TAPE by Stephen Belber
Vince and Jon's friendship goes back a long way - and in it an ugly secret is buried: Jon, an aspiring filmmaker whose latest work has been accepted into a film festival, may have date-raped Amy, Vince's high school girlfriend, back in the day. Vince didn't really come back to their old stomping grounds to see Jon's film; he's there to capture Jon's confession on tape - and that's not all: he's invited Amy to join them. What really happened all those years ago? Is there one truth, or does each of them have their own?
Directed by Bob Morsch
Featuring Brian McClure, Ethan Everhart and Brittani Janish.
March 31, April 1
April 7, 8 & 9; 14, 15 & 16
Fridays & Saturdays at 7:30 pm, Sundays at 4 pm
PLEASE NOTE: THERE ARE NO THURSDAY SHOWS
Reserve seats by email here or call or text 719.3575.ACT. Seats are also available on the day of the performance at the theatre door.
Tickets: $15, $12 senior/military/veteran, $6 students - and Sunday shows are pay-what-you-can! (Student tickets and Sunday pay-what-you-can option at door only)
What others are saying:
Bill Wheeler at BroadwayWorld:
KILLER JOE: Star Bar takes on Killer Joe with a bold enthusiasm. The challenges for a small company are considerable; this is a script that will appeal to a limited audience. The set and props are substantial, the special effects, including spilling blood onstage are critical to a successful performance. Star Bar blows right by these challenges, bringing Letts’ script to life with a brash, raw, nonstop energy.
ENDGAME: Star Bar Players’ production is one that would have brought a smile to Beckett’s face. It’s authentic, true to Beckett’s message, and an altogether exemplary production of a very difficult script... I’ve seen other productions of Endgame, but this one is the best I have seen yet.
We are lucky in COS to have a group like Star Bar that is willing to take a chance on a risky play like "Bug" -- or, for that matter, "Waiting for Godot" last Fall. -- "Bug" is not an easy play. We witness how seemingly normal people in the first act are drawn into a psychotic world of paranoia and conspiracy theory in the second act. Not the most uplifting theme in the world! -- The transition is tough, and the playwright doesn't really help. Three weaknesses of the main character are revealed in the first act, and none are used in the second act to make the transition believable. The actors have to do that all on their own. The Star Bar players are powerful and should be supported, in my view, even if only because they are willing take huge risks -- like this one.
- James Wood, 2010