Love, Sex, and the IRS, by Billy Van Zandt and Jane Milmore

The classic farce that everyone should be doing – especially around tax time! Jon Trachtman and Leslie Arthur are out of work musicians who room together in New York City. To save money, Jon has been filing tax returns listing the pair as married. The day of reckoning comes when the Internal Revenue Service informs the “couple” they’re going to be investigated. Leslie masquerades as a housewife, aided by Jon’s fiancée, Kate. Complicating matters further, Leslie and Kate are having an affair behind Jon’s back, Jon’s mother drops in unexpectedly to meet her son’s fiancée, and Leslie’s ex-girlfriend shows up demanding to know why Leslie has changed and won’t see her anymore. Like a cross between I Love Lucy and Some Like it Hot.

Enough comic lines to fill an encyclopedia of humor." - Red Bank Register, NJ

"A season seldom goes by that this show doesn't run somewhere nearby. And for good reason. It convulses audiences!" - Englewood Times, FL

"Eat carefully before curtain time or you might laugh enough to choke if you don't." - Asbury Park Press, NJ

"If you enjoy broad comedy and men in dresses, this is the play for you!" - Houston Times, TX

"Perfect for dinner-theater, Little Theater, or any theater." - Omaha World Herald, NE

"A concoction of mistken identities and sub-plots that would put Shakespeare to shame." - Star Beacon, OH

"The funniest show I have seen in years. This is a MUST see!" - News Tribune, OR

Let Me Hear You Smile, by Leonora Thuna and Harry Cauley

The difficulties of love and marriage, through youth, menopause, and senility is the theme of this Thuna and Cauley play, which does not leave out the flashbacks of pubescence as Hannah, the girl who is asked to face all these problems is sometimes ten years old, sometimes forty-eight, and sometimes sixty-nine. At one stage she proposes to leave her husband, but her brother, Willie Farmer intervenes, and then comes the flashback to Hannah in her youth, and of love and the ideal of marriage being at high-tide, growing from birds and bees discovery to the third act, in which Hannah flashes forward to Neil, her husband, and his retirement. The sense of entrapment for both Neil and Hannah, and the infinite postponement of Hannah's leaving (and by the end of the play, it is Neil who is the restless one), looms inevitably and tragically in this mild, sometimes surprisingly stimulating comedy.