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A devised senior project facilitated by Asia Howard ‘16 and Joshua Tempro ‘16
This production is supported in part by the E.J. Safirstein '83 Memorial Fund
not open to the public, limited seating, Reservations required
LaCunae, or Blindspots, is a movement-based devised piece that seeks to assert and celebrate the presence, power and beauty of those often caught in society’s blind spots - queer, gender non-conforming and femme Black people. LaCunae seeks to explore the surveillance of these bodies as well as the invisibility coupled with it. For those who have been unseen and unheard.

October 22, 23, 24 2015
Powerhouse Theater


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A devised senior project directed by Talia Feldberg ‘16
The epic cycle of violence and retribution. The building of civilization from chaos. The self-destructive struggle of a cursed family. The inescapability of fate. The power of love. Gods. Invocations. Libations. Teen angst. A 2015 take on 458 BC.
Choephori (ko·EH·for·ree). Libation Bearers. (n.) The middle play in the Greek tragic trilogy Oresteia, written by Aeschylus in 458 B.C. Also see the senior project Choephori, a new devised version of the Aeschylus play. Atreides. The House of Atreus. (n.) The cursed descendants of the ancient King Atreus. Entangled, perhaps by fate, in a longstanding cycle of intergenerational bloodshed and revenge. The subjects of the Oresteia and Choephori. Ananke. Destiny, fate. (n.) The course of someone’s life, or the outcome of a particular situation for someone which is beyond their control; often regarded as determined by a supernatural power. Does not always feel deserved or morally right and fair.  Dike. Justice. (n.) What is deserved or morally right and fair? The House of Atreus is still working on this one. 
8:00pm - Campus Only, not open to the public, reservations required

November 12, 13, 14 2015
Powerhouse Theater


a staged reading
an original play by Sarah Freedman '16
When 8 year old Tildy's grandmother passes away, TIldy finds her parents in a state of turmoil: her mother is awash in cardboard boxes of her grandmother's belongings, while her father attempts to write his first piece of fiction after years of writer's block. In the midst of this, Tildy encounters something that her grandmother may have left behind specifically for her to find. A story about creation and heritage, and about the family heirlooms that we may not intend on passing on to our children.

November 21, 2015 8:00pm very limited seating - not open to the public
Streep Studio, Vogelstein Center for Drama and Film

* A senior project in Drama


By Caryl Churchill
A department production, directed by Christopher Grabowski
Someone sneezes. Someone can’t get a signal. Someone won’t answer the door. Someone put an elephant on the stairs. Someone’s not ready to talk. Someone is her brother’s mother. Someone hates irrational numbers. Someone told the police. Someone got a message from the traffic light. Someone’s never felt like this before. In this fast moving kaleidoscope, more than a hundred characters try to make sense of what they know.
Open to the Public, reservations required, assigned seating

December 3, 4, 5 2015
Martel Theater, Vogelstein Center for Drama and Film


by Sholem Asch
Directed by Rogin Farrer '15
a senior project in Drama
"Yekel Tschophtschovitch is ashamed for making a prosperous living by running a brothel in the cellar below his home. In a desperate effort to regain respectability for himself and his family, he goes to great lengths to protect his daughter's innocence before piously marrying her off to a rabbinic scholar. Conflict arises when his dreams are threatened.” Doing this inspired me to make some changes to the original description. Could this be used for the drama website? The current description is incorrect (it’s a different translation/adaptation). "Through the lens of Jewish family life, God of Vengeance confronts the eternal conflict between traditional power structures, their victims, and the problems that arise when the former’s authority begins to crack. Yekel Tschophtschovitch lives with his wife, Sarah, an ex-prostitute, and their teenage daughter, Rifkele, an innocent girl whom her parents prize above all else. “Uncle” Yekel is ashamed for making a prosperous living by running a brothel in their cellar below. In an effort to regain respectability for himself and his family, he goes to great lengths to protect his daughter’s innocence before piously marrying her off to a rabbinic scholar. Conflict arises when his dreams are threatened. Originally written in Yiddish in 1907, Sholem Asch’s definitive work went to Broadway in 1923, where it was shut down by police and condemned as obscene, amoral, and anti-semitic. Nearly a century removed from that controversy, we revisit the play with an eye for its psychological and political complexity.”
Limited Seating - Reservations Required

March 5-7 2015
Powerhouse Theater

Macbeth by William Shakespeare

performed by The Actors From The London Stage
Open to the public - reservations are required contact
The Martel Theater, Vogelstein Center for Drama and Film
Supported by The Office of The Dean of The Faculty
Vassar College welcomes back Actors From The London Stage for a five-day residency in February 2015 including three performances by the company of Macbeth. Performances will be Thursday, February 26, Friday, February 27, and Saturday, February 28 at 8 pm in the Martel Theater and are open to the public. Actors From The London Stage performers hail from such stages as the Royal Shakespeare Company and Shakespeare's Globe Theatre, and will bring their expertise to classroom visits and workshops during their residency at Vassar.

Thursday - Saturday, February 26-28, 2015 at 8:00pm
Martel Theater, Vogelstein Center for Drama and Film

Cabaret by John Kander and Fred Ebb

directed by Frank Driscoll '15*
Berlin, as the 1920′s are drawing to a close. The Master of Ceremonies welcomes the audience to the show and assures them that, whatever their troubles, they will forget them at the Cabaret. His songs provide wry commentary throughout the show. On the train to Berlin we find Cliff, a young American writer, and Ernst, a German who surprises Cliff by putting his briefcase among Cliff’s luggage at the German border. History is in the process of being made. Musical numbers include It Couldn’t Please Me More, Willkommen, Cabaret, Don’t Tell Mama and Two Ladies. We find Cliff on the train again, now leaving Berlin alone. He writes about Sally and the people of Berlin leading up to the Third Reich. It has been a tumultuous and heartbreaking era.
This production supported by The Joan Kostick Andrews '52 Fund
April 9 - 11, 2015 at 8:00pm & matinee - April 11 at 1:00pm
not open to the public - limited seating
presented through special arrangements with Tams-Witmark, Inc.

April 9, 10, 11 plus April 11 at 1:00pm
Mary Virginia Heinlein Stage in the Martel Theater, Vogelstein Center for Drama and Film

*senior project

Titus Andronicus by William Shakespeare

Guest Director and Alumni Erica Schmidt '97
not open to the public - limited seating
Reservations required
Titus Andronicus is a play with "14 killings, 9 of them on stage, 6 severed members, 1 rape (or 2 or 3, depending on how you count), 1 live burial, 1 case of insanity and 1 of cannibalism--an average of 5.2 atrocities per act, or one for every 97 lines." Reviewer Mike Gene Wallace adds, "This is a great play. We're talking fourteen dead bodies, kung-fu, sword-fu, spear-fu, dagger-fu, arrow-fu, pie-fu, animal screams on the soundtrack, heads roll, hands roll, tongues roll, nine and a half quarts of blood, and a record-breaking 94 on the vomit meter." Really, there's not much more to say; that is the essence of the play. Titus Andronicus is a non-stop potboiler catalog of abominations (with the poetry itself counted as a crime by many critics).
About the director:
Directing credits include: Turgenev’s A Month In The Country (Classic Stage Company); Dennis Kelly’s Taking Care Of Baby (Manhattan Theatre Club); Jonas Hassen Khemiri’s I Call My Brothers and Obie Award winning Invasion! (both for The Play Company); Humor Abuse (co-creator/writer with performer Lorenzo Pisoni, at Manhattan Theatre Club, Humor Abuse won: Lucille Lortel, Outer Critics, Drama Desk and Obie Awards also played Philadelphia Theatre Company, American Conservatory Theatre, Seattle Rep and The Taper); Rent (Tokyo); Moliere’s Imaginary Invalid, Chekhov’s Uncle Vanya, Gilbert and Sullivan’s The Sorcerer and Copland’s The Tender Land (all at Bard Summer Scape); Carnival (The Paper Mill Playhouse); Quincy Long’s People Be Heard (Playwrights Horizons); Gary Mitchell’s Trust (The Play Company, Callaway Award nominee); As You Like It (The Public Theater/NYSF, chashama; New York International Fringe Festival Winner for Best Direction); Debbie Does Dallas (wrote the adaptation and directed Off-Broadway for The Araca Group); Spanish Girl (Second Stage Uptown); R&J; Topdog/Underdog; Buried Child and Macbeth (The Juilliard School); Fair Ladies at a Game of Poem Cards (The McCarter’s Berlind Theater, Princeton University). Princess Grace Award recipient 2001.

April 30, May 1 & May 2 at 8:00pm
Powerhouse Theater