Tickets can be purchased online or you may visit the Box Office in the lobby of the Purnell Center for the Arts.
Regular Box Office Hours:
Monday through Friday, noon to 5 pm
Weekdays of performance, noon to 5 pm and 6:30 pm to 8 pm
Weekends of performance, an hour and a half before curtain
All sales are final. No refunds are available
Tickets can be purchased over the telephone with Visa or MasterCard.
The Box Office telephone number is 412-268-2407.
There is a $2.00 handling fee on all non-cash purchases.
Click here to purchase tickets online for individual shows. Handling fees and service charges are applied to online sales.
Tarrell Alvin McCraney
Directed by Priscila Elena Garcia
April 23 – 25
THE BROTHERS SIZE is second in a trilogy of plays by McCraney, a powerful new voice who melds together modern urban life and Yoruban mythology to create rhythmical dialogues that delve into an America not often seen in film and theatre. This soulful story of two brothers explores family, friendship, and freedom.
HOW TO BE A GOOD PERSON, directed by Eleanor Bishop
SMOKERS, Tobias Wolff, directed by Quinten Gordon.
directed by Ian-Jullian Williams.
Directed by Margo Gray
November 6 - 8
Surreal and provocative, Sontag explores the life of diarist Alice James, an invalid shadowed by her brilliant brother, author Henry James. A mad tea party of ghosts and idols incite Alice to free herself from the prison of her bed and stretch the power of her imagination.
George S. Kaufman and Moss Hart
Directed by Barbara Mackenzie-Wood
November 14 – November 23
"I told you there was a bright side to everything. All except my twenty-three years' back income tax."
Pulitzer Prize winner in 1937, YOU CAN’T TAKE IT WITH YOU is a screwball comedy which resonates today as it brings a message of optimistic bravery and love during the Great Depression. The story centers around the madcap eccentrics of the free-thinking Vanderhof household. When granddaughter Alice falls in love with the son of a conservative Wall Street banker, the two families meet, resulting in hilarious fireworks.
Directed by Caleb Hammond
November 20-23, 2013
THE NINA VARIATIONS takes an incisive, heartbreaking and contemporary look at the famous final scene between the lovers, Nina and Treplev, in Anton Chekhov's breathtaking play, THE SEAGULL. In vain, Nina and Treplev make various attempts to escape their misplaced love, reflecting the myriad of choices we all face.
Written and Directed by Sam French
February 12 - 14
The Earth’s stopped spinning: America has become a wasteland ruled by mythical scavengers with the only remaining source of water being the storm-cloud heart of a lost young girl. Joined by a colonial soldier, the young girl embarks on a personal odyssey of revelation and discovery.
Directed by Andrea Beschel
February 12-14, 2014
Set in the Persian Gulf, a journalist sets out to investigate the use and abuse of foreign workers. Based on interviews, this timely and revealing work about regional cruelty resonates across the globe.
Book, Music & Lyrics by Andrew Lippa
Directed by Cameron Margeson
February 26 – 28
In an increasingly challenging world, this haunting play asks audiences to look at their own lives, and at each other. Three eccentric outsiders journey together through music, storytelling, and unique friendships to reveal the deepest truths about how we relate to one another.
Directed by Michelle Sutherland
March 26 – March 29
“In memory, everything seems to happen to music.”
Tennessee Williams’ classic semi-autobiographical play, THE GLASS MENAGERIE, explores themes of memory, time, and how one young man must leave behind his past in order to define the artist within himself. Tom Wingfield lives out his memory of breaking away from his sister and mother, leaving them behind in order to embrace his future.
Directed by Ian-Julian Williams
February 26 – 28
Deception and betrayal inhabit this love triangle, told from the perspective of a self-described “unreliable narrator.” The truth becomes malleable and elusive and we may never know exactly how things went. But, isn’t that always the case?