If you're looking for a ride in the time machine this weekend, I recommend that you try to score a ticket for How to Succeed in Business Without Really Trying at the University of Cincinnati's College-Conservatory of Music (CCM). The 1962 Tony Award and Pulitzer Prize winner satirizes the corporate world of the early 1960s, and there are some echoes that sound pretty funny 56 years later.

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Ed Stern, Cincinnati Playhouse in the Park’s producing artistic director, today announced the shows that will make up his 20th and final season for the city’s Tony Award-winning regional theater. It consists of several shows that have proven track records with audiences as well as a smattering of new works. The season is precisely the kind of mix that audiences have come to expect from Stern during his two decades at the Playhouse — that is, unpredictable selections with enough of the tried-and-true and the wait-til-you-see-this-one that will keep everyone eager to see what’s next.

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The Mormons are coming! The Mormons are coming! No, not the one running for president (although he's showing up pretty often). It's the award-winning irreverent musical The Book of Mormon, which Broadway Across America announced this morning will be part of its 2013-2014 season at the Aronoff Center. The winner of nine Tony Awards (including the best musical of 2011) is a satirical look at two naive and idealistic Mormon missionaries who are sent to a remote Ugandan location where a nasty warlord is oppressing the villagers. Their clueless devotion, good-hearted but misguided — with a lot of very off-color humor — has made The Book of Mormon an unusual hit.

It will come as no surprise to CityBeat readers that the guys behind this are Trey Parker and Matt Stone, the creators of animated South Park, another outrageously irreverent look at contemporary life. Also involved was composer Robert Lopez, whose Avenue Q was another Broadway hit, this one featuring Sesame Street-styled puppets in very adult situations.

The Book of Mormon has been a big Broadway hit. It will be interesting to see how it plays at the Aronoff Center for audiences that tend to be very mainstream, if not downright conservative in what they'll line up to see. I'm eager to see this one! Broadway Across America has not announced specific dates for the engagement yet.

Want to get a big dose of new theater? You’ll want to spend some time in Louisville next March and April, when Actors Theatre of Louisville presents its 33rd consecutive Humana Festival of New American Plays. Productions begin on March 1, 2009, and continue through April 11. The 2009 festival will present six full-length plays, a comic anthology showcasing the Actors Theatre Acting Apprentice Company and three 10-minute plays.

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Even as the Showboat Majestic opens another show this summer (The Art of Murder by Joe DiPietro kicks off tonight and continues through Aug. 28), it’s time to announce the ’boat’s 90th season in 2012, featuring an all-American slate of musicals and comedies to please patrons aboard America’s last showboat, a National Historic Landmark. Here’s the 2012 season:

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New Stage Collective has announced it's shutting down operations after presenting Stephen Sondheim’s A Little Night Music April 30-May 8. Producing Artistic Director Alan Patrick Kenny says the musical will be staged at Know Theatre of Cincinnati instead of the company's Main Street space.

In a press release, New Stage trustees are quoted as saying, “We are heartbroken by this painful, difficult decision to cease further operations. The severity of the economic downturn coupled with rapidly diminishing resources made producing another season impossible.”

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Ensemble Theatre Cincinnati, sporting a slightly abbreviated name and a half-painted façade, today announced most of its 2012-2013 season. As usual at ETC, it’s a work in progress: That how things are when you’re on the cutting edge of contemporary theater. But Artistic Director D. Lynn Meyers knows how to juggle lots of moving parts, and that includes a nod to another local theater great: She’s engaged Ed Stern, about to retire from his 20-year tenure as artistic director at the Cincinnati Playhouse in the Park, to stage a show that will feature the city’s most respected professional actor, Dale Hodges. Meyers has also designated five shows (the season will have six, one is still to be determined) for her schedule.

Meyers says, “Next season promises to be a selection of smart, contemporary, and compelling theater. The ETC experience is unique and intimate, unlike anything you’ll see anywhere else, along with the excellence you’ve come to expect.” She points out that the season features several strong female voices, too.

In 2007, ETC presented Rabbit Hole by Pulitzer Prize-winner David Lindsay-Abaire. He’ll be back for the theater’s 27^th season with a humor-laced drama Good People (Sept. 5-23). The recent script (its Broadway production was a Tony nominee a year ago) explores the struggles, shifting loyalties and unshakeable hopes that come with having next to nothing in America. It focuses on a woman unable to catch a break who flees from urban Boston to the suburbs, where she’s totally out of her element. It’s a look at the haves and the have-nots, the kind of tale that Meyers loves to present to ETC audiences.

Up next will be Ed Stern’s production of Jeffrey Hatcher’s irreverent but poignant comedy Mrs. Mannerly (Oct. 10-28). Dale Hodges will play a demanding etiquette teacher in 1967; she’s bedeviled by a boy trying pulling out all the stops to get a perfect score, an unprecedented feat. The boy’s name Jeffrey Hatcher, so he bears a close resemblance to the playwright. (Amusingly, we are warned that this play about proper behavior contains strong language.)

For the holidays, ETC will reprise one of its family-friendly musicals: Alice in Wonderland (Nov. 28-Dec. 30) by playwright Joseph McDonough and composer-lyricist David Kisor.

Meyers is still angling for the show she’ll present in late January.

It will be followed by the regional premiere of Frank Higgins’ Black Pearl Sings! (March 13-31, 2013). I saw a production of this show in Sarasota in 2008, and I’m convinced it’s the kind of play that ETC audiences warm to, similar to this season’s The Whipping Man. It’s set during the Great Depression focusing on a researcher collecting traditional music for the Library of Congress. She finds Pearl Johnson in a Texas prison, a woman with a head and heart full of spiritual songs and a voice to perform them. Black Pearl Sings! is about being a woman in a man’s world, being black in a white world and fighting for one’s soul in a world where anyone can be a commodity.

ETC’s season will end on a familiar and definitely lighter note with another sequel to the best-selling production from 2009, The Marvelous Wonderettes. This time it’s The Marvelous Wonderettes: Caps and Gowns (May 1-19, 2013). We return to 1958 at Springfield High School for graduation and high hopes including a gymnasium full of pop tunes from the era — “River Deep, Mountain High,” “Dedicated to the One I Love,” “Rockin’ Robin.”

Subscriptions are already on sale ($156-$186); you can purchase a FlexPass ($196), which gives you six flexible tickets to use for any show and in any combination. Single tickets for season go on sale to the general public on August 13, 2012.

I recently spent three days in Louisville at the 34th annual Humana Festival of New American Plays. Actors Theatre of Louisville annually assembles a lineup of productions that offers a fascinating cross-section of contemporary American theater.

I found this year’s array to be an especially pleasing collection of works: It included two excellent comedies, a thoughtful drama, two experimental performance pieces from creative ensembles and an inventive piece to showcase interns (and a Louisville hotel/museum showplace). A bill of 10-minute plays was clever and creative, and only a musical play was a disappointment.

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Don’t go looking for Boris Karloff or any kind of campy make-up if you decide to see the National Theatre of London’s production of Frankenstein on Tuesday or Wednesday evening at The Carnegie in Covington. This version, provided via HD digital transmission, is much more faithful to Mary Godwin’s creepy and profound Gothic novel written in the summer of 1816. When it was finally published two years later (by which time she had married poet Percy Bysshe Shelley and become Mary Shelley), few people believed it could have been written by a young woman not yet 20 years old.

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Since the 2011 Cincinnati Fringe Festival kicked off on June 1, a panel of three dedicated theater experts have been evaluating performances for recognition through the Acclaim Awards. These awards are in the process of being renamed, but for the sake of clarity and brevity, I’m going to call them by their soon-to-be-former name. The panelists are veterans of the Acclaims; neither Jackie Demaline of The Cincinnati Enquirer nor I are members of the panel or involved in this process.

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