The first thing you notice stepping into James Ijames’s production of “King Hedley II” at the Arden Theatre in Philadelphia is the eye. Painted on the set’s far center wall and illuminated by a warm yellow light, that eye immediately tells us
Climbing a narrow staircase, the space opens into a black box theater. On stage, three statues stand solemnly beneath a glass-like church window suspended in the background, casting a soft glow over the figures. Two simple chairs await as the actors enter
The stage is set with a simple wooden backdrop, instruments scattered about. Dito van Reigersberg ’94 walks onto the stage, just being himself. Donning a blonde wig and thick-rimmed black glasses he reaches for the mic and, suddenly, he becomes Aimee Mann.
A simple stage setup in Upper Tarble did not stop the cast and crew of “Gay Heathers” from putting on a stellar and outstanding show. Complete with passionate performances, colorful costumes, and representation of lesbians being extremely toxic, “Gay Heathers” was incredibly
At 2 p.m. on Sunday, Nov. 14, I entered the Pearson-Hall theater in LPAC ready to watch “The Skin of Our Teeth” by Swarthmore’s Production Ensemble and directed by K. Elizabeth Stevens, chair of Swarthmore’s theater department. I emerged two hours later
Responses have been edited for length and clarity. Anatole Shukla: How did you decide to team up on writing? Marie Inniss: I was gonna write everything and then I found out I can’t write music. And I was just on the phone
I honestly didn’t know what I was getting myself into when I decided to attend a showing of the Frontera Project here at Swarthmore. From what I could gather from the posters printed across campus, the Frontera Project was an interactive theatrical
“I am searching for the provocations that lead me to let me live this life more fully, to find beauty in its mundanity and not so much in the grand narratives that give us comfort,” said director Dan Rothenburg in the playbill
Marketed as a webinar aimed to change your life, I knew little of The Theater of All Possibilities prior to entering the show. Swarthmore’s website seemed intent on keeping me in the dark, describing TOAP as “a method, a community, and a