Murder on the Orient Express at Harlequin Productions

Ms. Holmes & Ms. Watson – Apt. 2B (1/24/25-2/9/25)
HQP Bold Voices – Reading #1 (2/22/25-2/23/25)
Is This Room (3/7/25-3/23/25)
R & J (4/25/25-5/18/25)
Rent (6/20/25-7/20/25)
HQP Bold Voices – Reading #2 (8/2/25-8/3/25)
POTUS (Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive) (8/22/25-9/7/25)
HQP Bold Voices – Musical Theater “Open Mic” Cabaret (11/8/25-11/8/25)
A Christmas Carol (11/28/25-12/24/25)

Pride and Prejudice by Kate Hamill (8/30/24-9/22/24)
Cabaret (6/28/24-7/28/24)
Deathtrap by Ira Levin (1/19/24-2/4/24)
Deathtrap (1/19/24-2/4/24)
Every Brilliant Thing (10/13/23-10/28/23)
The Revolutionists (9/8/23-9/23/23)
Falsettos (6/30/23-7/22/23)
Building Madness by Kate Danley (3/17/23-4/1/23)
Ken Ludwig's Baskerville: A Sherlock Holmes Mystery (1/27/23-2/11/23)

A group of five people—James L. This, Scot Whitney, Linda Whitney, Phil Annis and Ronna Smith—got together in 1991 and decided that they wanted to produce a more challenging style of theater than was available locally. We wrote our mission statement, pooled our start-up capital—a whopping $400 cash—and began producing individual shows at the Washington Center Stage II, a “black box” venue that seated about 100. Seventeen months after beginning our capital campaign, we opened the doors on the beautifully remodeled State Theater. Suddenly we had a theater, a mortgage and a staff. Our budget jumped from $150,000 annually to $750,000. Our full-time staff increased from one to eight. To keep up with the bills and the building, we knew we had to increase income, so we planned to expand from a four-show season to a six-show, year-round season, but the first year we panicked and added two additional shows for a total of eight. And these were not small shows. It was as close as we ever came to failing as a result of driving all human beings involved to near collapse. Then… a bunch of years passed, during which no one has had the time to keep this up to date. But that’s how it started.