September 26th - 30th October 3rd- 6th
Desdemona, A Play About A Handkerchief
By: Paula Vogel Directed By: L. Kalo Gow Wed 26 Preview Show 7-9pm Thurs - Sat 7-9pm Sun 12- 2pm Robert E. Nims Theater Performing Arts Center - U.N.O.
November 7th - 11th November 14th - 17th
By: Branden Jacobs-Jenkins Directed By: David W. Hoover Wed 7th Preview Show 7:30pm Thurs - Sat 7-9pm Sun 2pm Robert E. Nims Theater Performing Arts Center - U.N.O.
February 12th - 17th
Keely and Du
By: Jane Martin Directed By: L. Kalo Gow Tues - Sat 7:30pm Sun 2pm Lab Theater Performing Arts Center - U.N.O.
April 24th - 28th May 1st - 4th
By: William Shakespeare Directed By: David W. Hoover Wed 7th Preview Show 7-9pm Thurs - Sat 7:30pm Sun 2pm Robert E. Nims Theater Performing Arts Center - U.N.O.
"Desdemona, a play about a handkerchief" by Paula Vogel
Directed by L. Kalo Gow
THE STORY: Having slept with Othello's entire encampment, Desdemona revels in her bawdy tales of conquest. Her foils and rapt listeners are the other integral and reimagined women of this Shakespeare tragedy: Emilia, Desdemona's servant and the wife of Iago, and Bianca, now a majestic whore of Cyprus. The reluctantly loyal Emilia pesters Desdemona about a military promotion for her husband. Her motive, however, is that he leave her a wealthy widow, preferably sooner than later. Bianca, now a street-wise yet painfully naive prostitute, visits Desdemona, thinking she is a very good friend and fellow hooker (at least one night a week). Bianca thinks the worst when she discovers that Desdemona knows intimate details of the life of her lover, Cassio. Though Desdemona has never been intimate with Cassio, her life is soon in danger when her husband, Othello, also suspects her of infidelity.
As the wrongly accused and suffering wife of Shakespeare's tragic Moor, Othello, Desdemona has long been viewed as the "victim of circumstance." But as Pulitzer Prize-winner Paula Vogel demonstrates in her comic deconstruction of Shakespeare's play—aligning tongue-in-cheek humor while raising serious questions as to the role of women through the ages—Desdemona was far from the quivering naïf we've all come to know. "Vogel remains one of the smartest, most original and engaging playwrights to come along…" —NY Newsday.
'Gloria' by Branden Jacobs-Jenkins
Directed by David W. Hoover
THE STORY: This funny, trenchant, and powerful play follows an ambitious group of editorial assistants at a notorious Manhattan magazine, each of whom hopes for a starry life of letters and a book deal before they turn thirty. But when an ordinary humdrum workday becomes anything but, the stakes for who will get to tell their own story become higher than ever.
Finalist for the 2016 Pulitzer Prize. "[A] whip-smart satire of fear and loathing…GLORIA is to the New York publishing business what David Mamet’s Speed-the-Plow is to the Hollywood film industry.” —The New York Times. “All you need to know is that the bitingly funny and fierce GLORIA is one of [2015’s] best shows. What playwright Branden Jacobs-Jenkins says about American society, the media and how we package celebrity and tragedy is as spot-on as it is depressing.” —The New York Post. “Sharply observant and playfully theatrical, this thought-provoking work continues its talented young writer’s winning streak. As usual, [Branden Jacobs-Jenkins] handles his serious themes in a thoughtful, provocative manner…the play emerges as a trenchant commentary on the way in which personal tragedies merely serve as grist for the ever-ravenous media machine. A rare example of a contemporary play that keeps us constantly guessing where it’s headed, GLORIA is a work not to be easily forgotten.” —The Hollywood Reporter.
'Keely and Du' by Jane Martin
Directed by.: TBA
From the author of Talking With and Vital Signs, here is a volatile drama about abortion. Du, a right-to-life activist, and Keely, a pregnant rape victim Du is confining, transcend their circumstances and the ideological issues that separate them. Keely and Du is a mind-probing issue play with a gripping human face. Who is accountable? What is the extent of individual freedom? What are a rape victim’s rights? What are a Christian’s realities of procreation? Their passionate stories exist on the extreme edge of everyday reality.
'Othello' by William Shakespeare
Directed by David Hoover
In Venice, at the start of Othello, the soldier Iago announces his hatred for his commander, Othello, a Moor. Othello has promoted Cassio, not Iago, to be his lieutenant.
Iago crudely informs Brabantio, Desdemona’s father, that Othello and Desdemona have eloped. Before the Venetian Senate, Brabantio accuses Othello of bewitching Desdemona. The Senators wish to send Othello to Cyprus, which is under threat from Turkey. They bring Desdemona before them. She tells of her love for Othello, and the marriage stands. The Senate agrees to let her join Othello in Cyprus.
In Cyprus, Iago continues to plot against Othello and Cassio. He lures Cassio into a drunken fight, for which Cassio loses his new rank; Cassio, at Iago’s urging, then begs Desdemona to intervene. Iago uses this and other ploys—misinterpreted conversations, insinuations, and a lost handkerchief—to convince Othello that Desdemona and Cassio are lovers. Othello goes mad with jealousy and later smothers Desdemona on their marriage bed, only to learn of Iago's treachery. He then kills himself.