Bristol Valley Theater uses season brochures for two purposes: marketing and selling season subscriptions to all productions in our summer season AND we also place them in high traffic areas in the community (library, banks, retail outlets, bars & restaurants, etc.)

With the brochures, we are attempting to interest theatergoers in our productions, as well as to engage their interest in our ancillary programming (occasional concerts, play readings, special musical or dramatic readings, etc.)

Like the vast majority of nonprofit theaters in the United States, ticket sales do not cover 100% of our expenses. We are, therefore, reliant upon the generosity of individuals, corporations, and governmental entities. For the past few decades in this country governments at ALL levels - Federal, State, and Local - have slashed the amount of money available for all arts-related funding. This has, predictably, led to many nonprofit organizations closing their doors permanently.

Our summer season this year includes three award winning plays: VANITIES, by Jack Heifner, is an exuberant comedy that chronicles a decade in the lives of 3 young Texas women: close friends and sometime rivals, their relationships change as life throws each the inevitable curve-balls of growing up. Tony Award Winner, Best Play. (July 11-20, 2024)

SLEUTH, Anthony Shaffer's spine-tingling thriller, is a tour-de-force struggle between a famous mystery writer and the young man who arrives at his home, only to be drawn into a dangerous web of gamesmanship and intrigue. This Tony Award Winner for Best Play will keep you guessing until its unexpected finale. (July 25-August 3, 2024)

THE GIN GAME, D.L. Coburn's Pulitzer Prize winning play, is a poignant comedy about aging in America. Nursing home residents Weller and Fonsia meet regularly to play gin rummy on the sun porch out back. A funny and engaging evening filled with surprising twists and turns. (August 8-17, 2024)

Theater, unlike movies or television, literally does not exist without an audience. An extremely apt analogy is that of a three legged stool: if you remove any of the three legs, the stool is no longer a stool, as simply by the removal of that ONE leg, the stool has lost its structural integrity. With the three legged stool analogy, theater may properly be thought of as being comprised by the text, the actors, and the audience.

The text is the script, including the music, when we are producing a musical (which we will not be doing THIS summer, but HAVE done during several of our 60 seasons). The actors, of course, are the live men and women onstage inhabiting the characters and creating the world of the play through their behavior, physicality, and of course their delivery of the text. The audience, naturally, is why we do our work in the first place; because theater cannot exist in any meaningful form without the presence of an audience. While this may SEEM self-evident, it is not necessarily so. But the truth of this assertion is plain if you take a moment to imagine how disruptive or even disturbing it can be if you are watching a live performance in a theater and there is a loudly screaming infant or a person who has a fit of coughing but neglects to remove him or herself from the theater.