Season announcement for 2026 wow



Rated PG \| Runs Approx 2.5 Hours Auditions in January of 2026 NUNSENSE A Musical Comedy Book, Music and Lyrics by Dan Goggin	A Musical Where Habits Are Holy, Humor Is Heavenly, and Nuns Tap Dance for Jesus What happens when a group of nuns accidentally poisons most of their convent with bad soup and then runs out of money to bury the last four sisters? Obviously, they put on a variety show. Welcome to Nunsense, the gloriously goofy musical comedy that proves nuns can sing, dance, and tell better jokes than most stand-up comics. The Little Sisters of Hoboken are in crisis. After Sister Julia, Child of God (the convent’s very questionable cook), serves up a deadly batch of vichyssoise, 52 sisters are called to the great beyond. They manage to bury most of them, but with four still on ice in the freezer and no burial funds left, Mother Superior hatches a plan. The sisters will raise the money by putting on a show in the school gym. What could possibly go wrong? Plenty, it turns out. As the sisters take the stage, chaos reigns in the holiest and most hilarious way. Mother Superior tries to keep it all together, but not even divine intervention can control this group. Sister Mary Hubert, the second-in-command, dreams of taking the top job and has choreography to prove it. Sister Robert Anne, a streetwise nun from Brooklyn, is dying for a solo and constantly tries to steal the spotlight. Sister Mary Amnesia, who lost her memory when a crucifix fell on her head, keeps forgetting where she is, why she’s here, and sometimes who she is. And Sister Mary Leo just wants to be the first ballerina nun. Because who wouldn’t? The show-within-a-show is packed with songs, tap dancing, puppet shows, audience quizzes, and a whole lot of heavenly hijinks. Through all the mishaps and misadventures, the sisters remain determined to give it their all, honor their fallen sisters, and maybe win a few laughs and hearts along the way. Nunsense is part musical comedy, part talent show, and part holy roller coaster. It’s irreverent without being rude, sincere without being sappy, and packed with enough laughs to qualify as a religious experience. From “Nunsense Is Habit-Forming” to “Holier Than Thou,” every number is a joyful reminder that even in the face of disaster, the show must go on. So grab your rosary, say a prayer, and get ready for a night of sinfully good fun. These sisters may be short on cash, but they’re blessed with talent, heart, and a whole lot of sass.

Rated PG \| Runs Approx 2.5 Hours Auditions in the Spring of 2026 SHREK THE MUSICAL Based on the DreamWorks Animation Motion Picture and the book by William Steig Book and Lyrics by David Lindsay-Abaire Music by Jeanine Terori Originally produced on Broadway by DreamWorks Theatricals and Neal Street Productions Original Production Direced by Jason Moore and Rob Ashford "I'm A Believer" by Neil Diamond	A Story Where Love is Ugly, the Donkey Talks, and Flatulence is Basically a Plot Point Once upon a time, in a land that looked suspiciously like a fairy tale exploded, there lived a grumpy green ogre named Shrek. He just wanted peace, solitude, and maybe a swamp-scented candle. But his swamp is suddenly overrun by a mob of evicted fairy tale creatures, including Pinocchio, the Three Little Pigs, and a very dramatic Big Bad Wolf in grandma’s nightgown. Why? Because the hilariously height-challenged Lord Farquaad has banished them all in his quest to make his kingdom perfectly tidy and perfectly weird. Shrek, being the no-nonsense type, marches off to Farquaad’s castle to complain and win back his beloved swamp. Unfortunately, he’s not alone. Enter Donkey, a motor-mouthed, hyperactive sidekick who treats personal space like a myth and becomes Shrek’s unwanted best friend in record time. Farquaad, who looks like a ventriloquist dummy but dreams of being king, makes a deal. If Shrek rescues Princess Fiona from a dragon-guarded tower, he’ll get his swamp back. Shrek agrees, mostly to get rid of everyone. Cue fire-breathing drama, a surprisingly flirty dragon, and a damsel who can karate kick and belt high notes like a Broadway diva. But Fiona is not your average princess. She burps, brawls, and harbors a secret: she turns into an ogre every night because of a curse. Classic fairy tale glitch. She’s also got a thing for musicals, woodland creatures, and... maybe Shrek? Things get awkward, sweet, and gassy in equal measure as they fall for each other on their journey back. Of course, Farquaad wants Fiona for himself. Not because of love, but because marrying a princess makes him king, and he really likes crowns. There’s a wedding, a dramatic interruption, and a big green truth bomb dropped at the altar. Fiona embraces her inner ogre, Shrek embraces his outer feelings, and Farquaad gets exactly what he deserves, courtesy of one fabulous dragon. In the end, true love conquers, swamp life returns, and everyone celebrates with a massive musical number set to "I'm a Believer." There’s dancing, confetti, and more ogre kisses than anyone asked for. So what is Shrek: The Musical really about? It’s a story of acceptance, flatulence-powered romance, and finding beauty in unexpected places. It’s weird, heartfelt, and gloriously green. Whether you're a talking donkey, a misunderstood princess, or just someone who feels a little different, this show will make you laugh, cheer, and maybe even cry a little into your onion.

Rated PG \| Runs Approx 2.5 Hours Auditions in the Spring of 2026 Rodgers & Hammerstein’s OKLAHOMA! Music by RICHARD RODGERS Book and Lyrics by OSCAR HAMMERSTEIN II Based on the play "Green Grow the Lilacs" by Lynn Riggs Original Choreography by Agnes de Mille	A Musical Where Love Blooms, Cows Roam, and People Randomly Break Into Song Welcome to Oklahoma Territory in the early 1900s. Picture wide open plains, ambitious romance, cows doing cow things, and townsfolk who sing more than they talk. This is Oklahoma!, Rodgers and Hammerstein’s toe-tapping classic where the only thing more intense than the prairie heat is the drama. Meet Curly, a smooth-singing cowboy with a guitar, a crush, and way too much confidence. He’s sweet on Laurey, a headstrong farm girl who doesn’t fall for flattery or well-timed musical numbers. So, to keep things interesting, she agrees to go to the town box social with Jud Fry, a scowling farmhand who broods like it's a full-time job and keeps questionable stuff in his smokehouse. Meanwhile, we’ve got the delightfully chaotic Ado Annie, whose motto might as well be “flirt now, think later.” She’s caught between Will Parker, a lovable rodeo goof with big dreams and no impulse control, and Ali Hakim, a fast-talking traveling peddler who accidentally proposes and then spends the rest of the show trying to wriggle out of it. Also causing a stir is the feud between the farmers and the cowmen. It’s all very dramatic and involves people yelling about fences and singing aggressively at each other, but it’s really just a big excuse for a barn-wide dance-off. Back at the love triangle, things take a turn when Laurey realizes that Jud, despite being good at barn chores, is giving off some serious "might burn the place down" energy. She finally admits she likes Curly after a dramatic dream ballet where dancers interpret her romantic confusion through interpretive leaps and pirouettes. Because this is musical theater, of course they do. Curly and Laurey declare their love, Jud doesn’t take it well, and chaos ensues. There’s a fire, a knife fight, and a very convenient trial held in the middle of their wedding reception. Justice is served in record time and everyone decides it’s a great day to become a state. In the grand finale, the entire cast breaks into a rousing chorus of “Oklahoma!” complete with waving flags, twirling skirts, and enough vocal energy to power a windmill. You will leave humming, clapping, and wondering if you too should start settling arguments through song and square dancing. In short, Oklahoma! is a spirited romp through romance, rivalry, and rodeo-worthy shenanigans. It’s a feel-good musical where the corn is high, the stakes are higher, and love always finds its way—sometimes with a lasso. Yeehaw!

	Beginning June 16 and running through July 19, Theatre in the Park will transform into a World Cup watch party destination. In partnership with Johnson County Park and Recreation District (JCPRD) and Johnson County Government, the theater will be equipped with a new large-scale LED screen for select match viewings. Early plans for the event include food trucks, vendors, art projects, and even live entertainment on stage during commercial breaks and in between matches. Patrons can expect soccer fields for recreational play, creative activities for all ages, and plenty of community spirit as JCPRD celebrates this global sporting event in a whole new way. A full schedule of matches and events will be announced closer to the tournament. JCPRD will have World Cup activation throughout the county, with more events and programs to be announced soon. Our new LED screen will be utilized after the World Cup at Theatre in the Park and for large events throughout the county.

Book by Abe Burrows, Jack Weinstock, and Willie Gilbert Music and Lyrics by Frank Loesser Rated PG \| Runs Approx 2.5 Hours Auditions in the Spring of 2026 FRANK LOESSER and ABE BURROWS' HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING Book by ABE BURROWS, JACK WEINSTOCK and WILLIE GILBERT Music and Lyrics by FRANK LOESSER Based upon the book by Shepherd Mead Originally presnted by CY FEUER and ERNEST H. MARTIN in association with FRANK PRODUCTIONS	A Musical About Climbing the Corporate Ladder With Zero Qualifications and Maximum Confidence Welcome to the world of big business, where ambition is high, coffee is constant, and the suits are somehow always wrinkle-free. How to Succeed in Business Without Really Trying is a sharp, satirical musical comedy that follows one window washer’s completely unqualified but wildly entertaining rise to the top of the corporate food chain. Meet J. Pierrepont Finch, a charming go-getter armed with nothing but a smile, a how-to guide, and a knack for being in the right place at the right time. After finding a book titled How to Succeed in Business Without Really Trying, Finch decides to ditch his squeegee and start climbing the corporate ladder at the World Wide Wicket Company. With blind optimism and zero experience, Finch talks his way into the mailroom. From there, he begins his hilarious and occasionally absurd ascent through the company ranks. Along the way, he outsmarts rivals, sidesteps disasters, and somehow convinces everyone that he’s the most competent man in the building. Of course, no corporate climb is complete without obstacles. Finch must dodge the office buffoon Bud Frump, who is the boss’s nepotism-powered nephew, and deal with executives who are more concerned with power lunches than productivity. Meanwhile, he catches the eye of Rosemary Pilkington, a secretary with big dreams and a romantic eye for rising stars. She sees Finch as her ticket to love and a corner office with a view. As the stakes rise and the promotions keep coming, Finch finds himself tangled in office politics, romantic complications, and one very important company-wide scandal involving a musical performance at a shareholder meeting that may or may not include dancing pirates. The musical is packed with jazzy tunes, madcap moments, and razor-sharp satire of 1960s corporate culture. Songs like “I Believe in You,” “Coffee Break,” and “Brotherhood of Man” keep the energy high and the toe-tapping nonstop. It’s a world where success is a performance, everyone has a hidden agenda, and somehow the most clueless guy in the room keeps landing on top. In the end, Finch has to decide whether he wants to keep climbing or start listening to his conscience, especially when his dream job starts to look more like a nightmare in a necktie. How to Succeed in Business Without Really Trying is a gleeful jab at corporate absurdity, full of charm, wit, and vintage flair. If you’ve ever worked in an office, wanted a promotion, or had no idea what your boss actually does, this musical is for you. Just remember. Confidence is key... and a catchy musical number helps too.

Rated PG \| Runs Approx 2.5 Hours Auditions in the Spring of 2026 Theatre in the Park's production of THE HUNCHBACK OF NOTRE DAME Musicby Alan Menken Lyrics by Stephen Schwartz Book by Peter Parnell Based on the Victor Hugo novel and songs from the Disney film Originally Developed by Disney Theatrical Productions Orchestrations by Michael Starobin Incidental Music and Vocal Arranements by Michael Kosarin Dance Arrangements by Rob Berman	A Story of Love, Power, and the Voice Within High above the streets of 15th-century Paris, the bells of Notre Dame ring out a story of longing, judgment, and courage. The Hunchback of Notre Dame, based on Victor Hugo’s classic novel and featuring the sweeping score from the Disney film, brings to life a world where the line between sanctuary and prison is drawn by fear and broken by love. At the heart of the cathedral lives Quasimodo, the bell-ringer. Hidden from the world by his guardian, the powerful Archdeacon Frollo, Quasimodo spends his life in the bell tower, believing himself to be a monster. His only companions are the bells and the stone gargoyles who, in his mind, speak to him. But Quasimodo’s spirit is not as deformed as his body, and when the Festival of Fools calls him down into the light of day, everything begins to change. There he meets Esmeralda, a bold and compassionate Romani dancer who sees past his appearance and treats him with kindness. She also captures the attention of Captain Phoebus, a charming soldier newly assigned to Paris. But most dangerously, she awakens something in Frollo, something dark and conflicted. His obsession with Esmeralda drives him to confront the desires he has long tried to suppress, believing them to be sinful and blaming her for his inner turmoil. As Frollo’s power becomes more dangerous, Esmeralda, Phoebus, and Quasimodo each face difficult choices. Phoebus must decide whether to follow orders or stand against injustice. Esmeralda fights for freedom and dignity in a city that sees her as an outsider. And Quasimodo must choose between loyalty to the man who raised him and love for the woman who showed him humanity. The story builds to a powerful and tragic climax, as Notre Dame becomes a battleground of ideals: love versus fear, compassion versus control, and courage versus conformity. Through heartbreak and sacrifice, Quasimodo finally finds his own voice, not just in song, but in action, and proves that even someone who has been told their whole life they are nothing can become a hero. With a lush score by Alan Menken and lyrics by Stephen Schwartz, including favorites like “Out There,” “God Help the Outcasts,” and “Someday,” The Hunchback of Notre Dame is a hauntingly beautiful musical about identity, justice, and what it means to be truly free. This is not a tale of fairy tale endings, but of human truths. And though the bells may toll for sorrow, they also ring with hope.

Rated PG17 \| Runs Approx 2.5 Hours Auditions in the Fall of 2026 DRACULA: A COMEDY OF TERRORS By Gordon Greenberg and Steve Rosen Originally produced in New Rork by Drew Desky and Dane Levens, Drew and Dane Productions. Was Commissioned and originally produced by Maltz Jupiter Theatre Andrew Kato, Producing Artistic Director/CEO	A Bloody Good Time Filled with Bites, Blunders, and Bizarre British Accents Sink your teeth into a frightfully funny farce where gothic horror meets high-speed hilarity. Dracula: A Comedy of Terrors takes Bram Stoker’s classic vampire tale, flips it upside down, adds a few wigs, a lot of accents, and about a gallon of fake blood, then dashes it all with a generous splash of Monty Python energy. Count Dracula is back, baby. He’s mysterious, immortal, charming, and very, very Eastern European. He’s also trying to sell his castle and relocate to England, which seems like a great idea until he meets a group of Victorians with more issues than a haunted library. Once in London, Dracula sets his sights on the innocent Mina, and let’s just say she has no idea that her new suitor sleeps in a box and has no reflection. Romance is complicated. Enter Jonathan Harker, a well-meaning solicitor who is in way over his powdered wig. Add in Professor Van Helsing, a vampire expert with questionable methods, and you’ve got a team trying to stop Dracula using garlic, crosses, and a shocking lack of coordination. But here’s the twist. Every role in the show is played by just a handful of actors, switching characters faster than you can say “undead.” One moment they’re a heroic doctor, the next they’re a deranged bug-eating lunatic. Expect absurd costume changes, over-the-top accents, accidental sword fights, and maybe even a bat puppet. This is classic horror through a very cracked mirror. As the chaos unfolds, the line between terror and total nonsense gets delightfully blurry. Love is declared, blood is spilled, doors are slammed, and someone probably faints dramatically. Don’t worry, it’s usually on purpose. Dracula: A Comedy of Terrors is a whirlwind of melodrama, mistaken identity, and monstrously good laughs. It honors the spooky spirit of the original novel while gleefully poking holes in every horror trope you’ve ever seen. One minute you’re gasping, the next you’re giggling. And by the end, you’ll be applauding the madness and wondering how so few actors played so many characters without bursting into flames. In short, it’s a night of theatrical bloodshed, bonkers comedy, and ridiculous plot twists that somehow all come together. Whether you love vampires, hate vampires, or just enjoy watching actors run in circles while trying not to trip over a cape, this show is to die for. Bring garlic. Leave logic. Prepare for terror. And laughter. Lots and lots of laughter.

	We know...a "to be announced" section. It's a bummer! But we are excited to announce our Holiday show at a later date!! For now, if you're needing some Holiday Spirit join us for RUDOLPH THE RED NOSED REINDEER opening December 6th, 2025!