We had a great lineup of shows in 2023-24. From the World Premiere of “Paint Night” by Carey Crim to the American Premiere of “Lunenburg” by Canada’s most prolific playwright, Norm Foster. We were excited to bring back our unique version of A Christmas Carol for the first time since the pandemic and welcomed over 3,600 students and educators to Student Matiness for “A Christmas Carol” and “Cinderella”.

A lot has changed in our world since we all sat together in the theatre. Thank you for your patience and support as we resume producing under these new conditions.

“Women in Jeopardy” and “Sexy Laundry” get our season off to a terrific start and we break our previous box office set by “Ripcord” with the hit “Sexy Laundry.”

It’s a season for partnerships as Janet is reunited with old friend and scene partner, Paul Schoeffler, for A Doll’s House, Part 2 and we co-produce Grease with Maine State Music Theatre.

Costumer designer Anne Collins designs and builds by herself four stunning period costumes for The Revolutionists.

Playwright John Cariani joins us to rehearse Last Gas and offers final tweaks to the soon to be published script.

The Cocktail Hour brings real life couple Ellen Crawford and husband Mike Genovese from NBC’s E.R. back to our stage.

In Moonlight and Magnolias the three characters were trapped in a room until they finished writing the script for Gone with the Wind with nothing to eat but . . .

Janet directs The Hound of the Baskervilles and “silly” becomes her plan of action.

Joel Leffert stars as the artist Mark Rothko in Red. He returns as Scrooge in A Christmas Carol the next season, and in Outside Mullingar in 2015.

Producing the Off-Broadway hit, Animals out of Paper, we needed to fill our set with the highest level of origami possible, as two of the characters were an origami prodigy and his teacher.

For Dr. Jekyll and Mr. Hyde we went on a hunt for “scientific equipment” to fill Dr. Jekyll’s lab.

Preparing for Secrets of a Soccer Mom, we went in search of an artificial grass lawn to put onstage.

We perform Almost, Maine, the first of three productions of Maine playwright John Cariani’s plays that we will produce. John flies in to see it and quickly becomes our friend.

The entire first act of Enchanted April was played in front of a curtain painted to look like the black and white newspaper ad. What was behind it?

Deathtrap was set in the study of a mystery writer and the set required a wall filled with unusual weapons that he collected.

After the final preview of The Woman in Black, we didn’t think the show was scary enough, so the next day we went back into rehearsal and added several new tricks.

The 1950’s Cold War spoof Red Herring had one of our all-time favorite jokes: “How do you make a stiff drink? Feed him salty snacks.” . . .

We opened our season with Art. One day during a design meeting we were discussing the various shades of gray the set might be. “Like the gray in Bart’s shirt” said someone at the table.

When 9/11 happens we realize an actress we hired for the upcoming show Blithe Spirit lives in the World Trade Center neighborhood. It took us almost a week to locate her and find out she was okay.

We open with The Compleat Wrks of Wllm Shkspr (abridged). The Portland Phoenix Reader’s Poll votes The Public Theatre “Best Theatre Company”.

Dracula sells like wildfire. Multiple audience members showed up in capes and fangs. Are they really vampires? Who knows?

In June, Ellen Crawford, Nurse Lydia Wright on the NBC hit E.R., returns to perform The Belle of Amherst, a one-woman show about American poet Emily Dickinson.

That summer we audition David Harbour for the role of Evans in Terra Nova.

Talented thirteen-year-old local actor Seth Schlotterbeck is cast as the younger brother in “Lost in Yonkers.”

Janet discovers she is pregnant the day before rehearsals begin for the opening show of the season “Dancing at Lughnasa.”

During a TV interview, the host of the show publicly laughs when we tell him the theatre has gone Equity, scoffing at the feasibility of a professional theatre surviving in Lewiston.

Christopher is hired as the Artistic Director. He pays his own way from New York to Maine to interview for the job and becomes the only full-time paid staff position along with a part-time technical director who designs, and builds sets and lights for every show.