NUNSENSE FEATURES ENSEMBLE CAST

The comedy is non-stop as these habit-clad nuns struggle to deal with a serious financial problem while they “strut their stuff” on stage.  For a delightful evening of entertainment, plan to attend one of the six performances of “Nunsense” opening Friday, March 8th at 7:30 p.m. Tickets for the Gala Opening are $15. For all other performances, Saturday, March 9th, Friday, March 15th, and Saturday, March 16th at 8 p.m. and Sundays, March 10th and 17th at 2 p.m., tickets are $10 general and $6 for seniors and children 12 and under. The Saturday, March 9 performance of “Nunsense” will feature Bubbles, Wine, and Sinfully Delicious Desserts sold prior to and during intermission for the benefit of the Leukemia & Lymphoma Society in their mission to find a cure for leukemia and its related cancers, and to improve the quality of life for patients and their families.  For more information or reservations, contact winterstheatre@gmail.com or call 530-795-4014.

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The Winters Theatre Company opens its 2013 season with the musical comedy “Nunsense” on Friday, March 8, with a champagne gala performance.  The evening begins with the serving of beverages and desserts at 7:30 pm, followed by an 8:00 pm performance.

When most people hear the term “musical comedy,” they think of lavish sets, full production numbers featuring a large chorus, and several important starring roles.  “Nunsense” breaks all the traditions.  The entire cast is composed of five talented women who do it all.  Each performer has at least two solo numbers, participates in several duets, and sings and dances her way in not less than eleven production numbers.  This is true ensemble casting, and the unusual theatrical technique has worked very well for “Nunsense.”  This musical can boast a near record run of ten years off Broadway in New York City and has produced six musical sequels, all featuring the five very different but equally appealing ladies of the Little Sisters of Hoboken.

Mother Superior was once a circus performer; Sister Robert Anne learned how to deal with problems on the tough streets of an inner city; Sister Mary Leo loved the ballet almost as much as her vocation; sweet, child like Sister Mary Amnesia can’t remember her convent past but she, too, is a performer, and Sister Mary Hubert tells the audience how hard it is to be a staunch supporter when she sings “Biggest Ain’t the Best.”

byline Germaine Hupe

 

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