Beginning on Wednesday, May 1, the Theatre Department presented a week of performances representing the culmination of four years of dedication to the craft for the Department’s ten majors.
On May 1 and 2, Jake Bolster ’19 and Adrian Summers ’19 directed and starred in Doug Grissom’s
Fish Kill on Maria Sanchez
and Taylor Wallace ’19 directed and starred in Eric Lane’s
Early Morning
with Luis Francisco Colli ’22.
On May 3 and 4, Andy Letai ’19 presented
Hang a Thief
, starring Jack Clark and Teddy Simson and written and directed by Letai. Noelani Stevenson ’19 also wrote and directed her show
as when // so also
, which starred Will Benthem de Grave ’20, Peter Case ’21, and Lo Sniderman ’19. Finally, Andres Aguilar ’19 wrote and directed
The [Un] told Story: [Un]broken
, starring Teddy Sullivan ’19, Luis Francisco Colli ’22, and Rebekah Fowler ’21, and featuring Ryan Phelps ’19, Sabrina Yvellez ’22, and Kena Gilmour ’20.
On May 6 and 7, Stephanie Kall directed Arlene Hutton’s
I Dream Before I Take The Stand
starring Sean Rose ’19 and Sniderman. Bella Nichol ’19 directed and starred in August Strindberg’s
Miss Julie
with Will Kaback ’20 and Samantha Fogel ’19.
Finally, May 8 and 9 showcased the final two majors — Jack Martin ’19 and Emily Aviles ’19 — who devised their respective theses, meaning they began without a script and crafted the production over the course of the rehearsal process. Martin’s show is T
he Story of the Man Who in the High Heavens Loved a Star and Was Abandoned by Her
, and features Julia Robbin ’22, SJ Kudzin ’22, Clark, Salma M. Alaoui ’22, and Kaylee Davis ’22. Aviles’s show is titled
Today
and features Addie Dumm ’22, Julianna McCann ’21, Emily Midgley ’21, and Yvellez.
For these directors, this semester has consisted of brainstorming, writing, directing, and producing their original plays.
A double major in creative writing and theatre, Letai says his production is an expression of his historical and literary fascination with Shakespeare’s
Henry V
, which follows the life of a young prince as he ascends the throne and works to defeat the French. In the production, Letai examines the conflict of interest that King Henry V (Simson) faces as he begins his reign as king, establishing laws that ultimately and unknowingly seal the fate of his former friend, Bardolph (Clark,) a lieutenant in Henry’s army. Bardolph has been caught looting and is immediately sentenced to death in the wake of the King’s recent declaration that thievery will be punished by death. Pleading with his friend, Baldorph expresses his frustrations, desperations, and fears of being hanged for the decisions he made. Still, Henry rejects his friend, and the internal tension of the decision was painfully displayed on Simson’s face as his character exited the scene.
Stevenson utilized her background in classical studies and theatre in
as when // so also
to provide an alternative take on a classic. Her story — a modern, hockey-themed adaptation of Homer’s
The Iliad
— reimagines the connection and loss of war hero Achilles and his close companion Patroclus through a heart-wrenching romantic lens. In her play, Achilles (Case) experiences a transformative series of events that involve coming to terms with his sexuality — specifically, his attraction to Patroclus (Benthem de Grave), his “Hetairos.” Hetairos, as Case remarks in the play, is an ancient word from The Iliad with various meanings ranging from kinsman to friend to brother.
As the dynamic narrator, the Bard (Sniderman) remarks, the true meaning of Achilles and Patroclus’ relationship lies in the form of a romantic connection, shared between Achilles and his companion. Throughout the play, the characters reveal their flaws and ultimate care for one another, which is sealed through an incredibly passionate kiss towards the end.
The work of Aguilar, an interdisciplinary theatre major, came forth in a beautiful, heart-wrenching examination of internal conflict, self-hatred, mental health, and a life of struggle and tragedy. His play opened with Elan (Sullivan) facing his reflection (Colli) through a massive wooden frame designed as a mirror. Elan considers his own self-image through his reflection, seeming to evaluate the happenings of his life and the internal parts of himself through his external appearance. Later, we see the various traumas Elan experience in his life, and as he begins to emotionally unravel, the audience hears his inner thoughts through three invisible voices emanating from different places the theater. These voices (Phelps, Gilmour, and Yvellez) make explicit Elan’s greatest sources of insecurity and anxiety. Though somewhat ambiguous, the play’s ending suggests a degree of closure and progress ahead in Elan’s future.
All ten of the senior directors offered unique, compelling, and creative productions in their theses shows. Their hard work and passion for the art was seen in all facets of the performances, from the technical designs, to the acting, to the promotional posters. It was a fitting way to conclude an ambitious year of theater for the Department and to showcase the work of the majors as they wrap up their theater careers at Hamilton.
