The Woman in Black

By Stephen Mallatratt
Based on the novel by Susan Hill

“It was nine-thirty on a Christmas Eve…” Arthur Kipps is obsessed with a curse he believes has been cast over him and his family by the specter of a “Woman in Black,” for it is believed that anyone who sees her will die. He hires a skeptical young actor to help him tell his terrifying story to exorcise the fear that grips his soul. Things begin innocently enough, but as they reach further into Arthur’s darkest memories, they find themselves caught up in a world of eerie marshes and moaning winds…

Susan Hill’s acclaimed ghost story is alive and well in this spine-tingler of a play. But it’s more than that. It’s a story of facing your past, reckoning with old and new pain, grieving what has been lost – and finding hope and a way forward.

It is also a love letter to the theater, as our director Philip Hays so aptly noted. It exemplifies just what live theater can do – with a rich story, talented artists, and the robust imaginations of the audience, we can be transported to another world. When you see The Woman in Black, you’ll believe you’re on the eerie moor, on the horse and cart traveling, in the room with a beloved dog. You’ll walk the journey with both characters as they face their past and present.

You will feel with them.

That’s the power of good storytelling. That’s the power of theater.

The Year of Magical Thinking

By Joan Didion
based on her memoir of the same name

“This happened on December 30, 2003. That may seem a while ago, but it won’t when it happens to you…” In this dramatic adaptation of her award-winning, bestselling memoir, Joan Didion transforms the story of the sudden and unexpected loss of her husband and the prolonged illness of her only daughter into a stunning and powerful one-woman play. Pamela Vogel will play Didion. Main Street Theater Founder and Executive Artistic Director will direct. 90 minutes. No intermission.

“Capturing the compassion, humor, and bewilderment of a fiercely intelligent woman whose world lurches suddenly from the ordinary to the unimaginable, The Year of Magical Thinking is a love letter to a child and a tribute to an extraordinary, unconventional marriage told with raw candor and a storyteller’s gift for the absurd.” — Playbill

Memoriam

World Premiere

By Noga Flaishon

In the near future, Memoriam Inc. buys and sells memories, digitizing them for mass-viewership. Customers can rent memories and experience them fully, even feeling the sensations the original memory-holder felt: childbirth, joyful reunions, romantic wedding proposals – almost like watching a short movie but much more intimate and personal. Now Rachel, a buyer for Memoriam, is going after the most important and most personal memory acquisition she has ever sought: the memories of the last holocaust survivor on earth – who happens to be her own grandmother. A powerful, painful, loving story of family and what memories mean, who owns them, and what we owe to future generations.

Recommended for mature audiences due to sensitive subject matter and loud sounds.

Noga Flaishon is a Neurodivergent Israeli writer/producer based in London. Noga’s work has been supported by the Arts Council of England, London Playwrights Blog, The Offie Awards, The Standing Ovation awards The King’s Head Theatre, Pleasence Theatre, The London Horror Society & The Living Record Festival, Camden Fringe, Evergreen Podcasts & Audio Marvel amongst others. Noga’s credits include but aren’t limited to: “100 YEARS OF WAITING” (workshopped at The Hope Theatre, 2018), ‘BROKEN LINK’ (OnComm nominated virtual theatre production. The Living Record Festival, The Space Theatre, Brighton Fringe 2021), “BUNKER” (a post-apocalyptic thriller. Lion and Unicorn Theatre. 2021. Edinburgh Fringe.2022) ‘LETHE’ (A cyberpunk Drama, Critically acclaimed & Standing Ovation Award Nominated production: King’s Head Theatre. 2023), “SMILE, IT’LL BE OVER SOON” (Audio-Drama, distributed globally by Evergreen Podcasts. 2021), “A MOTHER’S LOVE” (Doctor Who Audio-Drama. Big Finish Productions).

Kim’s Convenience

Regional Premiere

By Ins Choi

Mr. Kim, a Korean immigrant, dispenses fatherly wisdom, history lessons and potato chips from behind his Toronto convenience store counter in an up-and-coming neighborhood. With new luxury buildings going up around the convenience store and a Walmart preparing to move in, when he receives an unexpected offer for his property, Mr. Kim has a difficult decision to make. Should he take the money and give in to developers or convince his daughter to follow in his footsteps and run the family business? Mr. Kim navigates the needs of his customers and a strong-willed family. But no matter what, humor and heart find their way onto every aisle in this award-winning play that is now a hit series on Netflix.

“It has heart and likability by the bucketload.” – WhatsOnStage

“Achingly funny… Hilarious, heart-warming story of love, family and survival through change and challenge.” – Everything Theatre

The 39 Steps

Adapted by Patrick Barlow
From the novel by John Buchan
From the movie by Alfred Hitchcock
Licensed by ITV Global Entertainment Limited
And an original concept by Simon Corble and Nobby Dimon

Mix a Hitchcock masterpiece with a juicy spy novel, add a dash of Monty Python and you have The 39 Steps, a fast-paced whodunit about a man with a boring life who meets a woman with a thick accent who says she’s a spy. When he takes her home, she is murdered. Soon, a mysterious organization called “The 39 Steps” is hot on the man’s trail in a nationwide manhunt. A riotous blend of virtuoso performances and wildly inventive stagecraft, this two-time Tony and Drama Desk Award-winning treat is packed with nonstop laughs, over 150 zany characters (played by a ridiculously talented cast of four), an onstage plane crash, handcuffs, missing fingers, and some good old-fashioned romance!

“Ingenious! A dizzy delight!” –Daily News
“Theatre at its finest… Absurdly enjoyable! This gleefully theatrical riff on Hitchcock’s film is fast and frothy, performed by a cast of four that seems like a cast of thousands.” – The New York Times