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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