2015-2016 Season

The Imaginary Invalid

By Molière

Directed by Dario Tangelson

October 30 through November 8, 2015

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.

Tjornhom-Nelson Theater, Foss Center


I Don’t Know

An Original Student-Created Piece

Directed by Sarah Myers

November 19 through November 22, 2015

Inspired by conversations with theater students about why we sometimes say “I don’t know” after expressing ideas during class discussions, I Don’t Know is an exploration of what it means to know (or not).  Why and when do we think we know things?  What role does doubt play in the process?  Who claims knowledge and how?  This ensemble-created, collage-style piece will draw on original writing, video, and movement to ask questions about the very nature of knowing.

Tjornhom-Nelson Theater, Foss Center


Barefoot in Nightgown by Candlelight

By Don Nigro

Student-Directed by Emily Wrolson

February 4 through February 7, 2016

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.

Tjornhom-Nelson Theater, Foss Center


Def Poetics Vol.3

Facilitated by Sha Cage and E.G. Bailey

Dates to be Determined

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.

Studio Theater, Foss Center


Experimental Workshop Production

An Enemy of the People

By Henrik Ibsen

February 18 and February 19, 2016

Sod House Theater and the creative team behind Last year’s 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.

Tjornhom-Nelson Theater, Foss Center


Waiting for Lefty

By Clifford Odets

Directed by Barbra Berlovitz

April 1 through April 10, 2016

Income inequality, discrimination, union busting, long working hours, corruption, fear mongering, are words all too familiar to most of us in 2015 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