2016-2017 Season


By William Shakespeare

Directed by Darcey Engen

October 28th, 29th and November 3rd, 4th, 5th at 7:00 P.M.
October 30th and November 6th at 3:00 P.M.

Cymbeline, one of William Shakespeare’s final plays, is a fantastical fairy tale that swings from comedic heights to tragic despair with an added touch of romance. Taking place during King Cymbeline’s reign in Britain, the play tells the story of Princess Imogen’s romance with the courteous but poor Posthumus, their secret marriage and his consequent banishment. The couple’s journey back to each other involves wagers and poison, hidden identities, long-lost brothers, deceitful villains, a lost bracelet, evil stepmothers, ineffectual fathers, and an invasion by the Roman army.


Tjornhom-Nelson Theater, Foss Center

Silence is Health/Silencio es Salud

By Karina Casiano

Directed by Beliza Torres Narvaez

November 17th, 18th, and 19th at 7 P.M.
November 20th at 3 P.M.

Sara is a prominent TV reporter eager to do anything to get high ratings. She is getting married to a well-known intellectual writer, but her picture perfect wedding –which is not as perfect as it seems – is about to take an unexpected turn captured by the cameras. As Sara tries to make sense of what just happened, we get a glimpse of the past events that might have led to her loved ones being targeted. We also get to go forward in time and witness what happened after the wedding. Thus, we learn some of the answers that Sara will most likely never find.

Casiano’s site-specific play Silence is Health/Silencio es Salud is based on official documents, testimonies, historical research and analyses of similar periods of political crisis and the consequent state of surveillance in Argentina, Guatemala, Chile, Spain, Germany, Ireland, Israel and the United States. How much of your civil and human rights are you willing to give up in the name of “national security”? What if things that only happen “to other people,” or “in other countries” happen to you?

Don’t say you didn’t know…

Various Locations, Foss Center


By Harold Pinter

Student-Directed by Jack Morton

February 2nd, 3rd and 4th at 7 P.M.

Betrayal circles around the complicated relationship of married couple Emma and Robert, and Emma’s affair with Robert’s best friend Jerry. Pinter’s innovative use of reverse chronological order challenges the audience to explore broken trust between partners and friends and the consequences to life’s decisions.


Foss Studio Theater, Foss Center


{a creative collaboration}
Directed by  Malick Ceesay
In collaboration with E.G. Bailey and Shá Cage

February 2nd, 3rd, 4th at 8:30 P.M.

Beyond the Silence is a spoken word piece that is themed around the value of voices in various contexts.  This ensemble-created piece will be an exploration of what it means for voices to be silenced, underrepresented, or neglected in spaces that are valued and found as important for change.  Through poetry and performance, hear the experiences of this group and the power they carry through their voices.”


Tjornhom-Nelson Theater, Foss Center

Passing Strange

Book and Lyrics by STEW

Music by STEW and Heidi Rodewald

Directed by Jamil Jude

Thursday, March 30th at 7:00 P.M.
Friday March 31st at 7:00 P.M.
Saturday, April 1st at 7:00 P.M.
Sunday, April 2nd at 3:00 P.M.

Saturday April 8th at 3:00 P.M.
Saturday April 8th at 7:00 P.M.
Sunday  April 9th at 3:00 P.M.

Part comedy. Part coming-of-age story. Full-out rock concert! PASSING STRANGE, a Tony award-winning musical, is a genre-bending exploration of an artist’s journey to find life’s truths. The story follows Youth, a young Black man raised in the idyllic hills of California, as he passes through life, learning about himself and the world around him, through music and the people he meets because of it. Throughout his journey for “the real,” he gains so much, but is what he gives up too much? Will the ends justify the means? Will everything be alright?

“Call it a rock concert with a story to tell, trimmed with a lot of great jokes. Or call it a sprawling work of performance art, complete with angry rants and drag queens… I’ll just call it wonderful” – New York Times




Tjornhom-Nelson Theater, Foss Center


2015-2016 Season Archive

Imaginary Hypochondriac-bannerTHE IMAGINARY HYPOCHONDRIAC

By Molière

Directed by Dario Tangelson

In this farcical comedy, a rich hypochondriac named Argan is torn between his love of money and concern for his health. Convinced by his doctors that he is gravely ill, Argan racks up exorbitant medical bills and decides to marry off his only daughter to a doctor’s son in order to solve both his problems at once. His clever maid Toinette, his daughter’s love for another suitor and his second wife’s attempts to become the only beneficiary to his fortune cause all his well-laid plans to fall to pieces and almost give him a heart attack. Or so he thinks. Ironically, Molière’s thirtieth and final piece, in which the ill-fated protagonist is financially and literally bled dry by his charlatan doctors, remains inextricably attached to the author’s fate: Molière died shortly after the fourth performance, in which he played the title role of Argan, on February 17, 1673. This historical irony has granted this simple comedy strange reverberations of a much deeper significance.

Dont-Know-HeaderI DON’T KNOW

An Original Student-Created Piece

Directed by Sarah Myers

How often do you say, “I dunno,” after expressing an idea? Why do some of us have this habit? Do we really not know? And what does it mean not to know the very thing we’ve just said? Inspired by conversations with theater students about why we so often utter these words, I Don’t Know is an exploration of what it means not to know, who claims knowledge and how, and what might be stifling and/or inspiring in uncertainty. This ensemble-created, collage-style piece will draw on original writing, video projections, and movement to ask questions about the very nature of knowing.

Watch Short Interview With Director



Facilitated by Sha Cage and E.G. Bailey

Def Poetic Vol.2 is an evening of spoken word. The presentation is the culmination of pieces developed in a four week workshop. The spoken word workshop participants will engage in listening & video sessions along with writing and performing both their own pieces and ‘classic’ work. Free and open to the public.

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By Don Nigro

Student-Directed by Emily Wrolson

Cath, an orphan girl sent to a country boarding school by distant relatives, is initiated into her fellow classmates monthly midnight game of Mistress and Slave. Every full moon the three girls draw cards that decide who is in charge, who must obey orders, and who watches. Cath is happy to have made friends and to play their game but soon discovers how intense and dangerous the game can become. Don Nigro illustrates the captivating yet disturbing power of flame-filled dares in Barefoot in Nightgown by Candlelight.

Barefoot in Nightgown by Candlelight Video Trailer

Tjornhom-Nelson Theater, Foss Center

Experimental Workshop12728997_10154093253886833_6533562455139308216_n


By Henrik Ibsen

Sod House Theater and the creative team behind The Peer Gynt Project at the Minnesota Arboretum, will lead a workshop exploration of Henrik Ibsen’s “An Enemy of the People”, a play about how a town wrestles with a contaminated water source that will bring financial ruin to the community.  Examining, through a contemporary lens, the water crisis in this classic play strongly resonates with the current water challenges in Minnesota, the United States and the around the globe. The project will culminate with an informal showing that will feature live music and performance.

Foss Studio Theater, Foss Center

WAITING FOR LEFTYScreen Shot 2016-03-14 at 12.17.53 PM

By Clifford Odets

Directed by Barbra Berlovitz

April 1, 2, 6, 7, 8, and 9 at 7 p.m.
April 10 at 3 p.m.

Income inequality, discrimination, union busting, long working hours, corruption, fear mongering, are words all too familiar to most of us in 2016 America.   Waiting for Lefty speaks to these issues and more.  And it was written in 1934. It is the story set in a taxi driver union meeting.  Members discuss their predicaments and a possible strike. Tempers are high and money is tight. The bosses are squeezing the workers for every penny, reducing wages and adding hours. Different family and work situations are acted out to reinforce the need for a strike.  As an event, the play starts angry and builds in intensity to the end when a strike is called.  Theatre is at its best when it reflects the time it is performed in and speaks to those in the audience. Maybe this eighty one year old play’s time has come again.

Tjornhom-Nelson Theater, Foss Center