Don't Dress for Dinner: Farcical Sequel to Hit French Play Boeing Boeing
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The last date listed for Don't Dress for Dinner was Saturday May 14, 2011 / 2:00pm.
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Signature Theatre puts its own stamp on this dark masterpiece of musical theater. Written in 1928 by Bertolt Brecht, with music by Kurt Weill, The Threepenny Opera skewers capitalist society while following dashing criminal anithero Macheath as he leaves a trail of broken hearts and slashed throats throughout the London underworld. The unforgettable score's highlighted by "The Ballad of Mack the Knife" and "Pirate Jenny," and juiced by the jazzy sounds of '20s-era Berlin, while the innovative epic modernism of the work went on to influence the creators of acclaimed musicals like Cabaret and Urinetown. Learn More
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Don’t Dress for Dinner is by French playwright Marc Camoletti and is a sequel to Camoletti’s 1960’s hit Boeing Boeing, which is listed in the _Guinness Book of Records _as the most performed French play in the world.
_Don’t Dress for Dinner _was adapted for the London stage by Robin Hawdon. It ran for seven years in London.
Bernard (Mike Dunlop) has arranged for his wife Jacqueline (Jill Goodrich) to be out of town visiting her mother while he entertains his mistress Suzanne (Christa Kronser). His friend Robert (Jack Degnan) is there to keep the neighbors from gossiping. To provide the crowning touch of elegance, Bernard has “booked a cook,” sexy Suzette (Rosalie Daelemans).
The insanity begins when his wife does not leave. In a quick attempt to cover-up, Bernard gets Robert to reluctantly pretend that the mistress is his own girl friend. How, after all, can Robert admit to his friend that in fact he already has a mistress – Bernard’s wife? Robert makes things worse by introducing the cook Suzette as his girl friend – she and the mistress Suzanne both go by the nickname Suzy, after all.
So when Suzanne arrives, she must to pretend to be the cook – except of course, that she can’t. Cook, that is. And the final character who shows up is the cook’s jealous husband, George (Keith Brown).
Like other successful farces, the characters lie and double lie and erase previous lies in order to stay on top of the layers of false relationships. The fast-moving play has more twists than a corkscrew as the characters fly around the stage in various stages of dress and undress, with doors opening and closing behind them. The twists and turns are dizzying, and the audience is left to constantly wonder, “How are they going to get out of that one?”
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