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June 1, 2005



Ladies and gentlemen, boys and girls, come together at The Concord Players Annual Meeting and Frolic! Sunday, June 5 at 7:17 pm (or thereabouts). Join us for a fond look back at our 85th season, and a look ahead to our 86th, which will kick off in the fall with Oscar Wilde’s The Importance of Being Earnest. A splendid time is guaranteed for all!

The Importance of Being Earnest, "a trivial comedy for serious people,” will hold auditions Wednesday, August 31st from 7:00 to 10:00 pm, Thursday, September 1st, from 7:00 to 9:00 pm, with callbacks Thursday, September 1st, from 9:00 to 10:30 pm. Complete audition information can be found at here. We're still looking for volunteers for lighting designer, lighting operator, sound designer, sound operator, make up, costumes, set construction and set painting. Interested? Of course you are! Email or leave a message at 978 369-2990. Mario Salinas directs. The producers are David Atwood, Peggy Elliott and Cheri Fletcher.

The team that will bring us The Spitfire Grill is rapidly coming together. Director Denis Fitzpatrick and Musical Director Mario Cruz can rest assured in the capable hands of producers Sally Bull, Marilyn Cugini and Marlene Mandel, along with Set Designer Doug Cooper, Stage Manager Cathie Regan, Lighting Designer Susan Tucker, and Property Mistress and Set Dresser Marion Pohl. Anyone else who wants to work on this show need only contact one of the three producers.

In the meantime, Marlene Mandel is co-producing “Wit” for director Celia Couture at The Arlington Friends of the Drama.

Patricia Till is adjudicating at The New Hampshire Theatre Festival on June 4 and 5. Patricia will also reprise her well-received portrayal of Diana Vreeland in Full Gallop in the Playhouse of The Academy of Performing Arts in Orleans, come September.

On May 7 The Concord Players participated in “May Day,” an event organized by the Theater Community Benevolent Fund, to benefit Boston area theatres in especial need. Patricia Till sits on the board with members of the Nora Theatre Company, the Weeelock Family Theatre and Boston Playwright’s Theatre.

Chuck Schwager and Melissa Sine will each perform a monologue from “Three Viewings” by Jeffery Hatcher at the Boston Playwright’s Theatre, Saturday, June 25th at 8 pm and Sunday, June 26th at 2 pm. Chuck plays Virginia, a 60 year old widow. Refreshments will be served following the performance; a $10 donation is requested. For further info, contact Chuck at

Mark Nimar is playing the part of Patrick in “Mame,” at the College Light Opera Company, from July 12 through the 16, at the Highfield Theatre in Falmouth.

The Play/Director Selection Committee that will choose our slate for ‘06 - ‘07 has been selected. Send your condolences along with your suggestions to Susan Tucker, Tillie Sweet, Birgitta Knuttgen, Tom Sullivan and Bobby Kerrigan.

Pamela Sturgis has a new e-mail address. It’s

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“The theatre has many problems, but none of them can kill it any more than human problems can kill the human race. As long as people continue to get up in the morning or whenever it may be that they do get up after sleeping, there will be a theatre, great or not, or great and not by turns, mainly not, of course, because greatness in art if not in life is uncommon.

Failure to recognise one’s own life as drama does probably account for some of the appeal of the theatre. Most people never suspect that they are in fact living an epic drama, or that they are characters in any number of small plays and in one enormous one. To consider one’s self unreal or unworthy of the meaning art gives to real or imaginary people appears to be the unfortunate compulsion of most people, not in our time alone but in all time. Those who insisted that they were not unreal and not unworthy of artful meaning became the great actors, not on the boards of theatres, but in the world itself, although now and then a man who might have been great in the larger theatre chose to be great on the boards, perhaps because he had to have his applause immediately.”

William Saroyan

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Thomas Caron, editor