2021 – 2022 Productions

Each year, the Department of Theatre offers a variety of production projects, covering a wide spectrum of genres and styles.  After a year of making digital theatre, we are excitedly planning a return of in-person theatre.

Auditions for Department Productions take place at the beginning of the Fall and Spring Semesters.  Please visit our Production Auditions Page for more information and to sign-up.


Written by Various

Directed by Susan Picillo

Sound Designed and Edited by Andrew Duncan Will

In partnership with WRBB 104.9 Radio

Airing on January 28th at 9pm on WRBB 104.9 Radio & Website

Streaming in January and February – Links coming soon.

Read about this production in [email protected]



Noah Braunstein

Emma Harper

Liam Huff

Lily McCollum

Emily Rosakranse

Marie Siopy

Antonio Weissinger

Production Stage Manager:   Elaine Mangelinkx

During the Golden Age of Radio, imagination ruled the air waves.  With only voices and sound effects, stories and characters came to life.  The Lone Ranger, The Shadow, Sherlock Holmes and Superman were the popular characters of the day who crept into American homes each night, as families gathered around their radios to hear the next gripping adventure of their favorite heroes.


Title: Death Calls at Dinner


Announcer – Tony Weissinger

George, Mike – Noah Braunstein

Sgt. Barker – Liam Huff

Mary – Tony Weissinger


Title: Murder of Mrs. Brooks


Announcer – Liam Huff

Police – Noah Braunstein

Jim – Tony Weissinger

Alice – Liam Huff


Title: My Pal Patsy


Announcer, Gatti – Noah Braunstein

Lem, Man on the Phone – Liam Huff

Dr. Melville – Tony Weissinger


Title: Atonement


Tony Weissinger

Noah Braunstein

Liam Huff


Title: All The Pretty Little Things I Did Not Buy


Person 1 – Emily Rosakranse

Person 2 – Lily McCollum

Person 3 – Marie Siopy

Person 4 – Emma Harper


Playwright: Annie Baker

Director: Jonathan Carr

Assistant Director:  Sydney Maloney (’22)

Costume Designer:  Jessica Pribble

Lighting Designer:  Ciara McAloon (’22)

Scenic Designer:  Oliver Wason

Sound Designer:  Aubrey Dube

Rehearsals begin January 24

Performances March 2 – 6


Cast List: Casting for all roles is being considered as gender non-adjacent*





-Danny M1

-Danny M2



-Brian (partial undressing onstage, not nudity. Also simulates vomiting blood)

-Max (voice-over only)

*Gender non-adjacent means that an actor’s gender-identity does not limit the roles available to them in this production*


Production Synopsis by Jonathan Carr:

In The Antipodes, we go to work in a writers’ room where everything is on the table. A team comes together to create— some familiar faces and some new ones— and their aspirations are sky high. What kind of story will they create, and how will they get there? At this incredibly turbulent moment in history, when even the most basic truths seem unreliable, do we even still want stories? Can they still bring us together? What if there is no story?


“A paradoxical, puzzling, compellingly hypnotic work.” – Village Voice


“In the end, Baker implies that, even in dark times, the urge to tell stories obstinately persists.” – Guardian


Audition/Callback Requirements:

*Prepare two contrasting monologues from a contemporary play, no more than 2 minutes long TOTAL.

*For non-majors, these do not have to memorized. A printed, prepared reading is okay.

*Theatre majors are expected to arrive to all Open and Call Back Auditions fully prepared in accordance with the outlined requirements of the audition. This includes, but is not limited to, reading the production texts completely, thoroughly memorizing materials, and completing necessary documentation.

*Callbacks will most likely consist of a group callback in small sessions using text/scenes from the play.

Production Auditions Information Page

Production Calendar

Character Breakdown/Show Info

Perusal Script


Writer and Co-Director: Elizabeth Addison

Co-Director: Meghann Perry

Music Director:  Nicholas Place

Movement Director: Mar Parrilla S

Costume Designer:  Jez Insalaco

Lighting Designer: Abigail Wang

Scenic Designer:  Baron Pugh

Sound Designer:  Anna Drummond

Here more about this production from Writer and Composer Elizabeth Addison

Rehearsals begin February 8

Performances March 31 – April 10


GRACE – Dark-skinned Black/Afro Latina woman, late 20’s/early 30’s, average size, Mezzo with Rock/R&B flavor. She is incredibly self aware and full of contradictions. Awareness, for her, is a gift and a curse.


MS. CAROLINE – Black/Afro Latina woman, mid to late 50’s, full figure Mezzo with belting/R&B moments.


TESSA – Black woman, early 50’s, average size, belter. Tessa is sweet and has a childlike vibe and sound.


SHERI – Black woman, late 30’s/early 40’s, full figured, Belter.


CECE – Light skinned Black woman. As Cece, she is a very attractive Butch.


TANISHA//RESIDENT 1 /DETOX COUNSELOR – Black Woman, late 30’s, alto. She can easily go in and out of a Trini and American accent.


VICKY/RESIDENT 2/PAM – Light skinned Latina, 30’s/40’s, alto. As Vicky, she has a dominican accent.


KELSEY/RESIDENT 3 – White, late 30’ss, slender build, mezzo.


MS. ANITA/MS. AMBER/THERAPIST – 20’s, mezzo. Ms. Anita & Ms. Amber are new counselors fresh out of college.


ENSEMBLE – 2-3 additional Actors


Script Synopsis by Elizabeth Addison:

“This is Treatment” is a musical inspired by writer Elizabeth Addison’s time at a residential treatment facility for substance use disorder. The musical specifically speaks to the experience of Black and Latinx women (of all hues) with substance use disorder􀀄 and the process of their recovery and treatment. The show will be an immersive experience where the audience feels as if they are in treatment alongside the characters. While the show explores many challenging subjects (trauma, addiction, gentrification, food insecurity etc.), it also is full of joy and laughter. The goal of this production is to bridge any gaps to understanding, encourage empathy, and create a safe space for us, as a community to explore these challenging topics and heal together.

Audition Requirements:

*Prepare one monologue no more than a minute in length.

*Prepare one 32 bar cut of an up-tempo song or ballad. This can include 90’s pop/rock, 80’s rock, or 90’s-2000’s R&B. Please have the sheet music or a track you can sing along to.

* Auditionees are encouraged to have an additional 32 bar cut prepared of a song that contrasts their first selection, but is not required.

*For non-majors, these do not have to be memorized. A printed, prepared reading and song is fine!

*Theatre majors are expected to arrive to all open and call back auditions fully prepared in accordance with the outlined requirements of the audition. This includes, but is not limited to, reading the production texts completely, thoroughly memorizing materials, and completing necessary documentation.

*Callbacks will most likely consist of a movement call, scene work, and learning songs from the production. All materials will be available ahead of time.

Production Auditions Information Page

Production Calendar

Character Breakdown/Show Info

Perusal Script

Audition Materials




Written by Caryl Churchill

Directed by Bridget O’Leary




Scenic Design by Lindsay Fuori

Costume Design by Elisabetta Polito

Lighting Design by Abigail Wang

Sound Design by Aubrey Dube

Production Stage Manager:  Hannah Marks

Assistant Stage Manager:  Ceci Chin










Rehearsals begin September 14

Performances October 14 – 24

Love and Information takes place in the past, present, and future. It examines how we communicate and create relationships through time, space and technology. The play explores the ways in which our attachment to technology has both isolated us and also elevated our voices to amplify movements and our expression of identity. Churchill’s work is always pushing for us to confront issues of classism, political hierarchies and gender inequalities. In Love and Information, she takes all of these themes and creates a world where her characters, and in turn the audience, must find ways to connect to other; even when we can’t find common ground; even when we don’t have words; even when it feels impossible.

This is an ensemble driven piece for an ensemble of actors of any age, ability, race, ethnicity or gender expression.

“One of the many points made by this exhilarating theatrical kaleidoscope is that we live in a world where information bombardment is in danger of leading to atrophy of memory, erosion of privacy and decay of feeling.” – Guardian

Caryl Churchill’s play Love and Information is a poignant exploration of how a pathological desire for information — ranging from family secrets and dream interpretation to lab experiments and the census — shapes human connection.” – Chicago Magazine


Written by Euripides

Translation by Francis Blessington

Adapted & Directed by Antonio Ocampo-Guzman

Watch NUTV’s visit to Rehearsal and here what the cast has to say about making this production

The Bacchae in 65 Seconds

Scenic Change-over:  Love & Information into The Bacchae

View the Program


Scenic Design by Tori Rojo (’22)

Costume Design by Frances McSherry

Lighting Design by Elmer Martinez

Sound Design by David Reiffel

Production Stage Manager:  Nico Fernandez

Assistant Stage Manager:  Emma Isaacs

Rehearsals begin October 4

Performances November 11-21



The Bacchae, followers of Dionysos VIDISHA AGARWALLA
Dionysos, also called Bromios and Bacchos ANSH KEWALRAMANI
Cadmus, founder of Thebes ERIN SOLOMON
Agaue, his daughter, and mother of Pentheus ELISE PILIPONIS
Pentheus, King of Thebes DANIEL LUTZ
Teiresias, a blind prophet DEVON WHITNEY
Messenger, a shepherd GRACE CAMPBELL
Soldiers, Pentheus’ guards ISABELLE BUSHKOV

The Bacchae is a revenge tragedy – Dionysos, also known as Bacchus, God of Wine, Revelry and Theatre – avenges the honor of his mother, Semele. Her family did not recognize him as the fruit of her love for Zeus, nor his rank as a God. King Pentheus opposes the bacchic rites that challenge the social order he is so committed to uphold. His intransigence and pride prove to be his demise: we must honor the Gods, and remain as flexible as we can.


Euripides’s exploration of the nature of human existence intertwines man with god, male with female, animal with human, sanity with madness.” – Guardian

“We follow where forces greater than ourselves lead, a break from the grind of rationalism, where ecstasy mingles treacherously with chaos.” – LA Times