Summer Theatre 2014
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Tickets, Lees-McRae Summer Theatre
P.O. Box 128, Banner Elk, NC 28604
It's funny! It's a riot! Great music and dance. Don't miss Spamalot, a very funny take on King Arthur and his very irreverent knights!
Monty Python's Spamalot
Kiss Me, Kate
Rodger & Hammerstein's
|Books and lyrics by Eric Idle||Music by John Du Prez & Eric Idle|
A new musical lovingly ripped off from the film "Mony Python and the Holy Grail"
from the original screenplay by
Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin
Original Broadway Production produced by Boyett Ostar Productions, The Shubert Organization, Arielle Tepper Madover, Stephanie McClelland/Lawrence Horowitz, Elan V McAllister/Allan S. Gordon, Independent Producers Network, Roy Furman, GRS Associates, Jam Theatricals, TGA Entertainment, and Clear Channel Entertainment
ERIC IDLE (Book, lyrics, and music) has multi-hyphenated his way through life, from being a writer and actor in the legendary "Monty Python" TV series and movies, to the creator and director of "The Rutles.” He has appeared on stage singing rude songs with John Du Prez at Carnegie Hall and the Hollywood Bowl as well as performing in two highly successful tours, Eric Idle Exploits Monty Python (2000) and The Greedy Bastard Tour (2003), for which they journeyed 15,000 miles across North America in a bus. His Greedy Bastard Diary of that tour is available from Harper Collins. Their latest work, a comic oratorio called Not the Messiah, will be performed shortly in Toronto. His play Pass The Butler ran for five months in London’s West End; he has written two novels, Hello Sailor and The Road to Mars, a children’s book, The Quite Remarkable Adventures of the Owl and The Pussycat, and a bedside companion, The Rutland Dirty Weekend Book. Spamalot has already won him a Tony, a Grammy and the respect of his wife and children.
JOHN DU PREZ (Music) a Trevelyan Scholar at Christ Church, Oxford, and Associate of the Royal College of Music, he entered the film industry in 1978 composing additional music for Monty Python’s Life of Brian. This began a long association with Eric Idle, leading eventually to their current writing partnership. He has scored more than 20 feature films including The Meaning of Life, A Private Function, A Fish Called Wanda, Once Bitten, UHF and Teenage Mutant Ninja Turtles I, II, and III. Other Python projects include the Contractual Obligation Album, Monty Python at the Hollywood Bowl and The Fairly Incomplete & Rather Badly Illustrated Monty Python Song Book. He was musical director for Eric Idle’s two North American stage tours, Eric Idle Exploits Monty Python (2000) and The Greedy Bastard Tour (2003). This is his Broadway debut.
MONTY PYTHON. Is he God or Godot, an agent of the devil or an agent of the William Morris Agency, or is he, as some have argued, a fictitious character invented in 1969 by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin in a desperate attempt to find a title for their rather silly TV show? Whatever the truth, he is the eponymous impresario who fronts “The Flying Circus,” The Holy Grail, The Life of Brian, The Meaning of Life, And Now for Something Completely Different and who appeared Live at Drury Lane, City Center and the Hollywood Bowl. He has fronted numerous books including The Big Red Book and the Papperbok as well as many CDs, DVDs and matching ties and handkerchiefs. He is currently in retirement in an old jokes home near Dover, anxiously awaiting Nighthood and a Knightnurse. This is his first Broadway show. Further details: www.PythOnline.com
All songs published by Rutsongs Music & Ocean Music Ltd., © 2004. All rights Reserved, except songs from Monty Python & the Holy Grail, published by EMI/Python (Monty) Pictures as follows: “Finland,” music and lyrics by Michael Palin; “Knights of the Round Table,” music by Neil Innes, lyrics by Graham Chapman and John Cleese, “Brave Sir Robin,” music by Neil Innes, lyrics by Eric Idle; and “Always Look on the Bright Side of Life,” music and lyrics by Eric Idle from Life of Brian, published by Python (Monty) Pictures.
SPAM® is a registered trademark of Hormel Foods LLC.
|Music and Lyrics by Cole Porter||Book by Bella and Samuel Spewack|
Combine Shakespeare's "Taming of the Shrew" with Porter's music and lyrics to get KISS ME, KATE an instant success with every cast and audience. This is a play-within-a-play where each cast member's on-stage life is complicated by what is happening offstage. Musical numbers include Why Can't You Behave, So In Love Am I, Wunderbar, Tom, Dick or Harry, Were Thine That Special Face, Too Darn Hot, Brush Up Your Shakespeare, I Hate Men, Always True to You (In My Fashion) and Another Op'nin, Another Show. KISS ME, KATE is fun, melodious and sophisticated.
The musical show is produced by arrangement with, and the music and dialogue material furnished by TAMS-WITMARK MUSIC LIBRARY, INC., 560 Lexington Avenue, New York, NY 10022.
|Music by Richard Rodgers||Lyrics by Oscar Hammerstein II||Musical Arrangements by Fred Wells|
|Orchestration by Michael Gibson and
|Conceived by Walter Bobbie|
Originally produced by Roundabout Theatre Company, New Work City, in 1993
A Grand Night for Singing is presented through special arrangement with R & H Theatricals: www.rnh.com.
Taste and imagination, the two key ingredients for a first-rate revue, about in this fresh take on the Rodgers & Hammerstein canon conceived by Tony Award Winner Walter Bobbie. Over three decades after the duo's final collaboration, The Sound of Music, took the Great White Way by storm, it was in fact this new R&H Musical that opened the 1994 Broadway season with flair and distinction, garnering wildly enthusiastic notices as well as earning two Tony nominations, including Best Musical. Here at R&H, our founding fathers probably never imagined "Shall We Dance?" as a comic pas de deux for a towering beauty and her diminutive admirer, nor did they suspect that one day a lovelorn young lad might pose the musical question, "How do you solve a problem like Maria?" But that's precisely the kind of invention lavished upon this revue, with innovative musical arrangements including a sultry Andrews Sisters-esque "I'm Gonna Wash That Man Right Out-a My Hair," a swingin "Honeybun" worthy of the Modernaires, and a jazzy "Kansas City" which leaves no question about how terrifically up to date the remarkable songs of R&H remain.