This remarkable play starred Constance Cummings in a Tony-winning performance on Broadway. Emily Stilson, seventy years old and a celebrated former aviatrix and stunt pilot, suffers a stroke and is plunged into a world of disorientation and grief. Memories flood in between painful attempts to relearn the basic functions of everyday life. Aided by a dedicated young therapist, Emily's flights of memory and emotion create an evocative portrait of the ability of the human spirit to renew and survive

Comedy

Characters: 6 male

Interior Set

Despite the title, it has intense meaning for these times. The scene is a room in a wealthy country club, to which the men's committee is hastily summoned early one morning after a carousing dance. Problem: what to do about the 16 luscious but low life females who drove up in a Rolls Royces and then proceeded to the tennis courts, where they are now disporting. While the committee huddles, we learn that they are the vulgar, crass people. They are good for nothing but blustering and simpering. It is the attendant, far more refined than they, who is invited out to play with the bevy of beauties, just before the final assault and the collapse of their cardboard world in The Day the Whores Came Out to Play Tennis and Other Plays.

30m, 7f, plus ensemble (doubling possible.) / Ints./exts. This mesmerizing Phantom is traditional musical theatre in the finest sense. The Tony award winning authors of Nine have transformed Gaston Leroux' The Phantom of the Opera into a sensation that enraptures audiences and critics with beautiful songs and an expertly crafted book. It is constructed around characters more richly developed than in any other version, including the original novel. "Everything is first rate." - N.Y. Daily News "Rhapsodic music that entrances, moves and haunts...A welcome link to musical theatre's golden past." - The New York Times

Arthur Kopit burst onto the world theatrical scene right out of Harvard in 1959 with his international hit Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad, which announced Kopit's comic and architectural brilliance with the monstrous whirlwind, Madame Rosepettle. Indians used Buffalo Bill and the formal of a Wild West show to dramatize America's capacity for amnesia and the dangers of changing historical fact into fiction: a demonstration of denial which was the decade's most profound theatrical metaphor for the tragedy of Vietnam and America's floundering sense of itself. Wings extended that inquiry to personal tragedy, a hallucinatory poetic study of a stroke patient's loss of speech.