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On Friday and Saturday, student theatre group Displaced Theatre Company put on a production of Steven Sater’s “Spring Awakening” in the Onion. Set in 1890s Germany, the 2006 play follows young adolescents exploring their sexuality amid the repressive culture of the time.
From May 1 to 5, Northern Stage in White River Junction hosted a one-person adaptation of F. Scott Fitzgerald’s classic, “The Great Gatsby.” The performance — which was followed by an audience discussion and Q&A — was produced by Literature to Life, a performance-based program that presents staged literary adaptations verbatim.
In 2001, Mindy Kaling ’01 and Brenda Withers ’00 wrote “Matt and Ben,” an absurdist retelling of how Matt Damon and Ben Affleck wrote their Oscar-winning film “Good Will Hunting.” The play debuted in 2002 at the New York International Fringe Festival, winning the “Best in Fringe” award and becoming Kaling and Withers’s first theatrical hit. On March 2, Lily Easter ’25 and Arizbeth Rojas ’25 performed “Matt and Ben” at Dartmouth for the first time since its inception on campus.
“Constellations,” from British playwright Nick Payne, premiered on Saturday, Jan. 27 at Northern Stage in White River Junction. The unorthodox modern play portrays the life-altering effects of human decisions. The play presents raw and intimate moments chronicling the relationship between a British couple — the beekeeper Roland and physics professor Marianne — set to the music of a live pianist.
A reading of “The Aristocrats,” an original play co-written by Sophie Cohen ’26 and William Herff and co-directed by Cohen and Kate Clark ’25, was presented on stage on Friday, Jan. 26 at 7:30 p.m. in Wilson Hall.
New York City and London are two cities renowned for their world class theater. Broadway and the West End hold the crowns for commercial success, but there are countless off-Broadway and additional, professional London theaters that add to their status as theater hubs. I attended the theater FSP in London in the summer of 2022 and lived in New York City in the summer of 2023. Having lived in these two cities, the differences in theater culture could not be more apparent.
On Friday, the theater department opened “Lost Girl,” Kimberly Bellflower’s play inspired by the enduring “Peter Pan” story. In “Lost Girl,” a grown-up Wendy decides that in order to move on from her first love, Peter, she must find him and take back her kiss. In her search for Peter, Wendy meets other young women with similar experiences, and she realizes that she was not the only one who Peter brought back to Neverland.
On Friday, Oct. 13 at 7 p.m., the Displaced Theatre Company performed a staged reading of Clare Barron’s “Dance Nation,” a play that follows a pre-teen competitive dance troupe on their way to nationals. It is a drama meshed with a coming-of-age comedy that also highlights mental health, sexuality and women’s empowerment.
On Saturday, the White River Junction-based theater company Northern Stage kicked off its season with the opening night of the 2022 Pulitzer Prize finalist play “Selling Kabul,” offering a powerful glimpse into the lived impact of the U.S. involvement in the War in Afghanistan.
This term, the Dartmouth theater department will put on pop musical “Pippin” as its MainStage production. The show opens on Nov. 4 and will run until Nov. 13 for a total of seven shows. The two-act musical, written by Roger O. Hirson, composed by Stephen Schwartz, follows Pippin — the heir to the throne of King Charlemagne — as he tries to find purpose by experimenting with art, war, religion, power, love and revolution.
The Dartmouth theater department’s MainStage production for the term, “Faith, Hope and Charity,” premiered this past weekend, marking the department’s first-ever radio play. Adapted from the original German play written by Ödön von Horváth and translated by Péter Fábri, the production brings the European story into an American context.
In March of 1998, Dartmouth witnessed a historic summit on black theater, intended to address specific strategies to build and maintain black theater companies and institutions. Playwright August Wilson, whose work “Fences” won both a Pulitzer Prize and a Tony Award, led efforts to organize “On Golden Pond” during his time as a Montgomery Fellow at the College. In 2018, 20 years after the original summit, Dartmouth will once again host a summit on black theater this week from Sept. 26 to 29. The 2018 International Black Theatre Summit, titled “Breaking New Ground Where We Stand” in reference to Wilson’s famous speech “The Ground On Which I Stand,” will not only examine theater as a medium for black performance, but film and television as well.
Although 2018 is just starting, there have already been many times this year that I’ve found myself wondering if I am living in a twisted dystopia. It seems that many have made the parallel between the harrowing state of affairs in George Orwell’s “1984” and the current state of politics. Since President Donald Trump’s advisor Kellyanne Conway used the politically charged words “alternative facts,” sales of the 20th-century novel spiked drastically. The term is eerily reminiscent of “newspeak,” a means by which the omnipotent Inner Party of Orwell’s novel prohibits unorthodox political thought. This fall, the Dartmouth theater department investigated the relevance of Orwell’s prophetic dystopia to today’s reality in the play “1984,” which opened on Feb. 16 and finished its run Sunday night.
“1984,” Dartmouth’s stage adaptation of Milton Wayne’s radio adaptation of George Orwell’s synonomously-named classic, gives a twist to the original setup of the novel to make it more relevant to the world today. Director and theater professor Peter Hackett adapted the script himself, incorporating multimedia components and excerpts from Timothy Snyder’s “On Tyranny: Twenty Lessons from the Twentieth Century” that add a contemporary aspect to the production. “1984” opens tonight at Moore Theater in the Hopkins Center for the Arts.
With the end of fall term approaching, the theater department’s fall musical is right around the corner. Anyone passing through the Hopkins Center for the Arts can see the activity bustling in and around the theater. “Cabaret,” this year’s musical, promises to be a timely response to the current political climate.
A new name has been posted on the office doors of Shakespeare Alley, welcoming Monica White Ndounou, who joined the Dartmouth faculty as an associate professor of theater earlier this year.
As director of last spring’s student production “What Every Girl Should Know,” president of the all-female a cappella group the Subtleties and actress in “In The Next Room,” “Urinetown” and this fall’s “Cabaret,” performer and playwright Virginia Ogden ’18 has completely immersed herself in the arts at Dartmouth. Ogden spent the past summer as a student at the London Academy of Music and Dramatic Art as part of the Dartmouth theater foreign study program.
What does a play written 2,500 years ago and a suburb of St. Louis have in common? The upcoming Theater of War production of “Antigone in Ferguson” at the Hopkins Center for the Arts draws parallels between the events of the ancient Greek play by Sophocles and those in Ferguson, Missouri surrounding the death of Michael Brown in 2014.
You’ve been hearing those two special words from the moment you stepped on campus: Green. Key.