Princeton Theatre & Community Center

Mrs. Stancliffe's Rose Cottage Bed & Breakfast has been successful for many years. Her Guests (nearly all women) return year after year. Her next door neighbor, the elderly, silver-tongued, Bud "Bud the Stud" Davis believes they come to spend time with him in romantic liaisons. The prim and proper Mrs. Stancliffe steadfastly denies this, but really doesn't do anything to prevent it. She reluctantly accepts the fact that "Bud the Stud" is, in fact, good for business. Her other neighbor and would-be suitor Henry Mitchell is a retired chemist who has developed a blue pill called "Venusia," after Venus the goddess of love, to increase the libido of menopausal women. The pill has not been tested.

Add to the guest list three older women: Victoria Ambrose, a romance novelist whose personal life seems to be lacking in romance; Hillary Hudson a friend of Henry's who has agreed to test the Venusia: and Charmaine Beauregard, a "Southern Belle" whose libido does not need to be increased! Bud gets his hands on some of the Venusia pills and the fun begins, as he attempts to entertain all three women! The women mix up Bud's Viagra pills with the Venusia, and we soon discover that it has a strange effect on men: it gives them all the symptoms of menopausal women, complete with hot flashes, mood swings, weeping and irritability! When the mayhem settles down, all the women find their lives moving in new and surprising directions.

Mrs. Stancliffe's Rose Cottage Bed & Breakfast has been successful for many years. Her Guests (nearly all women) return year after year. Her next door neighbor, the elderly, silver-tongued, Bud "Bud the Stud" Davis believes they come to spend time with him in romantic liaisons. The prim and proper Mrs. Stancliffe steadfastly denies this, but really doesn't do anything to prevent it. She reluctantly accepts the fact that "Bud the Stud" is, in fact, good for business. Her other neighbor and would-be suitor Henry Mitchell is a retired chemist who has developed a blue pill called "Venusia," after Venus the goddess of love, to increase the libido of menopausal women. The pill has not been tested.

Add to the guest list three older women: Victoria Ambrose, a romance novelist whose personal life seems to be lacking in romance; Hillary Hudson a friend of Henry's who has agreed to test the Venusia: and Charmaine Beauregard, a "Southern Belle" whose libido does not need to be increased! Bud gets his hands on some of the Venusia pills and the fun begins, as he attempts to entertain all three women! The women mix up Bud's Viagra pills with the Venusia, and we soon discover that it has a strange effect on men: it gives them all the symptoms of menopausal women, complete with hot flashes, mood swings, weeping and irritability! When the mayhem settles down, all the women find their lives moving in new and surprising directions.

Mrs. Stancliffe's Rose Cottage Bed & Breakfast has been successful for many years. Her Guests (nearly all women) return year after year. Her next door neighbor, the elderly, silver-tongued, Bud "Bud the Stud" Davis believes they come to spend time with him in romantic liaisons. The prim and proper Mrs. Stancliffe steadfastly denies this, but really doesn't do anything to prevent it. She reluctantly accepts the fact that "Bud the Stud" is, in fact, good for business. Her other neighbor and would-be suitor Henry Mitchell is a retired chemist who has developed a blue pill called "Venusia," after Venus the goddess of love, to increase the libido of menopausal women. The pill has not been tested.

Add to the guest list three older women: Victoria Ambrose, a romance novelist whose personal life seems to be lacking in romance; Hillary Hudson a friend of Henry's who has agreed to test the Venusia: and Charmaine Beauregard, a "Southern Belle" whose libido does not need to be increased! Bud gets his hands on some of the Venusia pills and the fun begins, as he attempts to entertain all three women! The women mix up Bud's Viagra pills with the Venusia, and we soon discover that it has a strange effect on men: it gives them all the symptoms of menopausal women, complete with hot flashes, mood swings, weeping and irritability! When the mayhem settles down, all the women find their lives moving in new and surprising directions.

It is opening night of the Cornley Polytechnic Drama Society’s production of the 1920s murder mystery The Murder at Haversham Manor. The thespians have seen success with previous plays, and the time has come to present this show––a play similar to Agatha Christie’s’ The Mousetrap––to you, the audience, whether they’re ready or not. 

Excitedly, Director Chris Bean welcomes the audience while the company is frantically making last minute changes to the set. They don’t have time to finish, but the play must go on! 

Character Charles Haversham is killed, and the murder mystery plot begins to progress, but not very smoothly. Enter Jonathan, who outright trips on his entrance. Thomas and Perkins try to enter, finding the door to be stuck shut. 

A plethora of calamities ensue, including disappearing props, missing actors, collapsing sets, forgotten and entirely flubbed lines, breaking character, and more. Throughout the mishaps and chaos on- and backstage, Inspector Carter tries to conduct an investigation on the death of Charles. 

The first act ends as the characters realize the murderer must still be in the manor. During the play intermission, the director tries to assure the cast that this isn’t the worst play in the history of ever––and they press forward to Act II. 

But the more the play progresses, the worse the acting gets. What will be the big climax: the reveal of the murderer or how this acting troupe survives this performance?

It is opening night of the Cornley Polytechnic Drama Society’s production of the 1920s murder mystery The Murder at Haversham Manor. The thespians have seen success with previous plays, and the time has come to present this show––a play similar to Agatha Christie’s’ The Mousetrap––to you, the audience, whether they’re ready or not. 

Excitedly, Director Chris Bean welcomes the audience while the company is frantically making last minute changes to the set. They don’t have time to finish, but the play must go on! 

Character Charles Haversham is killed, and the murder mystery plot begins to progress, but not very smoothly. Enter Jonathan, who outright trips on his entrance. Thomas and Perkins try to enter, finding the door to be stuck shut. 

A plethora of calamities ensue, including disappearing props, missing actors, collapsing sets, forgotten and entirely flubbed lines, breaking character, and more. Throughout the mishaps and chaos on- and backstage, Inspector Carter tries to conduct an investigation on the death of Charles. 

The first act ends as the characters realize the murderer must still be in the manor. During the play intermission, the director tries to assure the cast that this isn’t the worst play in the history of ever––and they press forward to Act II. 

But the more the play progresses, the worse the acting gets. What will be the big climax: the reveal of the murderer or how this acting troupe survives this performance?

It is opening night of the Cornley Polytechnic Drama Society’s production of the 1920s murder mystery The Murder at Haversham Manor. The thespians have seen success with previous plays, and the time has come to present this show––a play similar to Agatha Christie’s’ The Mousetrap––to you, the audience, whether they’re ready or not. 

Excitedly, Director Chris Bean welcomes the audience while the company is frantically making last minute changes to the set. They don’t have time to finish, but the play must go on! 

Character Charles Haversham is killed, and the murder mystery plot begins to progress, but not very smoothly. Enter Jonathan, who outright trips on his entrance. Thomas and Perkins try to enter, finding the door to be stuck shut. 

A plethora of calamities ensue, including disappearing props, missing actors, collapsing sets, forgotten and entirely flubbed lines, breaking character, and more. Throughout the mishaps and chaos on- and backstage, Inspector Carter tries to conduct an investigation on the death of Charles. 

The first act ends as the characters realize the murderer must still be in the manor. During the play intermission, the director tries to assure the cast that this isn’t the worst play in the history of ever––and they press forward to Act II. 

But the more the play progresses, the worse the acting gets. What will be the big climax: the reveal of the murderer or how this acting troupe survives this performance?

It is opening night of the Cornley Polytechnic Drama Society’s production of the 1920s murder mystery The Murder at Haversham Manor. The thespians have seen success with previous plays, and the time has come to present this show––a play similar to Agatha Christie’s’ The Mousetrap––to you, the audience, whether they’re ready or not. 

Excitedly, Director Chris Bean welcomes the audience while the company is frantically making last minute changes to the set. They don’t have time to finish, but the play must go on! 

Character Charles Haversham is killed, and the murder mystery plot begins to progress, but not very smoothly. Enter Jonathan, who outright trips on his entrance. Thomas and Perkins try to enter, finding the door to be stuck shut. 

A plethora of calamities ensue, including disappearing props, missing actors, collapsing sets, forgotten and entirely flubbed lines, breaking character, and more. Throughout the mishaps and chaos on- and backstage, Inspector Carter tries to conduct an investigation on the death of Charles. 

The first act ends as the characters realize the murderer must still be in the manor. During the play intermission, the director tries to assure the cast that this isn’t the worst play in the history of ever––and they press forward to Act II. 

But the more the play progresses, the worse the acting gets. What will be the big climax: the reveal of the murderer or how this acting troupe survives this performance?

It is opening night of the Cornley Polytechnic Drama Society’s production of the 1920s murder mystery The Murder at Haversham Manor. The thespians have seen success with previous plays, and the time has come to present this show––a play similar to Agatha Christie’s’ The Mousetrap––to you, the audience, whether they’re ready or not. 

Excitedly, Director Chris Bean welcomes the audience while the company is frantically making last minute changes to the set. They don’t have time to finish, but the play must go on! 

Character Charles Haversham is killed, and the murder mystery plot begins to progress, but not very smoothly. Enter Jonathan, who outright trips on his entrance. Thomas and Perkins try to enter, finding the door to be stuck shut. 

A plethora of calamities ensue, including disappearing props, missing actors, collapsing sets, forgotten and entirely flubbed lines, breaking character, and more. Throughout the mishaps and chaos on- and backstage, Inspector Carter tries to conduct an investigation on the death of Charles. 

The first act ends as the characters realize the murderer must still be in the manor. During the play intermission, the director tries to assure the cast that this isn’t the worst play in the history of ever––and they press forward to Act II. 

But the more the play progresses, the worse the acting gets. What will be the big climax: the reveal of the murderer or how this acting troupe survives this performance?