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PLAYS WORTH TALKING ABOUT


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PLAYS WORTH TALKING ABOUT


 

Langhorne Players is a non-profit 501(c)(3), volunteer community theater company that produces unusual, thought-provoking works meant to engender post-theater conversation. Come share our passion for theater as a patron in the seats, a player on the stage, or a volunteer behind the scenes. You'll find us in the 200-year-old Spring Garden Mill located in Tyler State Park, Newtown, Bucks County, PA.  

Langhorne Players produces Plays Worth Talking About.

 
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Committed to You


Committed to You


You have High expectations. so do we.

As a theatergoer, you are mesmerized by a great story, excellent script, deft direction and outstanding performances. You're selective when choosing which theaters match your expectations and produce the kind of experience you want to have. 

Our expectations match yours.

That's why we both choose Langhorne Players.

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2018 Season


2018 Season


THis season will...

Enrapture you. Make you laugh, cry, and feel what the characters feel.
Intrigue you. Make you gaze at a creative set.
Entertain you. Provide an evening of live theater hard to come by so close to home.
Compel you. Make you talk about the production long after the last bow.

This is Langhorne Players. We produce Plays Worth Talking About.

 

OuR 2018 single Tickets Go On Sale in April. 
 

To purchase 2018 Season Tickets, start here.

 

LANGHORNE PLAYERS 2018 SEASON

Scott and Hem by Mark St. Germain

April 20, 21, 22, 26, 27, 28, 29 May 2, 3, 4, 5

The time is 1937. The place: Hollywood, California. F. Scott Fitzgerald exiles himself inside a hotel room, trying to finish a screenplay and stay on the wagon while a loud party explodes beneath him. Enter Ernest Hemingway. What follows is ninety minutes of swagger and bluster as the two literary giants go after each other, moderated by Ms. Evelyn Montaigne, a studio rep, who struggles to keep Fitzgerald on task and Hemingway at bay. St. Germain’s script “is remarkably savvy, complete with beats that ebb and flow with a natural ease” (DC Theatre Scene). Scott & Hem “packs a hefty amount of information” about the cost of love and friendship and “the fleeting ecstasy and greater agony of writing” (Miami.com)

All My Sons by Arthur Miller

June 1, 2, 3, 7, 8, 9, 10, 13, 14, 15, 16

In keeping with our recent 70th retrospective season, we present Arthur Miller’s All My Sons. Originally produced by Langhorne Players in 1984, this play tells the story of the Keller family. During the war Joe Keller and Steve Deever ran a machine shop which made airplane parts. While Deever was sent to prison because the firm turned out defective parts, causing the deaths of many men, Keller went free and made a lot of money. In the shadow of this catastrophe, Steve’s son, George, returns one afternoon and confronts his father’s partner. “An Ibsen-like study into the conflict between personal ethics and greater social responsibility that established Miller as a major playwright, All My Sons is a multilayered drama in which the word “money” and its variations repeatedly toll like a warning.” (NY Times 2015)

It’s Only a Play by Terrence McNally

July 13, 14, 15, 19, 20, 21, 22, 25, 26, 27, 28

It’s the opening night of The Golden Egg on Broadway, and the wealthy producer Julia Budder is throwing a lavish party in her opulent Manhattan townhouse. While downstairs the celebrities are pouring in, a group of theatrical insiders has staked themselves out upstairs to await the reviews. In a stunning meta-theatrical comedy, playwright Terrence McNally takes aim at the Broadway elite, name dropping and poking fun at his contemporaries. Of the recent Broadway revival, Ben Brantley writes, “Getting the jokes allows the audience to preen itself on being with the insiders” (NY Times 2014). Imbued with McNally’s unquenchable sense of wit, It’s Only a Play sparkles with “sloppy-kiss tributes to the theater…[that] are deeply felt and honestly moving” (Variety 2014). 

Buried Child by Sam Shepard

August 24, 25, 26, September 6, 7, 8, 9, 12, 13, 14, 15

“Great plays always exist on more than one level,” (NY Times 1996), and Sam Shepard’s Pulitzer Prize winning drama is “…wildly poetic, full of stage images and utterances replete with insidious suggestiveness…” (NY Magazine), probing the disintegration of the American Dream. The setting is a squalid farm home that reminds one of the painting American Gothic. Occupied by a family filled with suppressed violence and an unease born of deep-seated unhappiness, “the characters in Buried Child, inextricably bound to each other by shared histories and dark secrets, are also irretrievably alone.” (NY Times 1996).   

Doubt: A Parable by John Patrick Shanley

October 12, 13, 14, 18, 19, 20, 21, 24, 25, 26, 27

Set one year after John F. Kennedy’s assassination, when the country was suddenly thrown into doubt and confusion, Sister Aloysius, a Bronx school principal, takes matters into her own hands when she suspects the young Father Flynn of improper relations with one of the male students. Winner of the 2005 Pulitzer Prize and Tony Award, “All the elements [of this play] come invigoratingly together like clockwork into a gripping story that is less about scandal than about fascinatingly nuanced questions of moral certainty” (Variety). “A beautifully balanced drama. Shanley is a writer working at the top of his craft, making the most of a muted but evocative palette in the pursuit of truth’s shadows.”(Chicago Tribune).