2024-25 Theatre Arts Mainstage Season
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Fall Mainstage
The Importance of Being Earnest
By Oscar Wilde
Directed by Sara Freeman
The Importance of Being Earnest, Oscar Wilde’s dazzling comedy of manners, wonders if finding out that you are who you have been pretending to be is an absolute triumph or total disaster. Jack and Algernon juggle their country lives and city lives as befits elegant young gentlemen. But they haven’t really reckoned with the wit and skill of Gwendolyn and Cicely, who know the value of having a sensational diary and want the veneration aristocratic young ladies must certainly deserve. A perennial favorite of the English-speaking stage, this show is a wonderful period piece that is also full of constantly renewing insight about the farce and pathos of gender norms, social roles, and self-knowledge. Let’s have both freeing love matches and high tea!
Performances: Nov 1, 2, 7, 8, and 9. (7:30pm, with additional 2pm matinee shows Saturdays)
Directors' Lab Festival of Scenes
December 9 & 10 @7:30pm- FREE ADMISSION
Featuring selections from…
California Suite by Neil Simon - Directed by Emma Smith ‘25
Almost, Maine by John Cariani - Directed by J Wheeler ‘26
Red Days by Rachel Bublitz - Directed by Ashlyne Collado ‘26
The Pillowman by Martin McDonagh - Directed by Jay Milliken ‘26
Athena by Gracie Gardner - Directed by Riley Minkowski ‘26
L-Play by Beth Henley - Directed by Athena Schaefer ‘26
The Writer by Ella Hickson - Directed by Isa Fitzgibbons ‘26
No Exit by Jean-Paul Sartre - Directed by Percy Proctor ‘25
Present Laughter by Noël Coward - Directed by Evalynn Castro Kaye ‘26
Spring Mainstage
The Oresteia
By Ellen McLaughlin
Adapted from the trilogy by Aeschylus
Translated by Ellen McLaughlin
Directed by Jess K Smith
In this fast, fresh, and feminist adaptation of Aeschylus’s ancient trilogy of plays, Ellen McLuaghlin invites us to question what justice looks like in action. In The Oresteiapace:pre-wrap;"> each member of a family enacts a kind of violence intended to right a wrong. Instead, violence perpetuates violence and a cycle of harm makes each person “morally unrecognizable” even to themselves. Drawing inspiration from South Africa’s Truth and Reconciliation Commission, this play grapples with not just how a cycle occurs, but how it affects and mobilizes a community to move beyond punitive judgment and individual blame toward the complexities of repair. In this timely re-telling of an ancient story, we are left to consider the nature of justice and a community’s role in healing from harm.