Here’s the low-down, from the announcement: “Max and Karen’s dilemma- They’re engaged to be married, but their jobs are keeping them apart. While twitter, email, texting and camera phones keep them connected, overlapping calls, three-party conferencing, simultaneous instant messages and emails create moments of sublime confusion.”

You can get more details, and sides, at FortHillPlayers.com

Auditions are Jan. 6 and 7 at 7 p.m. at Rochambeau School, 228 Fisher Ave., White Plains. Questions or conflicts, call 914-946-5143.

Performances are March 12, 13, 19, 20.

That’s Nov. 20 and 21 at 7:30 p.m. $5. Rye Country Day is on Cedar Street in Rye.

He’ll spend the morning at Rye High School and Middle School giving
lecture-demonstrations to clarinet students. In the afternoon, he will visit the Osborn, Milton and Midland Middle Schools talking to nearly 500 third- through fifth-graders about his career.

Here’s my Q&A with Anthony McGill, which ran in Sunday’s editions of The Journal News:

If you know Anthony McGill, the 30-year-old principal clarinetist with the Metropolitan Opera, it’s likely from his performance on the steps of the U.S. Capitol on a bitterly cold Inauguration Day last January, a few feet from the new president.

On that cold day, everyone on the Mall — except for those within earshot of the unamplified quartet — heard a recording of cellist Yo-Yo Ma, violinist Itzhak Perlman, pianist Gabriella Montero and clarinetist McGill because the sub-freezing temperatures made it impossible to keep the instruments in tune.

The conditions will be considerably better on Saturday and Nov. 22 when McGill plays with Perlman’s Westchester Philharmonic at Purchase College, McGill chatted about the upcoming concert and other things, recently, including one fact about that cold day that makes people gasp when they hear it.

Q: Well, everyone said the world would change on Jan. 20, 2009. That must have been the case for you and your career.
A: Yeah, it did a bit.

Q: A little easier to get a gig now, I suppose?
A: Since my main gig is at the Met, it’s nice to be able to do other stuff here and there: performances and concertos and recitals. So, yeah, the schedule’s just a little bit tighter now.

Q: Which is a good thing.
A: Most definitely.

Q: What did you make of the mini-controversy about your music being played on tape rather than live at the inauguration? Did you make anything out of that?
A: No I didn’t, actually, because for us it was kind of like a standard kind of thing with the weather being that cold. That’s the only thing you pretty much can do. There aren’t many options besides not performing, which wasn’t an option at all.

Q: Have your fingers thawed out from that? It was a very cold day.
A: It was a very cold day, but that was the farthest thing from my mind. It was so awesome to be there and to experience that day. It was very cool to see all those people out there, pretty amazing.

Q: Yo-Yo Ma, Itzhak Perlman and Gabriella Montero. That’s the A-Team. Did you feel like you had been traded to the Yankees when you got the call?
A: Yeah, it was pretty wild. The biggest thing I’ve ever been a part of. I was so honored that Yo-Yo Ma thought of me to do it because we had played together before. It was awesome to be up there with the top musicians in the world.

Q:Did you get to meet the president and first lady?
A: I didn’t. (Laughs.) I did not meet the president. I tell everybody that and they just gasp. But hopefully I will in the future. I have a few more years to try to get on his schedule.

Q: But you do get to see Itzhak Perlman again. Is this the first time you’ll see him since the inauguration?
A: I saw him at a gala for the Westchester Philharmonic, back in the spring. But this will be great, to work with him again.

Q: You’ll be playing the Mozart Clarinet Concerto. It’s a lovely piece but it sounds like it’s a workout.
A: It really is. It has everything. A masterpiece like that, you’re going to have your beautiful slow moments and the workout sections, but it’s all worth it because it’s so beautiful. For a clarinet player, it’s the most beautiful piece ever written. You can’t get much better than that.

Q: Playing with the Met, you play Mozart’s opera music. Is there a big difference between opera music and a concerto?
A: Actually, there is quite a difference. Not so much in the writing or the style — Mozart is Mozart — but playing the solo line, you’re like the singer up on stage in front of the orchestra. It has a lot of similarities, but for me, I’m in a different position, with the spotlight on. It’s pretty great. I love playing in the opera, but I also love soloing with great orchestras like Westchester.

Photo by Katie Colleary: Anthony McGill, the principal clarinetist for The Metropolitan Opera, will reunite with violinist Itzhak Perlman, conductor of the Westchester Philharmonic, for a concerto Nov. 21 and 22  at Purchase College.

What: Westchester Philharmonic, with Anthony McGill, clarinet
When: At 8 p.m. Saturday; 3 p.m. Nov. 22.
Where: The Performing Arts Center Concert Hall at Purchase College, 735 Anderson Hill Road, Purchase.
Tickets: $25 to $85. Discounts for students, children, groups.
Call: 914-682-3707, Ext. 10
The program: Conducted by artistic director Itzhak Perlman, the program opens with Felix Mendelssohn’s Overture to A Midsummer Night’s Dream, continues with Mozart’s Clarinet Concerto and concludes with Schubert’s “Great” Symphony No. 9. A pre-show “Tuning Up” discussion with members of the philharmonic precedes each concert, beginning an hour and 15 minutes before curtain.
Open rehearsal: Free open rehearsal with Perlman and McGill at 10 a.m. Saturday.
Web: www.westchesterphil.org

I hope to be back at the Emelin on Thursday to catch “The Liar Show,” in which four storytellers spin yarns, one of which is a complete lie.

From Honest Abe to “The Liar Show” inside a week. That’s complete programming.

For the foreseeable future, when Broadway audiences think about New Rochelle, they’ll think of Ron Bohmer, Christiane Noll, Dan Manning, Bobby Steggert and Christopher Cox.

They play the privileged New Rochelle family that represents a third of the story told in E.L. Doctorow’s sweeping “Ragtime,” the stage musical that returns to Broadway tonight at the Neil Simon Theatre.

The 2009 revival begins as the 1974 book did, with the line: “In 1902, Father built a house at the crest of the Broadview Avenue hill in New Rochelle, New York.”

Then, for the better part of the following three hours, theatergoers see New Rochelle — real and imagined, serene and, at times, ugly — through the prism of Doctorow, book writer Terrence McNally, composer Stephen Flaherty and lyricist Lynn Ahrens.

“Ragtime” is three stories in one: the Protestant privilege of New Rochelle; the rowdy but hopeful ragtime-flavored Harlem of Coalhouse Walker and the idealistic but downtrodden immigrant experience of Tateh and his daughter. Those fictional characters interact with real-life figures Henry Ford, Harry Houdini, Evelyn Nesbit and Emma Goldman in Doctorow’s sprawling story.

The face of New Rochelle is the Family: Father (Bohmer); Mother (Noll); Grandfather (Manning); Mother’s Younger Brother (Steggert); and The Little Boy (Cox).

One morning earlier this month, these real-life Broadway actors came to the real New Rochelle in search of perspective on their fictional “Ragtime” home.

Their guide was Barbara Davis, the city’s historian, who saw the musical in previews (right) and devised a “Ragtime”-inspired tour.

Because Doctorow layered fiction onto reality, planning a tour was not an easy task.

Certain sites were given, Davis said: the home (at the crest of the Broadview Avenue Hill) in which Doctorow wrote “Ragtime” and where he lived until 2001; the train station and the preserved Rochelle Park neighborhood that still evokes a turn-of-the-20th-century feel.

Other spots suggested in the book or musical required a slight stretch for Davis, who literally wrote the book on the city: Arcadia Publishing’s “Images of America: New Rochelle,” published this year.

Among the not-specifically-mentioned sites were a firehouse on Drake Avenue and the Rowing Club at Hudson Park, once a meeting place for the new city’s high society.

At each of the stops, the actors peppered Davis with questions.

What were the streets like in 1906? (Mostly dirt roads, with horses and buggies, although there were reports in the papers of motorcar accidents.)

Would they have had horses or a car? (Possibly a car, but their garage would have been detached from the house, because city ordinance writers feared cars exploding, catching houses on fire.)

Was it common to have pleasure boats? (Hudson Park was packed with yachts, sailboats, canoes and sculls.)

Doctorow, Davis said, got much of his inspiration from old newspapers and spent much of his research time in New Rochelle Public Library’s local history section, which now bears his name.

The bunting and patriotic adornments seen on so many buildings at the turn of the last century — and in many of the photos in the library’s collection — might have prompted Doctorow to make Father a seller of bunting and fireworks, she suggested.

With the exception of Steggert — who visited New Rochelle in search of “Ragtime” landmarks and snapped a photo of the Doctorow home — none of the other cast members had set foot in their new musical hometown, even though it’s just, as the song says, 45 minutes from Broadway.

Starting at the New Rochelle station (right), Davis charted a course to Broadview Avenue, pointing out City Hall, the former high school, where Cox’s character would have attended, unless he went to boarding school.

“Oh, he would have gone to boarding school,” declared Noll, jumping into her maternal character for a moment.

North Avenue was two-lane North Street back then, home of the trolley line that the family would have taken.

When the tour arrived at the foot of Broadview, they gave a small cheer. Up the hill, on the left, stands the home in which Doctorow lived and upon which he based the “Ragtime” house. (Below.)

(The house in the film version of the story, of which Davis said Doctorow is not a fan, still stands in Mount Kisco.)

Davis pointed out that Doctorow wrote in the attic and would look out and see maids walking up the hill to work.

“He was staring at the wall up in the attic and was spending time at the library because his other books were also historical fiction,” she said. “And he’d probably gotten a sense of the place from looking at photos and newspapers on microfilm. That’s how it all got started.”

Davis was an organizer of the city’s “One City, One Book” program last year, when “Ragtime” was presented at New Rochelle High School and the book was the focus of discussions, exhibits and guest speakers, including Doctorow.

After leaving the Doctorow home, the tour snaked through the Rochelle Park neighborhood, “which really feels like that time era because it’s a historic district and you feel like you’re in the late 1800s, early 1900s,” Davis said.

New Rochelle also had a Jewish section, along Main Street, where peddlers set up shop, she added.

The Irish had their section, too, and “their time of discrimination” in New Rochelle, she said: “There was a line painted down Centre Street and it said ‘Irish cannot pass here.’”

In staging the rousing opening number in the revival, director and choreographer Marcia Milgrom Dodge keeps the lines — white, black, immigrant — distinct. They whirl and spin, but don’t mix.

New Rochelle is also depicted in an ugly scene of racism, when an Irish fire chief leads a racist attack on Coalhouse Walker’s car, eventually sending it down the hill into salt marshes.

While this was a Doctorow fabrication, Davis’ next tour stop was a Drake Avenue firehouse (right) which, she surmised, might have inspired the scene.

The geography is right: uphill from the salt marshes of the Long Island Sound, in the Irish section of town, on a line between the Forest Heights section and New York City.

“When we originally thought about doing ‘Ragtime’ as our ‘One City One Book,’ there were peopple who thought it would be detrimental to New Rochelle,” because of that scene, Davis said.

“But by last year, everyone agreed we were beyond that and we could handle it and it would actually be a good thing.

“It was as if New Rochelle had matured enough to be able to handle it, particularly the Fire Department,” she said. People were concerned that firefighters would be looked poorly upon, even though it was historical fiction and it never really happened.”

This part of the tour resonated with Noll, she said later.

“For me, this crystallized the notion that there was an Irish section of town where they were pushed away — and far away — from the privileged. So a car coming through that section of town, even if it were driven by a white man, would have been rough for them to handle, let alone a black man,” the actress said.

The tour’s next stop was the New Rochelle Rowing Club in Hudson Park which was founded in 1880 and was the social spot for society folks. A prominent family such as Mother’s and Father’s certainly would have spent time there, Davis said.

Bohmer said Father, a self-made man, “perceives New Rochelle as the pinnacle of New York society. ”

“Moving the family to New Rochelle is the ultimate status,” he said.

Mother’s Younger Brother changes from a star-struck, lovesick kid to a man with a plan, undergoing a complete transformation. But Steggert, who plays him, was struck by how pockets of New Rochelle hadn’t transformed at all.

“Some of the sections are exactly how I imagined they would have been 100 years ago,” he said. “They’re really kind of frozen in time.”

On stage at the Neil Simon, in Derek McLane’s minimal set design, the house is represented by a door and a transparent piano.

Manning, who plays Grandfather, a former teacher of Greek and Latin who is quick with a quip, said Davis’ tour gave him perspective and “definitely images I’ll use to fill in gaps in our stage, which is sparsely appointed.”

On the tour’s final stop, in the library’s Doctorow local history room alongside a photo of the author (right), Noll said she had learned a thing or two.

“I was thinking, for whatever reason, of this whole area as being much more condensed,” she said. “But it really is quite spread out.”

Bohmer added that he came away with a sense of the divisions in that world.

“Particularly when we see the house, we really can see how they lived in their own little protective bubble,” he said. “That makes the events of this show that much bolder in the impact it has on their lives because they’re so raw compared to this nice, clean, sweet little community up on a hill.”

“Before we came here, I thought it was cream-colored,” joked Cox, echoing a line he has in the musical, to the delight of his stage family.

“But my opinion has changed.”

What: “Ragtime”
When: Opens Nov. 15
Where: Neil Simon Theatre, 250 W. 52nd St., between Broadway and Eighth Avenue
Tickets: $46.50 to $126.50
Call: 212-307-4100, or toll-free, 877-250-2929
Web: www.ragtimebroadway.com

“Ragtime” photo by Joan Marcus; Barbara Davis photo outside the theater by Peter D. Kramer; all other photos by Ricky Flores of The Journal News

For one thing, much of it is told without words, in page after page of stage directions.

For another, the topic — a deaf-and-blind girl learning to communicate — requires a great deal of sensitivity.

But Blind Brook and Briarcliff high schools are accepting the challenge this week, and each is going to great lengths to make sure audiences will see something they won’t soon forget.

At Blind Brook High School in Rye Brook, director Christina Colangelo says she chose the play because she appreciated Gibson’s taut script and saw it as a way to showcase the Southern Westchester BOCES Deaf and Hard of Hearing Program, which has been in the district for 30 years.

The program allows students from across the northern suburbs, and as far away as Dutchess County, to study in regular education classes alongside interpreters.

Sophomore Nora Fisher plays Annie Sullivan and senior Jacqueline Mamorsky, an 18-year-old senior who is deaf, plays Helen Keller.

Mamorsky is no stranger to the stage, having appeared in “Stage Door” and “The Crucible.”

Last year, she interpreted the extended “Uncle Tom’s Cabin” ballet in “The King & I,” picking up the cast’s visual cues to translate the show into American Sign Language for an audience of deaf and hard-of-hearing theatergoers.

“She is such an extraordinary actress, I wanted to feature her, so she signed the entire ballet,” says Colangelo.

This year, Mamorsky will be in the middle of the action as Helen.

“A lot of it is Helen’s emotions being expressed through her physical person,” Mamorsky says through interpreter Sheryl Lopez, who works for BOCES in the district. “She was frustrated because she didn’t know how to communicate.”

That’s not Mamorsky’s problem. The senior’s eyes flash and her lips form the words as she signs.

“Helen and I are different because Helen couldn’t hear or see anything.” Mamorsky says. “It was harder for her to learn. I can see, so it’s easier for me, but I can still understand how she feels being frustrated when people don’t understand.”

The role is so physical that even though she has read the script and prepared for it, “it’s draining,” she says.

Fisher, a sophomore, plays Annie Sullivan and has a steep learning curve: Mam­orsky already knows her sign language cold.

“I know the basic alphabet, but the hand motions have to be very precise in order to convey to the audience that I’m spelling to her, as opposed to just us two,” she says.

The lack of dialogue is a challenge, Colangelo says.

“There’s so much time where nothing’s being said,” the director says. “If it’s not done well, the audience will get bored, and if it’s overdone, it’s not realistic. Finding that balance is not easy.”

At a rehearsal last month, Colangelo tells Fisher and Mamorsky they can’t really fake the fact that these characters get into some scrapes.

“Are we prepared for that?” she asks.

Without missing a beat, Mamorsky signs: “I already know what it’s like to get bruises.”

Colangelo talks the actresses through a contentious dinner scene when Helen tries to disrupt Annie’s meal. Six pages of stage directions, each painstakingly planned, are interpreted and understood as the scene takes shape. After walking through it a couple of times, Fisher and Mamorsky fly through it, painting in broad strokes what will take on detail in the rehearsals to follow.

Fisher says the play has a lot of layers to it with deeper meaning if you dig a little.

The cast has been digging.

“Some of the kids are quite good at signing and have taken an interest to better communicate with Jackie and other kids in school,” Colangelo says. “This is one of those great ways to use the theater to get kids excited about something and use it in their everyday lives.”

Mamorsky says that playing all of Helen’s emotions — confusion, joy, sadness, anger, frustration — is difficult, as is staying in character all the time on stage.

When she’s reminded that that’s what actresses do, Mamorsky laughs and breaks out into a big grin.

Yes, that’s what actresses do, she signs.

What: “The Miracle Worker”

Where: Blind Brook High School, 840 King St., Rye Brook.

When: 7:30 p.m., Friday and Saturday.

Tickets: $10.

E-mail: bbhsdrama@blindbrook.org.

With: Jacqueline Mamorsky, Nora Fisher, Sarah Ackerman, Nick Brascesco, Alyssa Davis, Blythe Duckett, Sydney Grau, Melanie Greenwald, Katie Hanson, Nicole Heney, Julia Joseph, Rachel Joseph, Tyler Ketchabaw, Elana Levy, Diksha Nagia, Lindsay Nuckel, Alyssa Piperis, Karen Rind-Siegel, Jason Rosenzweig, Cynthia Segal, Olivia Weinshank, Sage Yockelson.

Note: ASL interpretation will be provided on Saturday and at an open dress rehearsal at 4 p.m. Friday. When purchasing tickets, alert them If you will be using the ASL interpreter.

***

At Briarcliff High School, director Ian Driver invited two counselors who work with deaf and blind people to meet with his “Miracle Worker” cast last month, early enough in the process to make an impact on how they approached the play.

One of the counselors, Maricar Marquez, is deaf and legally blind. She and her interpreter and friend Susie Morgan Morrow work at the Helen Keller National Center for Deaf-Blind Youth and Adults on Long Island.

For nearly two hours, Marquez and Morgan Morrow answered students’ questions to give them a glimpse into the world Helen Keller knew.

They sat close together, Marquez’ guide dog at her feet and her left hand cupped over Morgan Morrow’s right hand to feel the sign-language words the interpreter formed.

Driver asked what the most common misperception is about the deaf and blind.

“Helen Keller is the famous name, but if you look at me, I’m nothing like Helen Keller,” said Marquez, a Filipino by birth whose family moved to Canada.

She and her sister were born with Usher syndrome, a condition that causes deafness and leads to gradual vision loss.

There are many causes of deafness and blindness, and life experiences differ, Marquez said, so that is a misperception, that all deaf and blind people are alike.

“I was born deaf, so sign language is my native language like English is yours,” said Marquez, who grew up with sight.

“I could see the stars and all the constellations, but now I don’t know what they are,” she said. “I kind of forgot about the stars.”

Jessica Lynch, the Briarcliff freshman who plays Helen, asked Marquez how she feels when she walks into a new environment.

“If it’s a new place, it’s rather anxiety-ridden and there are challenges involved, but you have to make sure you have back-up strategies if you get turned around or get lost,” she said.

Brandon Epstein, a senior who plays Helen’s father, wondered about the frustration Marquez felt as her blindness set in.

“It was an emotional time, particularly in high school,” she said, “and there was a lot of peer pressure. My friends were getting their drivers’ licenses and I wasn’t. So that was frustrating. Yeah, I was cranky, to say the least.”

A student asked if it was true that losing one sense heightens the others.

“I think so,” Marquez said. “My sense of smell is better. I can recognize scents before sighted people can.”

What is her favorite smell?

“Coffee.”

Then Marquez turned the tables on the group, asking who plays Helen and how she landed the role.

Driver was a bit taken aback, then thought about it.

“I had to think ‘What do we want in Helen Keller? How do we represent her?’ ” he said. “I wanted someone who could express the dangerous emotion that takes place, who was willing to throw things around and get physical. And someone who looked young­er than the rest.”

(Senior Michelle Rubich plays Annie Sullivan.)

Before she left, Marquez taught the Briarcliff actors one theater-related fact: When deaf people like something they see in a theater, they don’t applaud. They stomp their feet.

The group then stomped their feet to thank their guests.

What: “The Miracle Worker”

Where: Briarcliff High School, 444 Pleasantville Road, Briarcliff Manor

When: 7:30 p.m., Nov. 20; 2:30 p.m. and 7:30 p.m. Saturday.

Tickets: $12.50 at www.showtix4U.com

E-mail: briarcliffticketsales@gmail.com

With: Rebecca Chalsen, Brandon Epstein, Brian Cipollina, Chloe Effron, Devereaux Elms, Emily Levine, Emma Flihan, Erica James, Jake Chatzky, Jessica Lynch, Jimmy Crowley, Jordan Mendelson, Julie Pitter, Katelyn Wilson, Laura Johnson, Olivia Glass, Michelle Rubich, Nikita Singh, Olivia Rerek, Patrick Davey, Rebecca Milner, Samantha Kahn, Sarah Crosswell, Vanessa Daneshvar, Zarah Kavarana, Elizabeth Chalsen, Matt Kaye.

Watch: Michelle Rubich and Jessica Lynch talk about meeting a deaf-and-blind counselor at www.lohud.com.

Photos by Carucha Meuse/The Journal News

Top: Nora Fisher, center left, and Jacqueline Mamorsky, center right, watch as interpreter Sheryl Lopez, right, signs Christina Colangelo’s direction during a rehearsal of “The Miracle Worker” at Blind Brook High School last month. Mamorsky, a deaf student at Blind Brook, plays Helen Keller.

Second: Jacqueline Mamorsky, left, is Helen and Nora Fisher, right, is Annie in the Blind Brook High School production of “The Miracle Worker.”

Third: Maricar Marquez signs an answer as interpretert Susie Morgan Morrow looks on.

Fourth: Michelle Rubich plays Annie Sullivan at Briarcliff High School.

Bottom: Jessica Lynch plays Helen Keller at Briarcliff High School.

Add to that the long list of high schools across the Lower Hudson Valley that are bringing their long-simmering productions to the table and there’s no reason a theater lover should feel undernourished by the time next Monday rolls around.

Emelin Theater presents “The Liar Show,” in which the audience must guess which of four stories is fiction. Nov. 19 at 8 p.m. $25. At 153 Library Lane, Mamaroneck. 914-698-0098. www.emelin.org.

Small Town Theatre Company: Small Town Theatre presents A.R. Gurney’s “The Cocktail Hour” Nov. 19 at 8. At Hergenhan Recreation Center, 40 Maple Ave., Armonk. Limited seating. 914-273-0300. www.smalltowntheatre.com.

Bedford Community Theatre presents the musical staging of “A Christmas Carol” — with music by Westchester’s Alan Menken. Nov. 19, 20 and Dec. 3 and 4 at 7:30 p.m., Nov. 21 and Dec. 5 at 3 and 7:30 p.m. and Nov. 22 and Dec. 6 at 3 p.m. At Bedford Hills Community House, 74 Main St., Bedford Hills. $15. 914-244-0474. www.bedfordcommunitytheatre.org.

Penguin Rep presents “De Novo,” written and directed by Jeffrey Solomon at SUNY Rockland Community College Nov. 21 at 8 p.m. $20, $15 for subscribers, students and RCC staff. 845-786-2873. www.penguinrep.org.

Walter Panas High School presents “Godspell” Nov. 20 and 21 at 8 p.m. $10. At 300 Croton Ave., Cortlandt. 914-739-2823, ext. 555.

Scarsdale High School presents “Beauty and the Beast” Nov. 20 and 21 at 7:30 p.m. and Nov. 22 at 2 p.m. The matinee is a special children’s performance, followed by a “Meet and Greet” with the cast. $20, $10 students and seniors. At 1057 Post Road, Scarsdale.

Horace Greeley High School presents Andrew Lloyd Webber and Tim Rice’s “Evita,” Nov. 19 at 7:30 p.m., Nov. 20 and 21 at 8 p.m. $10. At 70 Roaring Brook Road, Chappaqua. 914-861-9425.

Rye Country Day School presents the Andre Gregory’s take on “Alice in Wonderland.” Nov. 20 and 21 at 7:30 p.m. $5. Rye Country Day is on Cedar Street in Rye.

Fox Lane Players present “The Investigation” Nov. 20, 21 at 7:30 p.m.; Nov. 22 at 1 p.m. $13, $7 for students. Fox Lane High School, Bedford,

Sacred Heart Players at Sacred Heart High School in Yonkers present Neil Simon’s “Lost in Yonkers,” Nov. 20 and 21 at 8 and Nov. 22 at 5 p.m. $10, $8 students and seniors. At 34 Convent Ave., Yonkers. 914-965-6953.

Somers High School presents “M*A*S*H” Nov. 20 and 21 at 7:30 p.m. and Nov. 22 at 2 p.m. $10, $8 for students, $5 presale for students.

New Rochelle High School’s Theatre Works presents Arthur Miller’s “Death of a Salesman,” Nov. 19, 20 and 21 at 8 p.m. at the Linda Kelly Theater in the high school’s new wing, at the corner of North Avenue and Braemer. $7, $5 for students and seniors.

Archbishop Stepinac High School presents the comedy “My Sister Eileen,” with students from Stepinac, Good Counsel Academy, Maria Regina High School of Hartsdale, Our Lady of Victory Academy and White Plains High School. Nov. 20 and 21 at 7:30 p.m., Nov. 22 at 3 p.m. $15, $10 for seniors and children under 12. At 950 Mamaroneck Ave., White Plains. 914-946-4800 ext. 359

Pelham Memorial High School’s Sock n Buskin troupe performs “The Grapes of Wrath” Nov. 20 and 21 at 8 p.m. $15, $12. At 575 Colonial Ave., Pelham. 914-738-8110, ext. 1000.

Eastchester High School Players Club presents “While the Lights Were Out,” a murder mystery farce by Jack Sharkey, Nov. 20 and 21 at 7:30 p.m. $8, $6 students. At 2 Stewart Place, Eastchester.

Harrison High School’s Footlight Players present “The Heiress,” Nov. 20 and 21 at 7 p.m. and Nov. 22 at 2 p.m.  Sunday’s performance will be followed by a talk-back session with the cast and crew.  $10, $5 for students and seniors. 914-630-3110.

Mahopac High School’s Drama Company presents “Footloose,” Nov. 19, 20 and 21 at 7:30 p.m. At 421 Baldwin Place Road, Mahopac.

Sleepy Hollow High School presents “Bad Seed”  by Maxwell Anderson, a dramatization of the novel by William March, Nov. 20 at 7:30 p.m. and Nov. 21 at 2 p.m. and 7:30 p.m.

Here’s hoping there isn’t a turkey in the bunch. Bon appetit.

Photo top: Sam Caywood as Juan Peron and Julia Deutsch as Eva Peron in “Evita” at Horace Greeley High School in Chappaqua. (Photo by Mark Vergari/The Journal News)

Photo middle: The cast of “Godspell” rehearses at Walter Panas High School in Cortlandt Manor. (Photo by Ricky Flores/The Journal News)

Photo bottom: Scarsdale High School’s “Beauty and the Beast” cast at work. (Photo by Mark Vergari/The Journal News)

On his blog, Scott jokes that this is his “off-Broadway debut” because “Irvington Town Hall Theater is just off Broadway.”

Lisa Spielman is Guenevere and Larry Reina is Arthur in the production, which enters its final weekend.

Tickets are available at www.irvingtontheater.com.

Here’s the announcement, with casting particulars:

“Set over Christmas of 1183, The Lion in Winter recounts Henry II’s effort to choose a worthy successor. Like many a modern-day politician, Britain’s King Henry II finds it occasionally useful to take his wife out of mothballs and parade her before the public. Henry’s Queen Eleanor, long exiled to a faraway castle, is “invited” to join Henry and their three sons for a family reunion. In this way, Henry hopes to maintain a stronghold on his Empire and to prevent the balance of power from shifting to Eleanor or to one of his sons: Richard the Lion-Hearted, Prince Geoffrey, or Prince John. Also on hand for the get-together is Henry’s mistress Princess Alais—who covets the King’s influence—and the Princess’ brother, King Philip of France. Despite Henry’s efforts to keep his wife and offspring at arms’ length (and away from the throne), Eleanor successfully reunites the brood, assuring that her power will not only be restored, but will last long after her death.

Auditions will be held Nov. 17 and 19 from 7 to 9 p.m. at St. Andrew’s Church, 26 Prospect St., Brewster

Director Matt Bogen is looking for the following:
1 Woman (Age 40s – 60s)
1 Woman (Age 20s)
1 Man (Age 40s – 60s)
4 Men (Ages late teens – early 40s)
Readings will be done from material provided.

The Lion in Winter is scheduled to be performed on January 22, 23, 29 and 30 at 8 p.m. at St. Andrew’s Church, 26 Prospect St., Brewster.

For further information and directions go to www.brewstertheatercompany.org or leave a message at:  845-598-1621.”