Archive for November, 2013

The Caleb Midkiff Bow-Tie Ball – TONIGHT!


Tonight we will be celebrating the life well lived of Caleb Midkiff. The Bow-Tie Ball is being held in his memory tonight at Grace Tabernacle in Fort Worth. Proceeds from the event will benefit the Caleb Midkiff Memorial Scholarship Fund. It will be a great night to join with Caleb’s friends and family in remembrance of Caleb’s life well lived. We look forward to see you there.

What: Dance Sociable and Celebration

Where: Grace Tabernacle
6301 Granbury Rd.
Fort Worth, Texas 76133

When: Nov. 29th (Black Friday) 8:00pm to 1:00am

What to Wear: Sunday Best-Semi Formal (Bow ties encourage but not required)

How Much: $10 on or $15 at the door (cash, check or V/MC/DISC at door)

All proceeds go to the Caleb Midkiff Memorial Scholarship Fund. If you’re unable to attend the event you can still donate online anytime. The Caleb Midkiff Memorial Scholarship recognizes local child performer Caleb Midkiff following his untimely passing. This scholarship is awarded annually to a new college freshman planning to major in music, theatre or dance.

The Caleb Midkiff Bow Tie Ball celebrates a life well lived. Please join us as we party the night away in classic Caleb Style.

If you’re interested in volunteering please contact Hannah Midkiff. (817) 880-5289

Another Great Review of WHITE CHRISTMAS from Kristy Blackmon of The Column by John Garcia


We’ve received another great review of WHITE CHRISTMAS from Kristy Blackmon of The Column by John Garcia. For several weeks the entire run of the production has been Sold Out, but as of this morning we’ve been able to add 3 additional performances of the show to try and accommodate demand. These added dates are: Tuesday December 10th at 7:30pm, Tuesday December 17th at 7:30pm and Monday December 23rd at 4:30pm. As of now these dates are just a little more than half full so we recommend calling immediately.

Read on for a great review of the show then call 817-202-0600 or visit

____________________________WHITE CHRISTMAS ____________________________

Reviewed by Kristy Blackmon, Associate Critic for John Garcia’s THE COLUMN

Looking back on my childhood, memories of the holiday season are intertwined with the flickering images of classic Christmas movies: Kris Kringle speaking Dutch to a little girl in Macy’s Department Store, sewing the first seeds of belief in little Susan Walker; Jimmy Stewart’s distinctive voice promising Mary the moon; Judy Garland’s rich alto ringing out over the snow-covered houses and yards of St. Louis. And, of course, there are the hijinks, songs and dances of White Christmas.

Years later, a friend of mine would make her way to Broadway via the annual White Christmas tour, of which I’ve seen two performances. The paper-thin plot serves as a vehicle for a whole lot of singing and dancing, which of course was always stellar in the official tour. It’s a show meant to dazzle in the spirit of the big American musicals of the 1940s and 1950s, full of big tap routines, a bounty of physical comedy, and tunes that exemplify the nostalgic, sentimental style of Irving Berlin.

Let’s just say that my holiday season never seems quite real without viewing some form of this show, and I was thrilled to be able to review Plaza Theatre Company’s production. Making the drive to Cleburne for this company has always paid off with a night of excellent community theatre, and White Christmas was no exception.

I have to take a moment to give the biggest kudos of the night to Tina Barrus, whose costumes once again were an absolute delight. From the uniforms of World War II soldiers to the red and white sequins, velvet and furs of the closing number, Barrus churned out dozens of period-perfect, exquisitely designed, and well-made costumes. The iconic feather fans and matching dance outfits worn by Judy and Betty during their performance of “Sisters” were so much fun I clapped in delight. From “Blue Skies” to “White Christmas”, the performance costumes complemented the musical numbers perfectly. Even the street clothes worn by both the featured and supporting cast were worthy of special note. In a tiny space like Plaza’s, sets and props necessarily have to be scaled back. The only technical element that can really get the full treatment is the costumes, and Barrus never once under-delivered. This may be a little community theatre in a little Texas town but Tina Barrus designs and produces costumes fit for Broadway.

The light design by Cameron Barrus also had some neat tricks, especially the great rendition of the Ed Sullivan Show’s logo projected whenever any of the performers appear there. Though a little too dim to really be classified as remarkable, the blue wash and light reflections during “Blue Skies” was creative and effective, giving the impression of sequins glittering in a spotlight all over the stage.

For the most part, G. Aaron Siler’s sound design was solid. He seems to have found exactly the right mix between the principals, chorus and accompaniment so that each element can be heard without overwhelming any other. There were some glitches on Saturday during the big group number “Snow”, but overall, Siler managed the challenge of producing a big show in a little space quite nicely.

The sets by JaceSon P. Barrus were necessarily minimal but highly effective. The large ensemble acted as the stage crew, bringing set pieces on and offstage, leading to a few clumsy transitions but they were easily forgiven. A few cabaret tables created the Regency Room nightclub, red doors and wooden barrels made up the Barn Theatre, and wooden benches were used to depict an Army camp. Barrus displayed his intimate knowledge of the space with special touches like an actual porch swing during the classic “Count Your Blessings” on the front porch of the inn and dual dressing rooms for the guys and gals during “Love and the Weather”. Most impressive was the Front Desk at the Columbia Inn which Martha Watson (Judy Keller) used as her headquarters to manage General Waverly (Doug Henry) and meddle in the affairs of the guests.

Keller gave a stand-out performance as the formidable Martha. Her strong, brash mannerisms transitioned perfectly into her solo number “Let Me Sing and I’m Happy”, which had the audience cheering. Equally protective and nosy, Martha is the true boss of the Columbia Inn, despite General Waverly’s name on the deed. Keller brought tremendous energy to the role but also showed a seasoned knowledge of when to scale back so as not to detract from the main action. She stole the show in the moments she was supposed to, supplemented the other cast members to keep the pacing brisk when needed, and faded into the background when appropriate.

Martha’s repartee with the General is typically a source of chuckles in White Christmas as they argue back and forth like an old married couple. Doug Henry as General Waverly was a little too soft-spoken to convince me that he was an equal match for Martha. Likewise, it was difficult to imagine him leading men into battle or commanding the sort of respect that would make two former members of his company still snap to attention ten years after the war ended. His moments with his granddaughter, Susan (Eden Barrus), were the most effective.

Eden Barrus was adorable as studious little Susie—make that Susan—who gets bitten by the theatre bug that infects most of the rest of the cast. Though still very young, Barrus has the makings of a true triple-threat. She was believable as a granddaughter who was sincerely worried about her grandfather, her singing voice was clear and strong, and she showed her dancing chops during her reprise of Martha’s “Let Me Sing and I’m Happy”.

Rounding out the motley crew at the Columbia Inn is Ezekiel Foster, hilariously played by Jay A. Cornils. Though Zeke is a man of few words, Cornils delivered them with comedic timing that never failed to get a laugh.

The supporting members from the show-biz side of the cast also had some good performances, though none to match Cornils and Eden Barrus. Monica and Stefanie Glenn, the real-life sisters who portrayed Rhoda and Rita, were appropriately irritating with their giggling and flirting, and their shrill speaking voices carried over well in their brief duets. Joshua Rendon as Ralph Sheldrake channeled the bravado of a successful Broadway producer, his big frame and bigger stage presence conveying the attitude of self-importance necessary for the role.

This brings us to our four leads. Jonathan Metting and Jill Nicolas were precious as Phil Davis and Judy Haynes. Both players moved with that particular kind of sassy style that is so characteristic of musicals of this era. The dance numbers between the two, especially “The Best Things Happen While You’re Dancing” in Act I, were truly impressive. They each got to show a range of dance styles, though the show by design is tap-heavy. They definitely showed more chemistry in their dancing than in their spoken scenes but each had fabulous spunk that made up for any lack of sizzle and carried over into their individual roles.

Metting gave the impression that he could have played this role in his sleep; he made every song and dance move seem wonderfully natural and easy. He played the perfect sidekick, and his performance during his duets with Barrus channeled just enough of Danny Kaye (who played the role in the film) to draw a definitive parallel, but he still managed to make the role his own.

Judy Haynes, as played by Nicolas, likewise was a great foil to older sister Betty (Daron Cockerell). Lively, impulsive and fun-loving, Judy’s flirtatious sass was a nice contrast to Betty’s romantic angst. Nicolas and Cockerell as Judy and Betty Haynes didn’t have quite the same chemistry as Metting and JaceSon P. Barrus as Phil Davis and Bob Wallace, but this perhaps is due to the fact that the role of Judy was double cast. Where Barrus had only to connect with Metting, Cockerell had to form a connection with two Judys. Despite this, the Haynes Sisters were charming whenever they performed and Nicolas more than carried her weight.

What Daron Cockerell may or may not lack in dance skills (the role doesn’t provide much room for her to show them off), she makes up for in spades with a silky, rich singing voice that was equally successful in playful numbers such as “Sisters” or “Falling Out of Love Can Be Fun” as it was during her signature soulful ballad “Love, You Didn’t Do Right By Me”. Especially after the key change halfway through, Cockerell’s voice soared through the space, leaving goosebumps in its wake.

Her voice didn’t fail her in her duets with Barrus either. The two blended well together vocally – their rendition of “Count Your Blessings” was soft and touching. Regretfully, they failed to achieve the chemistry that Bob and Betty should have. Their most successful moments came in the beginning of the show when they verbally jab each other in a back-and-forth repartee that was nicely paced and lively. All of that life, however, seemed to go out of the duo once the truce was called and they began to fall in love. Though each gave good performances individually and with their respective performing partners (Phil and Judy), their duets felt flat and their love scenes were slightly awkward.

Apart from his interactions with Cockerell, Barrus gave a good performance as leading man Bob Wallace. His duets with Metting were charming and fun, and I was impressed that he was able to keep up with Metting’s dance moves. Barrus was charming and energetic with a good singing voice and nice stage presence. The scene with Bob and Susan on the Inn’s front porch was especially touching, probably helped in no small part by their offstage relationship as father and daughter. His rendition of “Count Your Blessings”, sung to little Susie, was tender and sweet and definitely a take-away of the night for me.

The only real issue with Plaza’s production of White Christmas—and of many Plaza productions I’ve seen—is their insistence on cramming a full-sized cast into such a small space. The dance ensemble was so large that I was constantly on edge waiting for two or more dancers to crash into one another (and I did see some near misses). The closing number had the stage so crowded that it was impossible to pick out the principals in the melee. While the vocal corps added a nice depth to the group numbers, they were almost off stage and therefore out of the way, which was fine. The dancers, on the other hand, were obviously in over their heads, off-count in tap numbers that should have been sharp and perfectly timed. I had to wonder at first if it was Tiffany Mullins’s choreography that resulted in the confusion. However, the dance numbers with Metting and Nicolas were so charming and made such effective use of the stage that it seems the dancers’ lack of space was the ultimate culprit.

White Christmas had more than enough charm to make up for its few failings, and I smiled throughout it, lost in just the type of nostalgia Berlin was aiming for. It isn’t surprising that Plaza is considering adding another weeknight performance because they are sold out through December. Their reputation is widespread and well-deserved. And when the audience joined in with the cast to sing the final reprise of “White Christmas”, I felt like my holiday season had officially begun.

A Fabulous Review of WHITE CHRISTMAS from Paul Gnadt of the Star Group Newspapers


If you can get a ticket, Plaza’s ‘White Christmas’ is an early present

Producers trying to schedule Tuesday performances
Musicals are what the Plaza Theatre Company does best and its current production of “White Christmas the Musical” ranks right up there with any it has presented since opening in November 2006.

Familiar songs sung by good singers, lively choreography tapped out by good hoofers, all in colorful costumes, make this adaptation of the 1954 movie with Bing Crosby, Danny Kaye and Rosemary Clooney an acoustical and visual delight.

Unfortunately, it will be a blue Christmas for many because all 23 performances are sold out, a fitting tribute to PTC’s well-deserved reputation.

Or maybe it’s Daron Cockerell.

IMG_3758(1)A member of the PTC 20 club — a performer or crew member who has participated in at least 20 PTC productions — Cockerell’s outstanding voice was last heard in PTC’s “Ragtime” and, before that, “Drowsy Chaperone.”

Although this is her 25th show, her casting in roughly only one-third of PTC’s 70 productions makes it special when she is in the cast, and she delivers as expected, pairing with JaceSon Barrus (as Bob Wallace) on three songs, Julianna Keller and Jill Nicolas (double-cast as Judy Haynes) on some others, and in most of the production’s 23 musical numbers.
Keller and Nicolas can sing, too, as can Barrus and the indefatigable Jonathan Metting, in his fourth consecutive PTC production.

Many of the Irving Berlin songs are standards, such as “Happy Holiday,” “Count Your Blessings,” “Blue Skies,” “How Deep is the Ocean,” and, of course, “White Christmas,” which the audience is asked to sing along a couple of times.

With all that, it was a song by longtime PTC absentee Judy Keller and a couple of dance numbers that were show stoppers on the night I attended.

Keller, as Martha Watson, the desk clerk at Columbia Inn in Vermont, was singing “Let Me Sing and I’m Happy” when the power went out, plunging the 160-seat theater-in-the-round into darkness. When the power returned, Keller had a good laugh with the audience and took it from the top, starting many song verses with “as you already know,” or “as I told you before.” It was a knockout and received thunderous applause.

As usual at PTC, kudos go to those behind the scenes as well as on stage. The best dance numbers — all choreographed by Tiffany Mullins — were built around “I Love a Piano,” and “Blue Skies,” both featuring great costumes to accentuate the dancing, of which the line tap dancing is outstanding.

IMG_3674Not only did Tina Barrus codirect with her husband, JaceSon (who actually directed during live action when the power went out then returned and everyone looked at him with a “what now?” expression), she also designed the multitude of costumes the cast changes into time and time again.

Even with the great songs, good voices and good dancing, there actually is a plot: it’s a musical about putting on a variety show in a barn.

Basically, the story is about two 1944 Army buddies, Bob Wallace (Barrus) and Phil Davis (Metting) who have become a song-and-dance team successful enough to appear on the Ed Sullivan TV show 10 years later.

They visit a New York nightclub and see the singing act of the Haynes sisters (Cockerell and Keller/Nicolas) and, whaddya know, the guys accompany them to their holiday gig at an inn in Vermont, except Metting has tricked Barrus into thinking they’re headed to Florida.

And, whaddya know, the inn is owned by Gen. Waverly (a perfectly ornery Doug Henry)their old Army commander. When Martha reveals that the general is drowning in bills and is about to lose the inn, the boys decide to put on a variety show and round up all their old platoon buddies to come see it and save the inn.

In another clever PTC twist, the audience becomes the platoon, receiving the general’s wrath early on, then, at the end, is the object of his affection and reflections as he finally gives up the ways of a military man.

And in yet another twist, watch for PTC veteran Jay Cornils. I didn’t read the playbill before the show started, so it wasn’t until half way through the second act that I recognized him in character. Try and not read the cast list and see if you can spot him.

IMG_3921With music and lyrics by Irving Berlin, from a book by David Ives and Paul Blake, with PTC musical direction by Henry (the general), assisted by Jamie Long and Soloman Abah, sound design by G. Aaron Siler, lights by Cameron Barrus and set design by JaceSon Barrus, “White Christmas the Musical” is presented at 7:30 p.m. Thursdays, Fridays and Saturdays and 3 p.m. Saturdays through Dec. 23 at the Plaza Theatre, 111 N. Main St., in Cleburne.

Tickets, if any are available, are $15 for adults, $14 for age 65 and older and high school and college students, and $13 for children age 13 and under — and can be purchased online at, or at the box office from 10 a.m.-6 p.m. Monday through Saturday, or by phone at 817-202-0600.

PTC producers are working with “White Christmas” producers for permission to schedule a couple of Tuesday shows.  Call PTC to find out if that happened. If so, go.

AUDITION NOTICE: The King & I at Plaza Theatre Company


The King and I

December 2nd and December 3rd, 2013

Plaza Theatre Company is pleased to announce open auditions for its upcoming production of THE KING AND I. There are auditions for children 5-12, teenagers, and adults.

The audition will be held at Plaza Academy which is located at 221 Mill Street in Cleburne about 1 block from Plaza Theatre Company. The show will be directed by Soni and Jodie Barrus.

For Children ages 5-12:
Children ages 5-12 will audition on Monday Dec. 2nd at 7pm. They do not need to bring a musical number but will be asked to learn a short song. The audition should take approximatly one hour. We are encouraging those of the younger ages to audition. No appointment necessary.

For individuals 13 and older:
Those auditioning who are 13 and older are asked to come prepared to sing 32 bars of music in the style of the show that will best display their vocal ability. An accompanist will be provided. Additionally, those auditioning may be asked to read cold from the script during the initial audition. The directors will spend around 5 minutes with each individual performer at this initial audition. CLICK HERE TO MAKE AN APPOINTMENT.

Dance auditions:
Dance audition is on December 3 at 8:30pm. Ballet expertise desired but not absolutely required. No appointment necessary.

A call back audition will be held on Wednesday December4th at 7pm. Those who the Directors wish to see further will be invited to the call back audition which may last up to 3 hours time. PLEASE REFER TO THE PLAZA AUDITION GUIDELINES AS WELL AS THE PLAZA AUDITION CREDO WHEN PREPARING YOUR AUDITION.

Rehearsals begin Saturday, December 7th at 9am.

The production will play on Thursday, Friday, and Saturday evenings and Saturday afternoons opening on January 31st and playing through March 8th. Rehearsals will commence on December 7th and will usually take place Monday thru Wednesday evenings and Saturday mornings until opening. No Sunday rehearsals or performances.

Anna Leonowens
(Lead): Female, 30-40, Soprano. Stong-willed, confident, accomplished, passionate teacher who travels to Siam with her son to assume the duties of a tutor to the royal household.

King of Siam (Lead): Male, 45-60, Baritone. Strong, proud, and in control. Struggling to bring Siam into the modern era without losing control of traditions and power. Must be able to move gracefully and project royal character.

Sir Edward Ramsay (Supporting): Male, 40+, Non-singing role. English diplomat and Anna’s former suitor. Will double as Sir Captain Orton, a seasoned English seafarer who brings Anna and Louis to Siam.

Kralahome (Supporting): Male, 45-65, Non-singing role. Second to King, strong traditionalist.

Louis Leonowens (Supporting): Male, 10-15, Anna’s son. Nice singing voice. Must be able to whistle.

Tuptim (Supporting): Female, 18-24, Soprano. Rebellious and daring. “Gift” from the king of Burma. Resents being given away and is hopelessly in love with Lun Tha.

Lun Tha (Supporting): Male, 20-27, Bari-tenor. Burmese scholar, in love with Tuptim, and frustrated by his powerlessness.

Prince Chulalongkorn (Supporting): Male, 14-19, tenor, The King’s son and heir, very proud.

Lady Thiang (Supporting): Female, 40-50, Alto/Soprano II. Head wife, mother of Prince Chulalongkorn. Steady influence in the court.

Phra Alak (Supporting): Male, 25-50, Secretary to The King. May double as The Interpreter.

Captain Orton (Cameo): Male, 35-50, Captain of the ship

Royal Dancers: 14-40

Female Ensemble (Wives) (Chorus / Ensemble): Female, 18-64, Singers and dancers. Some of the wives may dance in “Small House” ballet.

Male Ensemble (Palace Guards) (Chorus / Ensemble): Male, 18-64, Singers and dancers. Will chant/sing as ensemble, and some may dance as well. Athletic build is a plus.

WHITE CHRISTMAS: Photos from the opening matinee


WHITE CHRISTMAS opened this last weekend at Plaza Theatre Company to full houses, lots of music and laughs, and a whole lotta fun. Here are some photos of the show from our opening matinee performance of WHITE CHRISTMAS. Enjoy.

IMG_3674 IMG_3687(1) IMG_3707 IMG_3758(1) IMG_3818 IMG_3921 IMG_4072 IMG_4080 IMG_4084 IMG_4105 IMG_4137 IMG_4142 IMG_4182 IMG_4188

“No Mystery About It, Clue the Musical Is A Good One” — Paul Gnadt of The Star Group Newspapers


CLUE THE MUSICAL has received another stellar review, this time from Paul Gnadt of the Star Group Newspapers. We have reached the final weekend of the show and seats are still available for the last few performances. Come play the game with us and enjoy a fun evening of mischief and whodunit. Read below about the show then call 817-202-0600 or visit to reserve your seats.

No mystery about it, Clue the Musical is a good one

Generally, I don’t enjoy musicals when I am unfamiliar with the songs because it takes too much effort to concentrate on the words.

But it’s different with “Clue the Musical,” the Plaza Theatre Company’s current production at the Plaza Theatre in Cleburne, because you’re already in deep-thought mode anyway attempting to solve the whodunit based on the famous board game.

The words to many songs rhyme, so they’re fun to listen to and all are presented by some of PTC’s best singers.

Another reason to concentrate is the people seated around you are whispering among themselves because the audience plays detective, trying to solve the mystery, which is part of the fun but sometimes annoying.

Each playbill contains a “detective notes” sheet to write down clues and determine the killer, which requires sharing information with those seated around you.

Here’s how it works: Three huge cards — suspect, weapon, and location — are selected by audience volunteers at the start of the show and placed in an envelope. The envelope is placed on a mantle in everyone’s view and remains there until the final scene.

The remaining cards are tallied off-stage, and the answer is revealed to the actor playing Mr. Boddy (PTC cofounder G. Aaron Siler) whose subsequent lines depend on knowing the outcome in advance because there are a possible 216 of them.

I am not good at math, but my calculator and I figured out that six possible suspects times six possible murder weapons times six possible locations equals 216.

If you’ve never played the board game, here’s the plot: Six colorfully named and dressed (in costumes designed by Kara Barnes) characters arrive at Boddy Manor with multiple reasons to do away with Mr. Boddy. The suspects are:

• Mrs. White (Joshua Sherman, dressed in white), an overworked, underpaid housekeeper who is being blackmailed by Boddy.

• Mr. Green (Jonathan Metting, dressed in green), a sleazy con man involved with Boddy’s shady business ventures and who has been out conned.

• Mrs. Peacock (Kathy Lemons, dressed in wild colors and feathers), who has recently made Boddy her sixth husband, but prefers being a wealthy widow to a bored housewife. She already has her eye on…

• Colonel Mustard (Jay Lewis, dressed like he just slid off a hot dog), an old flame and retired military man who wants Boddy dead so he can have Mrs. Peacock all to himself.
• Miss Scarlet (Gemma Garcia), a former Las Vegas “performer” who got mixed up in Boddy and Green’s schemes.
• Professor Plum (David Goza) apparently a fundraiser for higher education.Even though he’s the eventual victim, Boddy (Siler) serves as a storyteller, summarizing in song and rhyme the previous scene and cleverly dropping clues along the way.The audience receives crime-solving assistance when the Detective (Stacey Greenawalt King, Nu Yawk accent and all) arrives after intermission. Her timing, energy and voice add spice to the mixture.There are 15 songs (directed by Bree Cockerell), all accompanied by live musicians with Cheri Dee Mega at the piano, and Parker Barrus and David Cole sharing drums.

As usual at the theater-in-the-round Plaza, so common-place it’s almost taken for granted, the set (designed by JaceSon Barrus, constructed by him and Justin Diyer and painted by Julie Lee) is clever and the lighting (designed by Cameron Barrus) is just right. In fact, the lighting must be spot-on perfect in many scenes.

There’s really no mystery about it. “Clue” — the 20th PTC production for Siler and Lewis, making them charter members of the Plaza Theatre Company 20 Club —  is a fun and entertaining night at the theater.

Directed by Dennis Yslas, from a book by Peter Depietro, with music by Galen Blum, Wayne Barker and Vinnie Martucci and lyrics by Tom Chiodo, “Clue the Musical” is presented at 7:30 p.m. Thursdays, Fridays and Saturdays and 3 p.m. Saturdays through Nov. 9 at the Plaza Theatre, 111 N. Main St. in Cleburne.

Tickets — $15 for adults, $14 for age 65 and older and high school and college students, and $13 for children age 13 and under — can be purchased online at, or at the box office from 10 a.m.-6 p.m. Monday through Saturday, or by phone at 817-202-0600.

It’s PlazaCo’s 7th Birthday!


On November 2nd, 2006 Plaza Theatre Company officially began operations here in Cleburne, TX. We started by producing a three performance weekend of the comedy THE MAN WITH THE POINTED TOES which was presented in the old Putt-Putt building across from the Splash Station. Several of our generous friends helped us by taking part in the show as well as in the small “Pre-Show” we arranged to kick off each performance. It was a make-shift setup at best, but over the course of three performances we played to a total of 220 patrons (which we considered a smashing success). This “Preview Weekend” as we called it, gave us cause to move forward with plans to launch PlazaCo full time which we did in April of 2007 with a production of YOU’RE A GOOD MAN CHARLIE BROWN.

Now 7 years later, Plaza Theatre Company is 2 weeks away from opening it’s 70th Mainstage production – WHITE CHRISTMAS which will open on November 15th. We anticipate the show will play to nearly 4,000 patrons during it’s 5 week run. Along the way we’ve been honored with some great awards, produced some fabulous shows and met and made thousands of new friends, but we always take time to remember our humble beginnings at the Putt-Putt now 7 years ago. To those who helped us launch by contributing to that show – Thank You! And to those who have and continue to contribute to making PlazaCo what it is today – Thank You too! We’re looking forward to another fantastic 7 years in Cleburne.