Season of half-dozen plays, including Martin Luther King Jr. profile The Mountaintop and goofy, grease-stained Car Talk: The Musical!!!
- Expires Jun 30, 2013
- Limit 4 per person. Valid only for option purchased. Reservation required. Redeem starting 7/16 for tickets at venue box office. Must show valid ID matching name on Groupon at Central Square Theater when attending first scheduled performance. Must provide first and last name at checkout, which Groupon will provide to facilitate redemption of voucher. Refundable only on day of purchase. Must reserve together to sit together. Discount reflects Central Square Theater's current ticket prices-price may differ on day of the event.
- See the rules that apply to all deals.
- For $66, you get a Spotlight subscription for one, which includes one ticket to any four plays of the season (up to a $132 value).
- For $132, you get a Spotlight subscription for two, which includes two tickets to any four plays of the season (up to a $264 value).
- For $95, you get a Center Stage subscription for one, which includes one ticket to all six plays in the season (up to a $186 value).
- For $186, you get a Center Stage subscription for two, which includes two tickets to all six plays in the season (up to a $372 value).
These subscriptions are for peak theater times, granting access to Friday, Saturday, and Sunday matinee performances.
The two resident professional theater companies, The Nora Theatre Company and Underground Railway Theater, present six new and classic plays every season at Central Square Theater. The diverse lineup of the 2012–13 season offers grease-stained laughs in Car Talk: The Musical!!! (running until August 12). Based on the NPR program of the same name, the show follows a lovable schlub named Rusty Fenders as he searches for romance, deals with a dictating boss, and encounters the automobile of his dreams. Supernatural puppeteering springs from the Middle Eastern folk tales of Dominic Cooke's Arabian Nights (November 23–December 30), and The Mountaintop (January 10–February 3) takes a thought-provoking, Olivier Award–winning look at Rev. Dr. Martin Luther King Jr. on the evening before his death. Here is a closer look at the other plays this season.
- The How and the Why (September 27–October 21)
Written by Sarah Treem of HBO's In Treatment, this play explores the relationship between two female evolutionary biologists, each blunt-worded and contrarian by principle in a largely male-dominated field. Though they share a passion for knowledge and self-determination, tempers flare when the older, established scientist, Zelda, finds her theories under attack by the ambitious grad student, Rachel. Unfolding in part in Zelda's office and at a local dive bar, The How and the Why takes a unapologetic look at sexuality and the competitiveness and sacrifices needed to succeed as a woman in science.
- Operation Epsilon (March 7–April 28)
The Nora Theatre Company as part of Catalyst Collaborative@MIT, presents the world premiere of playwright Alan Brody's Operation Epsilon, adapted from the transcripts of some of the most top secret conversations of World War II. As the war is winding down, the Allies capture 10 of Germany's top nuclear scientists, including Hitler's notorious "Uranium Club." Sequestered away on a bucolic English estate, the scientists are kept under surveillance to learn what they know about the American nuclear program and to gauge how close the Nazis are to making an atomic bomb. Playwright Alan Brody illuminates the ethical complexity of pursuing scientific discovery at the risk of wreaking catastrophic consequences.
- Distracted (May 9–June 2)
Between constantly ringing cell phones, actors changing roles, fourth-wall-breaking asides, and the incessant yowl of a foul-mouthed, never-seen child named Jesse, audiences may be forgiven for finding themselves swept away in Distracted’s flurry of gags. Known only as "Mama," the leading lady worries over her hyperactive son's growing rap sheet and four-letter vocabulary while her husband insists Jesse is just being a regular boy. The play confronts its topic head-on with wacky one-liners and a wry smile, asking if Jesse's problems really lie in a medical disorder or if they are the natural reaction of a child to the overstimulation of the modern world.