“Sherlock Holmes: The Final Adventure” adapted by Steven Dietz, based on the original 1899 play by William Gillette and Arthur Conan Doyle
Pessimist: Here’s the first indication that this is a schedule that looks like it cares as much about student audiences as it does about adult theatergoers.
Optimist: Stage mysteries can be fun — and best left in the hands of a fully professional company. You don’t want your local dentist playing Watson. Plus, Dietz is a respected playwright.
“Macbeth” by William Shakespeare
Pessimist: Once again, the Bard cut down to 90 minutes. (Yes, I realize that’s part of the initiative that helps fund this production. I’m talking as an adult audience member.)
Optimist: When was the last professional “Macbeth” production we’ve seen in these parts?
“Charles Dickens’ A Christmas Carol” adapted by Tom Haas
Optimist: Why mess with a good thing?
“This Wonderful Life” written by Steve Murray, conceived by Mark Setlock
Optimist: An original take on a 20th century classic. Why not?
Pessimist: Isn’t the season a little heavy on adaptations?
“Harper Lee’s To Kill a Mockingbird,” adapted by Christopher Sergel
Pessimist: The IRT already did the show. OK, it was about a decade ago, but still.
Optimist: You’ve seen the film more than once, why not the play? Besides, there’s not just a new crop of kids, but also lots of adults who missed it the first time around. And the previous production was a memorable one.
“Fyodor Dostoevsky’s Crime and Punishment” adapted by Marilyn Campbell and Curt Columbus
Pessimist: Yet another adaptation. Are there no original plays to choose from anymore?
Optimist: This version wowed audiences in previous productions. And are you really going to pretend that you’ve read the book?
“Interpreting William” by James Still
Optimist: This is a warts-and-all original that doesn’t hide the dark side of William Conner’s interesting life.
Pessimist: Isn’t there this Prairie up in Hamilton County where we can learn everything we want to about Conner?
“Crowns” by Regina Taylor, adapted from the book by Michael Cunningham and Craig Marberry
Pessimist: The Phoenix Theatre did this one already, in 2004.
Optimist: The IRT has more resources. And wider reach.
“Rabbit Hole” by David Lindsay-Abaire
Optimist: It’s an Indiana premiere of a critically acclaimed new play. And “Doubt” proved that there’s an audience for thought-provoking work such as this.
Pessimist: Ah, at last, an original drama … that was done at regional theaters across the country last season.
“The Ladies Man” by Georges Feydeau, freely translated and adapted from “Taillieur Pour Dames”
Optimist: Who doesn’t like an expertly played farce — especially one that’s unfamiliar to most audiences?
Pessimist: Frankly, I’m tired of being pessimistic. Who doesn’t like a good, expertly played farce? Here’s hoping.