by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

by Ivan Menchell

Three Jewish widows meet once a month for tea before going to visit their husbands’ graves. Ida is sweet-tempered and ready to begin a new life; Lucille is a feisty embodiment of the girl who just wants to have fun; and Doris is priggish and judgmental, particularly when Sam the butcher enters the scene. He meets the widows while visiting his wife’s grave. Doris and Lucille squash the budding romance between Sam and Ida. They are guilt-stricken when this nearly breaks Ida’s heart. 

Not everybody can be a singing sensation, but they sure can try on N.I.T.W.I.T.S.: Idol!

Follow a ragtag group of improv players as they try to win the hearts and laughter of the infamous judges.

Will they take home the coveted N.I.T.W.I.T.S.: Idol statuette? Will their songs go viral over social media? Will they be ridiculed and scorned?

The competition will certainly be interesting, if not fierce, on the best singing show you’ve never seen before, N.I.T.W.I.T.S.: Idol!

Not everybody can be a singing sensation, but they sure can try on N.I.T.W.I.T.S.: Idol!

Follow a ragtag group of improv players as they try to win the hearts and laughter of the infamous judges.

Will they take home the coveted N.I.T.W.I.T.S.: Idol statuette? Will their songs go viral over social media? Will they be ridiculed and scorned?

The competition will certainly be interesting, if not fierce, on the best singing show you’ve never seen before, N.I.T.W.I.T.S.: Idol!

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

by Ken Ludwig

Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead - and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli's costume and fool the audience into thinking he's Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London's West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.

Three teams face off against each other in battles of wit, cunning, and acting prowess hoping to gain the audience’s favor to avoid elimination.

Not only must the players survive each other, but they must also survive the twists and turns that will… “fourth” them to adapt to some wacky situations!

Twelve start, but only one will stand victorious in N.I.T.W.I.T.S. Survival Island!

Three teams face off against each other in battles of wit, cunning, and acting prowess hoping to gain the audience’s favor to avoid elimination.

Not only must the players survive each other, but they must also survive the twists and turns that will… “fourth” them to adapt to some wacky situations!

Twelve start, but only one will stand victorious in N.I.T.W.I.T.S. Survival Island!

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

By Topher Payne

It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norma, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirrings of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two “All-American” couples are forced to stare down the closet door.

Newnan Theatre Company is excited to announce auditions for The Cemetery Club by Ivan Menchell.

Auditions will be Sunday and Monday, February 2 and 3, from 7 – 9 pm, at Newnan Theatre Company, 24 First Avenue in Newnan.

Newnan Theatre Company is excited to announce auditions for The Cemetery Club by Ivan Menchell.

Auditions will be Sunday and Monday, February 2 and 3, from 7 – 9 pm, at Newnan Theatre Company, 24 First Avenue in Newnan.