Piese de Erik Jackson

Breaking Up Is Hard to Do
Set at a Catskills resort in 1960, Breaking Up Is Hard to Do is the sweetly comic story of Lois and Marge, two friends from Brooklyn in search of good times and romance over one wild Labor Day weekend. The score showcases 19 Neil Sedaka classics including "Where the Boys Are," "Sweet Sixteen," "Calendar Girl," and, of course, the chart-topping title song. Bright-eyed bombshell Lois drags the recently jilted Marge to Esther's Paradise, where they meet a zany cast of characters: Harvey Feldman, an irrepressible Borscht belt comedian; the slick, handsome headliner, Del Delmonaco; clumsy jack-of-all-trades Gabe Green; and the tough, spunky proprietress herself, Esther Simowitz. When Lois's efforts to cheer up Marge collide with Del's attempts to make himself a big star, the result is a case of mistaken identity, misdirected love and a series of hysterical hijinks-all culminating in one unforgettable end-of-summer concert. Before the weekend is over, Marge, Lois and the others will experience a little "Laughter in the Rain," tangle with "Stupid Cupid," and realize that, indeed, "Love Will Keep Us Together."
Carrie
Poor Carrie. At home she's abused by her religious fanatic mother. At school, she's the butt of every joke. And to top it all off, she just got her very first period in the locker room showers. Her nasty classmates, including the beautiful but brutal Christine Hargensen think they have the upper hand but Carrie knows revenge and with her ability to move objects using her mind the upcoming prom turns from dream-come-true to nightmare! "Joyously on target
Charlie!
Doll
A twisted love child of Charles Ludlam, Christopher Durang and Pamela Anderson, Doll is an anachronism-strewn comic bastardization of Henrick Ibsen's classic drama A Doll's House, told in Erik Jackson's signature style of heartfelt camp. With a heavy dose of glamour and, of course, a heaping helping of humor, Doll marries two icons of womanhood, Ibsen's indelible character Nora Helmer and the plastic perfection of the Barbie doll. "Hilarious. . . irreverent. . . The most inspired comedy of the season," says the New York Blade, while Citysearch crows, "Abounds with jokes, sight gags and double entendres. If Ibsen's rolling over in his grave, it's only to get a better view."
Tell-Tale
Lenore Usher is not a well woman. The author of a sensational bestselling book and recently divorced from her rich diet-doctor husband, agorophobic Lenore has sealed herself up in her penthouse overlooking Central Park. Apart from her ex-husband's pet raven, Poe, Lenore only has the company of her (seemingly) trusty housekeeper, Cora, who tends to her every need. But nothing here is what it seems. What Lenore doesn't know is that her ex is plotting to kill her to end the alimony drain on his fortune. He hires a hunky young stud to pose as a pizza delivery boy and to get inside Lenore's apartment. Lenore kills him and, in her panic, dismembers him, hiding his body parts throughout her apartment. But his buried pager's incessant beeping begins to drive her mad. Meanwhile, Cora has been having an affair with Lenore's ex-husband and has been plotting against her. Will Lenore be able to outsmart this diabolical duo, or will she fall prey to their murderous mission? When all three converge in the apartment one dark and stormy night, only one of them will emerge alive. The Associated Press says Tell-Tale is "an evening of divine outrageousness." In Theater magazine calls it ""an Edgar-Allan-Poe-meets-Carol-Burnett two-fister that is delightful from start to finish."

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