Department of Theatre & Drama
2022-2023 Season
Fall 2022 Arthur Miller Theatre
Guest Director: Ryan Dobrin
From the Director:
Why this play, why now? Why do you want to direct it?
Moscow X6 takes Three Sisters, by all means a masterpiece but also a piece that remains incredibly dense, and gives us a new framework to understand the tragic aching and unchecked privilege that exists within it. By taking all of Chekhov's language and putting it in a blender and 2020's-ifying it, Halley Feiffer has illuminated the ways these characters resemble, or do not resemble, rich and unsatisfied people of today, parodies the characters and situations while still holding their seriousness in hand, and magnifies the extreme and sudden lengths of violence, masculinity, and unpleasantness that comes from being discontent with your normative life. It allows us to laugh at the ridiculousness of the Prozorov family and of the rich-but-sad-family classic plays.The play flies by at the speed of light, requiring extreme textual and comedic dexterity and the ability to play at emotional extremes, and I'm incredibly excited to find our versions of 100-year-old characters presented under new light.
From the Season Selection Advisory Class
Intention
This season we aimed to find joy in the stories we told and immediately turned to comedy. When we found our director Ryan, this play was high up on his list of a plays that would bring comedy, uplift queer identities, and create a place to question the “classics” we are taught to revere. Ryan said of this queering of Chekhov’s The Three Sisters, “In a larger sense, Moscow...is queer in form and structure. It takes a classic play and rejects the notion that the story and themes have to exist only with the very patriarchal shape that it has taken as a "classic" by a "master" playwright. It lifts The Three Sisters and queers its characters and forms - fully placing them in a modern context with modern vernacular. In a more specific sense, play also gives lots of room for queering in casting and exploration. The idea of sisterhood, of family, of home, of romantic and sexual attraction all give room for an exploration for queering.” With this play, the cast and Ryan will explore queerness in the strict confines of a “classic” structure, and how to break down barriers in a script that challenge these rules, our need for them, and the messages they share. In a world filled with violence, we celebrate life and identity through the queering of this “classic” story.
Casting Information Moscow Moscow Moscow Moscow Moscow Moscow
I am interested in exploring the very masculine and feminine places these characters are assigned in society, and the ways violence and ruggedness are forced upon the masculine characters, and a domestic lifestyle free of choice and will are forced upon the feminine characters, leaving everyone with little room for actual self-care and exploration. The characters who specifically lean in a masculine or feminine direction are identified below, but I am open to anyone who identifies with the character description to be considered for the role, and in the queering of otherwise traditionally-presented cisgender characters. The gender binary is glaringly present in late 1800's Russia, but Feiffer's vision of the play allows for a queerer version of the (ever-present and ever-violent) gender binary.
Notes: Andrey and Natasha have an extended scene of sexual intimacy, and other characters have scenes of physical intimacy and violence, all of which will be staged with an intimacy and/or fight coordinator and in collaboration with the actors. There are references to (and satirical jokes about) alcoholism, suicide, body image, mental illness, grooming, and murder.
Casting breakdown
Olga: femme; the oldest sister. reliably self-pitying, ferociously loving, the dryest sense of humor. hardened by time and anger and being the de-facto matron to the family.
Masha: femme, the middle sister. trapped, moody, often in another world. married to Kulygin, who she hates. doesn't even try to mask how pissed off she is, always.
Irina: femme, the youngest sister. manages to attempt optimism sometimes, capable of deep despair, and has a wildly childish sense of entitlement.
Andrey: masc, the brother. an intellectual and musician, attempting to find some sense of satisfaction and appreciation from the women in his life (he does not).
Natasha: femme, Andrey's girlfriend and later wife. intent on crafting a satisfying life for herself, against all odds and often at the expense of those around her. she goes full villain at the end.
Kulygin: open, masc-leaning. Masha's husband, who dotes on her with all the love in the world, despite receiving nothing back.
Casting breakdown con’t
Vershinin: masc. married with children but deeply in love with Masha. rugged, loves hating his life, and dark and mysterious.
Tuzenbach: masc. honorary member of the family, in love with Irina. everyone assumes he's gay, and that tears him apart.
Solyony: masc. also in love with Irina. so socially awkward. love and violence are not far apart in his vocabulary.
Chebutykin: masc. an older friend of the family who was in love with their deceased mother. a relapsed alcoholic.
Anfisa: femme. their former nanny, now their servant. technically 81, but somehow seems older. probably should retire, but needs the work and companionship.
Ferapont: open. the door-keeper, also older than time and has trouble hearing. going through the motions.
Production History
Moscow Moscow Moscow Moscow Moscow Moscow
premiered at Williamstown Theatre Festival and was performed off-broadway at MCC Theatre in 2019
Original Cast
Fall 2022 Power Center
Director: Geoff Packard
From the Director:
Why this play, why now? Why do you want to direct it?
I read a lot of children stories these days. In the evening before my kids nap or go to bed, on long car trips, when my three year-old wants to play “babies” and needs help putting her 8 kids down for a nap. There are so many stories. Princesses in towers, swashbuckling heroes—almost always men—saving the damsels from certain evils—moving towards a magical happy ending. As I read these stories at the age of 40, I am taken with how differently they impact me now. I see everything through the lease of a parent, hoping my children will understand the complexities of right and wrong, good and bad, etc.
Robin Hood can be described as a tale of morality,—stealing from the rich and giving to the poor, fighting injustice with deceit and expert trickery. David Farr’s version of Robin Hood delivers that classic tale of morality—with the potential of spectacular design elements, lush and evocative musical moments, thrilling combat sequences, humor—yet I believe it offers much more to explore.
I am interested in removing some of the varnish of a time-polished story and seeing more of the humanity within these characters— the complicated and intricate difference between good and evil, just and unjust, truth and lies, tough and delicate, masculine and feminine, the protected and the protectors—-that live within all of us.
Like the lushness of a natural forest, the delicate ecosystem of the human experience exists in an ever changing seasonal balance, and disaster can occur when that balance is upended by desire, greed, fear or ambition.
We are all after a certain harmony within our own ecosystems…at the heart of things we may find that balance lives squarely in the gray areas that hide away from our established expectations, binary norms, and the classic stories we are told as children.
From the Season Selection Advisory Class
Intention
With this piece, we sought to uplift joy in our community with the comedic and twisty retelling of Robin Hood: the story of the thief who steals from the rich and gives to the poor. We hope to draw in families around the holiday season with this story of generosity, following one’s heart, kindness, perseverance in crisis, and morality. In the RSC’s production they wrote, “In this time of chaos and fear, it is down to Marion to boldly protect the poor and convince Robin that he must listen to his heart if they are to save the country.”
The class and the director note that this play will require support in cultural sensitivity, violence and intimacy. This show has heightened language and a five act structure. It will feature a large cast and ensemble work with opportunities to explore elements of music as well as draw on the department’s long history of high level fight choreography.
In a world submerged in chaos, we are turning to this childhood story to find levity and truth. The Heart of Robin Hood reminds us of what is important and the beauty in the lessons that shape us into the people we are today.
Production History
This play has been performed by the Royal Shakespeare Company, the Oregon Shakespeare Festival, American Repertory Theatre, The Wallis, the Hudson Valley Shakespeare Fest, and more.
Winter 2023 Mendelssohn
BONNETS:
(How Ladies of Good Breeding Are Induced to Murder)
By Jen Silverman
Opens Feb 16, 2023
Directed By: Priscilla Lindsay
From the Director
Why this play, why now? Why do you want to direct it?
This is a play with so much to say about women’s roles in society throughout time. It’s also a reflection on where we are now, on how much permission we give women to misbehave and “get away with it” like so many of their male counterparts. It’s got rock ‘n roll, it’s campy, it’s hilarious, and it delivers a punch. We’re talking lust, jealousy, time travel, and a real bloodbath – what more could a person want? Add to that, a female identifying God who gets really pissed off by the end of the play! And finally, it’s one jam-packed act of fun.
Jen Silverman is on the top 20 list of most-produced playwrights in America, said American Theatre Magazine in 2019. Her work is admired in professional theatres and on college campuses alike. She’s written novels, plays, poems, essays, short stories, and television series (Tales of the City). She has a fabulous sense of language and irony. She’s not afraid to take on controversial subjects: sexual violence in countries hostile to lesbians and gays (Dangerous House); domesticity pushed to the breaking point (Wink); the silencing of women by society (Witch); the exploration of class and self-worth and the rejection of “categorisations” thrust upon women (Collective Rage: A Play in Five Betties). Ms. Silverman is an unabashed queer, feminist, and revolutionary when it comes to intersectional works of art that write about subjects we need to see on stage NOW.
From the Season Selection Advisory Class
Intention: When looking out our season we wished to continue with our theme of adaptation and uplift comedy as an element in this season. This play is bold and hilarious and poignant. It provides an opportunity to immerse ourselves in period and style whilst also being fresh and modern. It will challenge actors, designers and everyone working on it because of the importance of time whilst also being incredibly abstract about it. It has interweaving plots and timelines and a God character that breaks the fourth wall. Casting wise it gives great opportunities to actors who do not identify as cis-male. This play will also give opportunities for music, for incredibly comedic timing, movement, and study of style. This play shows that a woman doesn’t need to promise goodness or politeness. She doesn’t need to be amenable or affable. She can be raw and fierce and violent and wicked and unpleasant and vicious and fun! This play bashes constructs open and says loudly that women are here and they don’t need to promise you anything. We hope that you get as much visceral joy from this play as we did in choosing it.
Context in time right now/current season: Amongst our other titles, Bonnets sits nicely pulling in comedy like all our other shows and yet bringing something different. It has a well sized cast and will give lots of opportunities. With our theme of adaptation, it plays with time in a ticky and fun way, pulling elements from crucible-like era in America, 1600’s France, and Victorian era England. It takes all these time periods and timelines and turns them on their head adding murder, rock, and poignant comedy. It explore themes that so deeply relevant today and lets us look at them under the lens of time, camp, rock, and comedy.
Production History
Bonnets… was commissioned by the Big 10 Theatre Consortium in 2019 with several readings and productions at peer institutions.
Casting Breakdown:
The casting is incredibly open when it comes to race and ethnicity, but it is also very specific, stating, “The only casting configuration that is not acceptable is one where, in the case of a predominantly white cast, all three murder victims are played by actors of color... or the reverse.” The playwright sets up a strict boundary and while creating opportunities for everyone, is requiring a consciousness in the casting process.
CLAIRE: naïve, well-meaning (Role requires a kiss with Laurent and simulated murder of and by a Bonnet.)
VALERIE: ruthless, pragmatic – she’s a poisoner! (Role requires simulated murder of and by a Bonnet.)
WEBSTER: indentured servant, hopeless, in love (Role requires fight/murder scene with Mrs. Wolcott and simulated murder of and by a Bonnet.)
GEORGETTE: a good daughter, full of self-loathing (Role requires simulated murder of and by a Bonnet.)
PRUDENCE: forceful, unencumbered by empathy (Role requires simulated murder of and by a Bonnet.)
Casting Breakdown Con’t
FORTITUDE: just wants things to be organized and polite (Role requires simulated murder of and by a Bonnet.)
MISTRESS STONE: on her way to the gallows (Role requires simulated murder of and by a Bonnet.)
MRS. WOLCOTT: formidable, steely, but impressive (Role requires fight/murder scene with Webster and simulated murder of and by a Bonnet.)
LAURENT: charming and gentle, a romantic (Role requires a kiss with Claire and simulated murder of and by a Bonnet.)
DANIEL STONE: charming and selfish, in it for himself (Role requires simulated murder of and by a Bonnet.)
GOD: a narrator (perhaps seen, perhaps not) observer, and sometimes can be mysterious, judgmental and ironic. This character may play some percussive instruments throughout the show. (Role requires simulated murder of and by a Bonnet)
Winter 2023 Arthur Miller Theatre
Directed by: Andy White
Poster from The Shaw Festival
From the Director
What are we doing here?
No, seriously: what are we doing here? How do we measure a life “well-lived?” When we die, how will we be judged? And what happens after we die? Is there a higher power that will call us to account? Will we be punished interminably or have eternal rest depending on whether we made the “right” choices? Also, do you think Death walks around in kick-ass boots, comfy flats, flip-flops, or Birkenstocks? (Or maybe just barefoot?).
Playwright Branden Jacobs-Jenkins is one of the wisest, wittiest voices out there, and his play, Everybody, somehow manages to ask all The Big Questions in a way that is both light-hearted and serious-minded, hilarious and emotionally powerful. He brilliantly transforms a medieval morality play – which, let’s face it, could be a bit stodgy – into a playful, interactive, head-spinning, pulse-quickening, disorienting, intellectually challenging, morally ambiguous, emotionally compelling live event.
This live-ness is reinforced by the lottery aspect of the production – who will play what roles on any given night is left at least partly to chance – and reflects the chance-y times we live in: epic, biblical-scale events seem part of our daily lives (Plagues! Floods! Fires! Wars! Pharaoh-like rulers close-at-hand!). We may well wonder whether our lives are ruled more by Chance or Divine Selection than governed by our own will. But the play also provides what may be one of our only true answers – that convening as a community, to giggle, weep, celebrate, mourn, sing, and dance together is a balm, a shield, and an answer to these challenging times.
From Season Selection Advisory
Intention: While continuing the theme of re-imagining and adaptation, Everybody is a the perfect fit for the latter half of our season! It is an inquisitive adaption of the morality play Everyman, a show about man’s relationship to a higher power and the world around them. Everybody takes the format and plot of Everyman and uses it as a way to examine humanity and our purpose here on earth. It is an in depth look at the question, "What happens after we die and what during our life really matters?" Under a meta, comedic lens Jacob-Jenkins puts this all into context in this hilarious and creative lottery format. This play operates as a blank slate for creativity for all parties involved, with open casting and no design constrictions. This play is what you make of it and serves as a playground for the creative mind.
Context in time right now/current season: As the class explored a range of texts throughout the term, we considered several important qualities: juicy performance roles, a season of diverse playwrights, & a range of design opportunities. Everybody is wonderful way to end the year honoring each of these qualities.
Production History
This play opened off-Broadway on 2017 and was a Pulitzer finalist. There have been dozens of productions at professional regional and university theatres
Orig. Off-B’way Cast:
Jocelyn Bioh
Brooke Bloom
Michael Braun
Marylouise Burke
Louis Cancelmi
Lilyana Tiare Cornell
David Patrick Kelly
Lakisha Michelle May
Chris Perfetti
Casting Breakdown:
SOMEBODIES (ALSO play A, B, C, & D) Several People USHER An Usher
• KINSHIP Everybody’s Close Family Member GOD The voice of God
• COUSIN Everybody’s Cousin DEATH The embodiment of Death
• BEAUTY The embodiment of Beauty EVERYBODY A Person
• MIND The embodiment of the Mind LOVE The embodiment of Love
• UNDERSTANDING The embodiment of Understanding GIRL A young girl in the audience
• FRIENDSHIP The embodiment of Friendship
• STRENGTH The embodiment of Strength
• STUFF The embodiment of Stuff (personal possessions)
• SENSES The embodiment of the Five Senses
• TIME The embodiment of Time
Winter 2023 Studio
From Guest Director Zoe Aja Moore:
1989 is a new, devised performance that centers on Irina Nistor, a Romanian TV translator who secretly dubbed thousands of censored American movies under the oppressive dictatorship of Ceausescu. She voiced every role in the movies -- from Sylvestor Stallone in Rocky to Patrick Swayze and Jennifer Gray in Dirty Dancing -- which neighbors and friends would gather to watch behind closed doors. 1989 will explore the ideas that America exports about freedom and democracy, and the act of gathering in spite of fear.
This ensemble piece will uncover the complexity of life under authoritarian rule, the joy and humor of Hollywood movies (made bizarre by being dubbed entirely by one woman's voice!), and the profound and tender relationships that emerge between the people gathering to watch them.
Winter 2023 Studio
Con’t
The process will include devising, working with source material from 80's movies, scripted text and improvisation, and physical improvisation to develop the characters of the neighbors and the relationships between them.
My interest in this story comes from my family -- my grandfather was a Romanian radio journalist who secretly broadcast into homes across Romania under Ceaucescu.
We may explore the topic of abortion rights during this process.
Rehearsals will be in the Walgreen, room tbd, March 6 - April 5, with performances in the Newman April 6, 7, 8 & 9. (Passover and Holy Week are the week of April 2nd.) Rehearsals will be Monday through Friday, 6:30-10:30pm. This process conflicts directly with EVERYBODY rehearsals and performances.
Fall Casting Info Below
Casting Information The Heart of Robin Hood
As with all aspects of training we will proceed with care while understanding it is our role to be in service of these characters, not judge them. Artistic training challenges us to go deep, learn the tools to do so in a way that honors the characters but also teaches us the practice of self care. As actors we deal in human experiences. Not all are easy or pretty but we as a community must tell them. How we engage the experience will be our conversations.
In this version of Robin Hood, Marion challenges the gender norms of the time (England-14th Century-ish)—and because that challenge is centered— gender plays a role in the make-up of the characters in the play.
The breakdown below uses terms Male or Masc and Female or Fem to identify characters HOWEVER, those terms are not exhaustive. We are open and excited about the potential for non-binary characters within this piece.
This play calls for extremely versatile artists with a diverse set of skills and ability with heightened language (although not too heightened). Musical and physical talents will be a great help to the storytelling.
Casting breakdown
THE OAK: Band of three (or more). Able to sing tight harmonies and play instruments.
ROBIN HOOD Male or Masc, to play 20’s. A rough outlaw of high status and a true man of the forest. Must be very physically fit and strong, skilled in stage combat (including sword play). A physically demanding role.
MARION Female or Fem, to play 20’s. Daughter of the Duke of York. Brave, clever and principled--a force to be reckoned with. Must be a strong actress and strong singer, as well as a skilled fighter (sword-play). A physically demanding role.
PIERRE Male or Masc, to play 30’s. Marion’s clown and servant. Large in spirit, Pierre is our guide through the story, who sometimes speaks in direct address to the audience. This actor must be a strong singer, and a skilled comedian. A plus if he plays some sort of instrument.
PRINCE JOHN Male or Masc, to play 30’s. Royalty, second-in-line to the throne. Dangerous and ruthless, with a very dark occasional sense of humor.
ALICE Female or Fem, to play 20s. Marion’s sister. Smart and manipulative, materialistic and high-maintenance; everything that Marion is, she is not.
WILL SCARLETT Male or Masc, to play early 20s. One of Robin’s band of outlaws. A physically agile actor, who can handle sword-play/stage combat. Physically active role.
MUCH MILLER Male or Masc, to play early 20s. One of Robin’s band of outlaws. Great singer. Guitar playing a plus. Physically active role.
Casting breakdown con’t
LITTLE JOHN Male or Masc, to play 20’s—30’s. Dynamic in stature—on either end. One of Robin’s band of outlaws. Must have capacity with sword-play/stage combat and other physical activities. Physically active role.
JETHRO SUMMERS Male or Masc, to play 12, Son of a persecuted townsperson, taken prisoner by Prince John. A brave young man.
SARAH SUMMERS Female or Fem, to play 9. Jethro’s younger sister. Once she regains her voice, she speaks with clarity and purpose.
MAKEPEACE Male or Masc, to play 40-60. Marion’s guardian. Strong and sympathetic with a big heart.
DUKE OF YORK/ ROBERT SUMMERS: Male or Masc to play 50’s—DUKE OF YORK: Marion’s father, a warrior, away fighting for the true King. ROBERT SUMMERS: Rebellious and righteous father of Sarah and Jethro.
GUY OF GISBORNE/GEORGE LEBRUN: Male or Masc to play 50’s— GUY: Prince John’s servant and villain.
GEORGE LEBRUN: A wealthy nobleman.
ENSEMBLE: A versatile group of actors with abilities to contribute in: combat, music, puppetry, and anything else we can use to tell this story. Playing the roles of:
Friar, Lady Lebrun, Horse, Plug, Lord, Lady, Peasant, Townspeople, Soldiers, Villagers, Priest, etc. Will have the opportunity to understudy principal roles.