shine, like the moment at the top of act two when the action stops and focuses on a single impressive juggling act performed atop a rola bola balancing board. Or later, when two characters’ romantic moment is mirrored beat-for-beat by a movement duet between two of the circus performers.

The team up of AAC and CirqueLouis is a powerful union, and the level of spectacle is delightful. Even with its shortcomings, AAC’s “Pippin” is quite a feat of direction, staging and people-wrangling on the part of Sisk. 

The major frustration with this production is the uneven technical side of the show, there were often performers performing in the dark, and — on Sunday’s matinee at least — Detmer and Thomas’ microphones at best left their songs sounding tinny and strained, at worst rendering their voices nigh unhearable. 

That’s a shame; Detmer and Thomas’ voices sounded great when they could be heard, and they had good chemistry, a necessary element for a good production of “Pippin.” 

The lighting and sound problems are both worth mentioning due to the unique space at Art Sanctuary, where “Pippin” is being performed. While it has a lot of possibility, the cavernous ceilings must make balancing sound levels a nightmare, and to fully light the playable areas would take at least twice as many lighting instruments as the roughly 50 I counted in the air. Many of those 50 or so lights were clearly brought in by lighting designer Jesse Alford and AAC.

Louisville theater needs more venues, and Art Sanctuary can be the perfect place for massive shows like “Pippin,” but it needs more investment in theatrical lighting and sound equipment. 

The sound problems were ironically exacerbated by the excellent work the orchestra was doing. Conducted by Bourbon Baroque’s John Austin Clark, the musicians ambled gamely back and forth between sounding like a classical orchestra and a 70s-era rock band.

AJ McCawley/First Light Image

Celeste Vonderschmitt, Kylie McGuffey and Charity Anderson in “Pippin”

Shortcomings aside, Louisville audiences will enjoy this ambitious show full of solid singing, circus, dancing and great music. Hopefully “Pippin” foretells more great things, and Sisk will continue to push himself, and Acting Against Cancer, daring the to aim higher in their search for both outrageous spectacle and meaningful fulfillment. 

“Pippin” is back on stage Thursday August 29 through Saturday August 31. All shows begin at 8 p.m., at Art Sanctuary, 1433 S. Shelby Street.

Tickets are $22 in advance and $24 at the door. Tickets can be purchased in advance at actingagainstcancer.com. The show runs two hours with one 15-minute intermission.

Editor’s note: A previous version of this review stated that Stephen Schwartz wrote “Frozen.” That is incorrect. “Frozen” was written by Kristen Anderson-Lopez and Robert Lopez.

This post has been updated. 

Tuesday Randomness: Insider Louisville highlights, the Big Four and Shakespeare Tuesday, Jul 9 2013 

From the Big Four at night
I love my job. I can't imagine what I could possibly enjoy more than talking to inspiring people and then writing about those conversations.

Yes, at times, we at Insider Louisville refer to ourselves as "the Band of Misfit Toys." We're an odd bunch, but when you combine having the stomach to survive a startup AND being journalists, it isn't a big surprise that people willing to do both are a bit... off.

And lately– not to jinx myself or anything– things have just seemed to gel. Today when I finished an interview I, as always, thanked the subjects for sharing their stories with me. And one of the subjects responded, "I can't think of anyone better to go to with this." When I tried to postpone another interview until next week, the subject told me that the news was happening this week, and he said, "And I wanted to make sure you had first crack at the story." (Obviously, I canceled the reschedule.)

I've gotten emails from moms and dads thanking me for stories about their kids. I've gotten emails from moms (no dads yet) admonishing me for not writing about their kids (I'm working on it!). A subject's grandma wanted a "paper version" of a story I wrote (I had to say, "just print it out.")

Thank you, innovators and entrepreneurs and artists of Louisville for sharing your stories with me. I'm so lucky, and I am learning so much from you.

Some of my favorite recent stories:

YPAS and Walden Theatre alumn cast as second principal role in Broadway's ONCE... I haven't gotten to interview Adam Brown yet, but I'm working on it. Thanks to Walden's Isaac Spradlin for putting this news in my email inbox.

Roobiq reps Louisville in Silicon Valley... Adam Fish, who relocated his business, Roobiq, from Louisville to San Francisco came back for a visit and sat down with me and co-founder John Receveur to talk about his time at an accelerator and how the Valley was treating him.

Custom Rubber Composites: Lean manufacturing in Louisville... It's a dry business– manufacturing parts for heavy-duty conveyor belts– but fascinating to see a local manufacturer employing Lean Startup principals to their business. I also taught two of the co-founder's daughters, so it was nice to talk shop with a family I like.

GE announces new appliance line for Millennials by Millennials... This was the most popular post on the week it came out. I have to believe that it was because I chose to focus on the "this line was designed by a former intern" angle. All other local news focused on the appliances themselves.

Forest Giant puts teachers through a "mini-hackathon"... How could I not love this story? It brought me back together with Dave Durand, founder of Forest Giant and the big brain behind the startup team, City Anchor, that I won Startup Weekend with back in September. Dave remains a hero of mine.

To browse through more of my stories, visit my Contributor page for Insider Louisville.

Other cool stuff I've been doing:

The Big Four bridge is everything everyone says it is. It's a perfect 1.5 mile round trip walk almost to Indiana. The BF and I went late one night. I'll have to check it out during the day. I'm ashamed it took me so long, but I will be a regular.

I'm ambivalent about TWELFTH NIGHT at Shakespeare in the Park. It was long (we left at intermission around 10p) and kind of full of pomp. And non-Louisville actors? Unfortunate. But I am not ambivalent about the experience. There are few things nicer than watching theatre outdoors on a lovely summer evening. Bring snacks and non-alcoholic beverages. You can buy alcohol there. Don't believe the website when it says there's pre-show entertainment; there wasn't when we went.

On the same night I went to Shakespeare, I went to Burger Boy Diner. Yes, it's a greasy-spoon diner, but yes, it was also fantastic. Fabulous service, a reasonably well-appointed jukebox. I got a burger and fries for under $6 and couldn't have been happier with the experience.

If you want to sing out, sing out: Le Petomane performs their Greatest Hits in concert Monday, May 27 2013 

I am so lucky that the people I love are so genuinely talented. It makes endorsing their events so guilt-free.

A little less than two years ago, I was assigned to write an article for The Paper about Le Petomane Theatre Ensemble's show "5 Things." I'd heard of Le Petomane, heard amazing things in fact, but had never seen them.

For the article, I went to a brainstorming rehearsal, observed their process, met Greg and Abigail Bailey Maupin and Kyle Ware... and fell in love. With all three of them. And their process. And the production. And the Le Petomane concept.

And soon thereafter, I fell in love with Kyle Ware for real.

Le Petomane is one of the best-regarded theatre companies in Louisville. Except for their occasional adaptation of Shakespeare, all of their plays are ensemble-written from the ground up, including the songs. The original music has often been the highlight of their productions-- think They Might Be Giants style smartness with a theatrical bent.

So for the final show of their 9th season, they are reprising their greatest musical hits for a two-night concert next weekend. I'm told they'll be wearing custom-made jumpsuits a la The Brady Bunch or the Partridge Family.

They've chosen the best of the best songs from their productions-- songs that can stand on their own with little context. So don't worry about being a Le Petomane newbie; you'll still "get" it.

The six-person ensemble will be joined by the musical stylings of Brian Lilienthal and the ubiquitous Scott Anthony.

From their press release:

By popular demand, Le Petomane closes its ninth season with a one-weekend-only event: a live concert evening featuring a ridiculous number of original songs from the ensemble’s past shows.  

Le Petomane Theatre Ensemble drew upon songs from nine seasons of original, new work to create an evening of audience favorites. Le Petomane's Concert-ed Effort will feature live music by Le Petomane Theatre Ensemble members Heather Burns, Tony Dingman, Abigail Bailey Maupin, Gregory Maupin, Kristie Rolape and Kyle Ware, along with special guest ringers Professor Scott Anthony and Dr. Brian J. Lilienthal. 

Le Petomane Theatre Ensemble was named Best Theater Troupe in the 2010 and 2011 LEO Weekly Readers’ Choice Awards, and has been described by The Courier-Journal as "simultaneously...hysterical, physical and thought provoking." 

Performances at The Bard's TownMay 31 at 7:30 p.m.June 1 at 7:30 p.m.Tickets$8 – 20 at our cheap and reliable sliding scale*
Contact Us@LePetomane.org or 502-609-2520 for show reservations or more information, or find them on Facebook. For pre-show dinner reservations, please contact The Bard’s Town directly at 502-749-5275.

* a word or two about the sliding scale: one pays what one a) thinks fair and b) can afford; we make a reasonable amount either way. The low end is no higher than the price of a movie ticket; the high end is not such an issue - as a non-profit we will gleefully accept any amount above $20 one cares to give, and will cheerfully provide a receipt of said donation for tax purposes.

Some things are important: Slant Culture Theatre Festival Sunday, Nov 11 2012 

Some things are just important.

The Slant Culture Theatre Festival is one of those things.

It's important because we are a theater-loving, arts-supporting community, and we deserve something like this.

It's important because we're the home of the Humana Festival, and we should have a home-grown equivalent.

Side note: the Humana Festival 2013 schedule was announced today. Check out Erin Keane's coverage here. The exciting news is that, except for an anthology performance, all the playwrights featured are new to the Fest.

I'm not going to reinvent the wheel in this post. I already covered the Slant Culture Fest in an article for the Louisville Paper. Check it out here.

But it is important. We should support it. We want it to come back next year and for many years to come. It features five of the best and most exciting local theatre companies in rep, including my beloved Le Petomane performing my favorite play of theirs, 5 THINGS. (Also, check out Le Petomane's snazzy new website!)

I went to the launch and heard the fabulous Joel Henderson and the 40 Gallon Baptist and the sublime Cheyenne Marie Mize. I saw 5 THINGS and BUY THE BOOK last night.

There's still a full week left. Get a day pass, a weekend pass, or a pass for the whole shebang. You'll want to check out more than just one thing.

But, go. Support. Enjoy. We deserve this.

Late Notice: A Trio of Halloween Radio Plays Friday, Oct 19 2012 

I'm sorry I wasn't able to bring this to your attention sooner, but I just got the press release. 

You only have two more chances to see the Coffee Cup Theatre Company's (CCTC) presentation of three Halloween radio plays at the Bard's Town Theatre-- tonight and Saturday night at 7:30pm. 

I'm a big fan of all three stories presented: "The Monkey's Paw," "The Canterville Ghost," and "The Cask of Amontillado."

When I was a wee lass-- single-digits-young-- I was a precocious reader. I taught myself to read at age three and blew through reading levels until I was reading-- and devouring-- Agatha Christie novels before the age of ten. 

Before I was in my teens, my mother handed me Dante's Inferno and the Cliff's Notes to Dante's Inferno, and I read it from cover to cover, dutifully sketching maps and diagrams of Dante's journey through Hell with colored pencils and a pad of newsprint.

But when I was really wee, maybe seven or eight, my Nana gave me a beautifully bound and illustrated collection of Poe stories. I could read most of it myself, but I struggled with some of the vocabulary. I remember sitting with Nana on the couch of her beach house (which would later become her full-time home after retirement) and having her read "The Cask of Amontillado" to me before bed.

I still remember the chill I felt when she read the exchange between Fortunato and Montressor at the very end of the story (I don't think this is a spoiler at all, in case you haven't read it).

Fortunato says, "For the love of God, Montressor."

And Montressor responds, "Yes. For the love of God."

GOOSEBUMPS. Even now.

And for the past six years I have taught that story to high school juniors. And every time I get to that point in the story... chills. 

Here's info from the press release from the CCTC: 

Coffee Cup Theatre Company (CCTC) will open its 2012 – 2013 Season with a trio of Halloween plays performed at The Bard's Town, located at 1801 Bardstown Road, on October 11, 12, 13, & 18, 19, 20 at 7:30 pm. 

The production entitled Halloween Trilogy of Radio Plays featuring "The Monkey’s Paw" by W.W Jacobs and adapted by Jeanette Jaquish; "The Canterville Ghost" by Oscar Wilde; and "The Cask of Amontillado" by Edgar Allan Poe and adapted by Cecilia Fannon and John de Lancie.

Tickets are now on sale and reservations can be made by calling (502) 299-8501 or e-mailing coffeecuptheatre@gmail.com. Tickets are $15 for adults and $10 for students and seniors (Cash & Checks only).