Productions

Romeo and Juliet - Redux

Gulick Theatre: April 2-5, 2014
Director: Charlie Pepiton
Scenic Designer: Todd Canedy
Costume Designer: Selina French
Special Collaboration: Studio Matejka, Poland

What do we know about Romeo and Juliet? Why bring them back? Two young lovers meet, fall for each other in an instant, marry, are torn apart by their warring families, and die together by their won hands so that the feud may end. This is what the prologue tells us. Why then do we continue staging the play? Romeo and Juliet die, but the play is not about their death. They love, but the play is not about their passion. Instead, Shakespeare's play is about the transformative power of choice, despite all evidence and warnings to the contrary. That simultaneously selfish and selfless act wherein strength is found in weakness. This production is about how much an event can be two very contradictory yet simultaneous moments. Julia lives as she dies, she heals as she kills. Consider time as a Möbius strip with no clear beginning and ending. Time moves at once back and forward, the past hovering just below the future. What if we allow this dawn song to shift itself back into phase?

For more about the director, Charlie Pepiton, and his adaptation of Shakespeare's R&J click here.
Click here to see the photo gallery from this event.

Fall 2013 Dance Concert: Reflections

Gulick Theatre: December 6-7, 2013
Choreographer: Kerri Canedy

The show featured 70 performers dancing in 13 different pieces choreographed by both faculty and students. Dance styles ranged from Ballet, Jazz, Modern, Middle Eastern and Swing. There is always something for everyone and this show did not disappoint. If you missed is, do not worry, come and see our next show this spring, April 25 & 26, 2014.

Click here to see the photo gallery for this event.

Ellen McLaughlin: Iphigenia and Other Daughters

Edson R. Miles Black Box Theater: November 6-9, 2013
Director: Matt Saltzberg, Visiting Assistant Professor in the Arts

Iphigenia and Other Daughters was adapted by Ellen McLaughlin from Euripides' Iphigenia in Aulis and Iphigenia in Tauris and Sophocles' Electra. The play is an existential confrontation of the ancient and the contemporary; it is a fearless, feminist retelling of the bloody fall of the House of Atreus. Writing from a place of profound empathy, McLaughlin examines what happens at ‘home’ when history (or ‘his-story’) is being made and recorded elsewhere - especially during war time - and reconsiders the role of women in history.

James Still: Hush - An Interview with America

Gulick Theatre: April 3-6, 2013
Director: Charlie Pepiton

Hush is a play about being a kid. It’s a play about growing up and about coming of age in a connected world. It’s about what it’s like to grow up reveling in creativity and the imagination while struggling to hang onto the hope of mystery despite the expectation to let go. It’s a romantic notion and one worth considering in our world where each month brings a new scandal, another act of violence, more political gridlock, and one more cynical round of call and response from the media. In place of all of that, Hush asks us to consider the wisdom of the foolish and the strength of the meek. It asks us to pause for an hour and to consider what possibilities we might have left dancing under the tree in the backyard. The concept for this production draws on the parallels between the Industrial Revolution of the 19th century and the time of upheaval in which we now live. The play takes place in a timeless world of technology, connectivity, and innovation. A little now. A little then. A little yet to be. Hush is a play that might take some explanation for those of us over the age of 12. For those in the audience younger than that, you likely will need no explanation at all.

To see more click here.

Fall 2012 Dance Concert: Beyond The Footlights

Gulick Theatre: December 7-8, 2012
Choreographer: Kerri Canedy

Click here to see the photo gallery for this event.

It's All Greek To Me - An Original Student Musical

Noble Center 109: March 6-8, 2012
Authors: Riley Spellman '13 and Mitch Galli '12
Stage Director: Riley Spellman '13
Music Director: Mitch Galli ‘12
Stage Manager: James Wilcox '13

It's All Greek To Me is a Musical Comedy set on a contemporary college campus where fraternity life is celebrated, and two fraternities in particular are at war. When Jane, the sister of one frat's president (George), falls in love with Dan, a brother of the opposing frat, the drama begins and spirals towards what could potentially be a dismal end for the lovers. This musical contains some bad language, sex, and drugs & alcohol, just like most fraternities, so this show is aimed for an older audience. And like most fraternities, this play will draw you in with toga parties and fun characters, and make you feel like you're at the best party of the year!

Spring 2011 Dance Concert: MomentuM

Gulick Theatre: April 29-30, 2011
Choreographer: Kerri Canedy

Click here to see the program for this event. 

New Beginnings - A Winter Dance Concert

Gulick Theatre: December 3-4, 2010
Choreographers: Kerri Canedy, Visiting Assistant Professor & Students Sarah Curry, Nancy Decker, Karen Sesterhenn and Basimah Habibi

New Beginnings was a performance by students of the St. Lawrence dance community. The Beginning Ballet and Jazz Dance classes worked hard all term to not only learn various dance techniques, but they also had to learn choreographic and performance techniques. St. Lawrence University's new dance professor Kerri Canedy choreographed six original works and re-staged Michael Jackson's classic, Thriller, for the show. One student soloist, Sarah Curry, and two student dance groups, The Swingin' Saints and Basimah's Habibi's rounded out the concert. The show had a wide variety of styles and had something for everyone to enjoy.

Click here for a photo album.

Tom Stoppard: Arcadia

Gulick Theatre: November 3-6, 2010
Director: Rebecca Daniels, Birdsong Associate Professor in the Arts

Tom Stoppard's play Arcadia (1993) focuses on the relationship between past and present and by doing so challenges the certainty of our knowledge.  The play is set in Sidley Park, an English country house, in both the years 1809–1812 and the present day—1993 in the original production. The activities of two modern scholars and the house's current residents are juxtaposed with the lives of those who lived there 180 years earlier. In 1809, Thomasina Coverly, the daughter of the house, is a precocious teenager with ideas about mathematics well ahead of her time. She studies with her tutor, Septimus Hodge, a friend of Lord Byron (who is an unseen guest in the house). In the present, a writer and an academic converge on the house: Hannah Jarvis, the writer, is investigating a hermit who once lived on the grounds; Bernard Nightingale, a professor of literature, is investigating a mysterious chapter in the life of Byron. As their investigations unfold, helped by Valentine Coverly, a post-graduate student in mathematical biology, the truth about what happened in Thomasina's lifetime is gradually revealed.

The play's set features a large table, which is used by the characters in both past and present. Props are not removed when the play switches time period, so that the books, coffee mugs, quill pens, portfolios, and laptop computers appear alongside each other in a blurring of past and present. [Source: Wikipedia]

Jenny Schwartz: God's Ear

Gulick Theatre: March 31 - April 3, 2010
Director: Kirk Fuoss, Maurer Professor of Rhetoric and Communication

A husband and wife have trouble coping with the loss of their son. They find themselves speaking in cliches and the husband travels to forget. The wife stays with their daughter and the tooth fairy and tries to figure out how to cope with her loss from home. The play wan Smith Blackburn Prize in 2007. Through the skillfully disarming use of clichéd language and homilies, the play explores with subtle grace and depth the way the death of a child tears one family apart, while showcasing the talents of a promising young playwright who "in [a] very modern way [is] making a rather old-fashioned case for the power of the written word"  (The New York Times).

Paula Vogel: How I Learned to Drive

Gulick Theatre: November 4-7, 2009
Director: Rebecca Daniels, Birdsong Associate Professor in the Arts

How I Learned to Drive is a memory play, set mostly in the 1960s, that is both light handed and comic as well as intense and devastating.  Constructed like a montage, the play’s actions move back and forth through time, taking the audience through a young woman’s memories of a very charged seven-year period in her life using a highly theatrical, multi-media, non-realistic, presentational performance style.  The plays themes include pedophilia/incest, family and forgiveness, damaged lives, discovering one’s identity, and the nature of [and delicate balance between] love and abuse.  The two main characters are the young woman [nicknamed Li’l Bit] and her Uncle Peck.  Three members of the Greek chorus play all other roles in the play.Vogel’s play was first produced in 1997; won the 1997 Obie in Playwriting, the Lortel Best Play Award, the Best Off-Broadway Play from the Outer Critics Circle, the Best Play from the Drama Desk, and the Best Play from the New York Drama Critics Circle.  It also won the Pulitzer prize for drama in 1998.

Peter Schafer: Black Comedy

Gulick Theatre: October 1-3, 2009
Director:
Ann Marie Gardinier Halstead, Assistant Professor

Set in mid-1960's London, Black Comedy focuses on Brindsley Miller, an opportunistic young sculptor who is facing one of the most important evenings of his life, the night in which he is to meet both the tyrannical father of his debutante fiancée and a millionaire patron of the arts capable of making his career. Just before his guests arrive, a fuse blows, plunging his South Kensington apartment into darkness. What follows is a series of mishaps and embarrassments and a very black comedy.