NIGHT OF THE LIVING DEAD by George Romero, adapted by Bob Morsch
The world is in chaos. The dead have begun to rise and devour the living. A small group of people have barricaded themselves into a remote farmhouse; can they rely on each other? Their survival depends on it: the horde is coming.
FRIDAY, OCTOBER 28: First the show, THEN THE ZOMBIE CRAWL. Your Crawl ticket (purchased separately) gets you entrance to the crawl, which will shamble through downtown and end at The Zodiac; Happy Hour prices for all Crawlers - just show your ticket! Come for the show, stay for the crawl!
Directed by Bob Morsch & Dylan Mosley.
Featuring Tammy Smith, Ethan Everhart, Alex Abundis, Richard Sebastian-Coleman, Steve Sladaritz, Joanne Koehler, Stephanie Schlis, and Ryan Lewis.
October 14, 15
20, 21, 22, 23
27, 28, 29, & 30
All shows at 8pm
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 (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