Set in 1905 New York City, “Intimate Apparel” follows Esther Mills, a 35-year-old Black seamstress who dreams of opening a beauty salon for Black women. Living in a boarding house under Mrs. Dickson’s supervision, Esther finds companionship in her clients, including wealthy socialite Mrs. Van Buren and sex worker Mayme. One day, she receives a letter from George Armstrong, a laborer working on the Panama Canal. As this letter-fueled romance continues, she falls in love with the idea of him as her clients help her write these love letters. 

At the same time, Esther shares a forbidden, unspoken connection with Mr. Marks, a Jewish fabric seller. George eventually arrives in New York and marries Esther, but their relationship quickly deteriorates as he has an affair with Mayme. In the end, Esther is left alone yet undeterred, holding fast to her dreams.

Taking on the complex role of Esther was Elizabeth Swaine ’27, whose performance anchored the production with intensity and emotional depth. Swaine brought Esther’s inner world to life through subtle gestures, expressive silences and moments of raw vulnerability. 

Esther’s scenes with her confidants, Mrs. Dickson and Mayme, played by Gia George-Burgher ’26 and Asia Anderson ’28 respectively, brought warmth and emotional grounding to the production. Their interactions with Esther were viscerally real and felt as if we were watching friends have intimate conversations. 

George-Burgher infused Mrs. Dickson with humor and maternal pragmatism. Upon her first entrance to the stage, it was clear this was a character she had mastered. She embodied her character in every sense, with every word spoken and step taken. Every action seemed to be a calculated choice. Anderson was equally as intentional as George-Burgher, imbuing the character of Mayme with a mix of sultry charm and vulnerability. 

Together, their performances deepened the sense of community around Esther, making her moments of connection — and eventual betrayal — all the more poignant.

Wednesday’s audience responded enthusiastically to that night’s performance. Upon walking into the University Theater, they were met with a stage divided into five settings: Esther’s room, Mr. Mark’s fabric shop, Mrs. Van Buren’s room, Mayme’s parlor, and George’s staircase. 

Although completely separate, the stage still felt cohesive and immersed the audience into Esther’s world. 

As Esther moved through her life, so did the audience. They yearned alongside Esther, in her love for Mr. Marks, played by Lucas Oland ’26. Their chemistry was palpable, in the way only forbidden love can be. By the end of the play, when they finally touch, a wave of excitement and cheers rushed over the audience as hours of longing and restraint were released in a single, fleeting moment.

The excitement did not last long, as the audience continually observed her turbulent marriage. George, played by Richard George ’27, is charming yet complicated. Their first appearance painted them to be a doting and romantic lover with a striking accent. However, they morph into a manipulative and destructive spouse, garnering hatred from the audience, so much so that an audience member yelled out what all viewers were thinking and yelled “Stop!”

In a surprising turn of events, Mrs. Van Buren, played by the talented Chloe Bernardete ’28, kisses Esther. The emergence of this bewildering lesbian subplot resulted in gasps that rippled throughout the entire audience. 

To further immerse the audience in the world of “Intimate Apparel,” the production incorporated faint ragtime piano pieces — often looping softly beneath scenes — to evoke the atmosphere of early 20th-century New York City. At times, this music became somewhat redundant and did not always reflect the actions being done on stage. This distracted from the themes being shown on stage. 

One of the main challenges faced by the cast of “Intimate Apparel” was the accent work some of the characters incorporated. For actors like Bernardete, a trans-Atlantic accent lended itself very well to her character. However, for other actors, particular acting choices become muddied with inconsistencies or annunciation issues. Quieter lines of dialogue were lost due to what is assumed to be lower microphone volumes — an issue that has plagued the Dramat in recent years. Some emotional peaks were reached too early, resulting in a momentum with nowhere to go.

At times, the role of comedy was unclear and its execution appeared incomplete. Moments like quippy one liners or some of the situational circumstances, which garnered some laughs, were often rushed through. Lines were delivered while the audience was still reacting, which left  some audience members in a rush to catch up with the action on stage. It prompted viewers to wonder whether this moment was meant to be comedic at all.

“Intimate Apparel” was directed by professional director Chesray Dolpha. Her touch is apparent; the whole show had an elevated sense to it that only an outstanding professional could bring. 

From the intentional pacing to the nuanced physicality of each scene, Dolpha’s direction created a world that felt both intimate and immersive. It breathed and flowed, allowing the silences to speak as powerfully as the dialogue.

Wednesday’s performance was met with an immediate standing ovation and thunderous applause. Audiences cheered emphatically as the cast took their bows. 

“Intimate Apparel” was filled with so much heart, an idea that exuded beyond the stage. Angelica Peruzzi, the producer, came out to address the audience at the conclusion of the show. Thanking the audience for attending, she mentioned how important it was for stories like that of Esther’s to be told.

“Intimate Apparel” is chock full of stellar acting performances and calculated artistic direction. Putting aside minor stylistic choices and the roughness that comes with emerging talent, the production left audiences with a compelling story that had never been seen in the University Theater before. 

The post REVIEW: Dramat’s spring mainstage “Intimate Apparel” masterfully stitched together themes of love and longing appeared first on Yale Daily News.

For Esther, a talented but lonely seamstress, stitching together silk and lace is a breeze compared to the challenge of stitching together her hopes of love, stability and belonging. The Spring Mainstage will run from April 2 to 5 in the University Theater. Tickets are available here. 

“It’s a story of friendship. It’s a story of struggle. And it’s a story about a woman learning to love herself,” said producer Angelica Peruzzi ’27. 

“Intimate Apparel” follows Esther, as she navigates a series of complex relationships in her ultimate pursuit of opening up a beauty parlor for Black women and finding the love of her life. For now, however, she is a seamstress who makes exquisite lingerie for her clients, who range from wealthy women to prostitutes. 

The show is a delicate exploration of race, gender, class and the quiet strength of a woman pursuing dignity and love. 

“It’s called ‘Intimate Apparel’ for a reason,” said Peruzzi. “We really want to make sure the audiences feel like they’re interacting with Esther as they get such a special little view into her life.” 

Esther is played by Elizabeth Swaine ’27. Finally returning to the Dramat Stage after her performance in last year’s FroShow “Dance Nation,” she said that she was excited to portray such a nuanced character. 

“Esther is hardworking and very driven, and I think that for me, it was about trying to balance those characteristics with tenderness and desire for love,” she said.

To Swaine, Esther believes that it is “never too late to create the life that you want for yourself.” Even though things do not always work out, Esther continues to dream — a mantra that deeply resonates with Swaine. 

Rounding out the small cast is a talented array of Yale actors. Playing the no-nonsense, pragmatic landlady Mrs. Dickinson is Gia George-Burgher ’26, while Richard George ’27 plays the charming yet complex George.

Mr. Marks, the shy, soft-spoken Romanian-Jewish fabric seller is played by Lucas Oland ’26. Additional actors include Asia Anderson ’28 as Mayme and Chloe Benardete ’28 as Mrs. Van Buren. 

“The characters have a lot of heart,” Swaine said. “In different ways, they are longing for a connection. I think that that’s something that a lot of people can relate to.”

The Dramat’s Mainstages are always directed by professional directors. This Spring show will be directed by New York-based director Chesray Dolpha. 

She has a rich directorial history, including working with the Theater Development Fund, St. Ann’s Warehouse and The Dream Center in Harlem. 

“She cares so much about making sure that everyone’s well-being is always prioritized and that everyone finds the experience fulfilling,” said Peruzzi. 

According to Peruzzi, Dolpha came into the process with a clear dogma: “process over production over perfection.” 

She wanted to create a space that encouraged actors to reach their full potential without over-exerting them. 

“She’s brought valuable experience to this project,” said Alex Shadman ’27, the stage manager. 

Dolpha’s experience and expertise is invaluable to Shadman. He said that working alongside her will undoubtedly contribute to his “future work here at Yale.”

Swaine echoed these feelings, describing the whole experience as filled with “kind individuals” that have made the whole experience worthwhile. 

“Intimate Apparel” welcomes audiences with its promise of tender romance and quiet beauty, but leaves them with a deeper meditation on resilience, self-worth and the enduring strength of connection.

“I encourage people to learn from Esther’s perseverance,” said Swaine. 

As the producer, Peruzzi has been preparing for these performances since last spring. Now that the time has finally arrived, she is excited to finally share this important story. 

“A lot of times we refrain from telling our stories because we think that no one’s gonna care about our individual experience,” she said. 

“What’s inspiring to me,” she continued, “is to think that this is one woman’s story — one woman’s life, one woman’s experience — and should empower other women to understand that the uniqueness of your life is what actually makes it important for you to tell the story. Your individual experience matters.”

“Intimate Apparel” is a beautiful quilt of experiences that, when woven together, create an inspiring story of resilience in the face of adversity. 

The play was written by Lynn Nottage in 2003 and debuted at Center Stage Baltimore the same year.

The post “Intimate Apparel” explores womanhood and love in early 20th century appeared first on Yale Daily News.

Tensions soar and relationships are tested as they decide who must “Fuck the Goat.” Tickets are available here. 

“It’s not about actually fucking a goat,” said Meridian Monthy ’25, the director. “It’s about sitting in a basement and looking at your peers and being like, ‘Are you in this with me too?’”

The play is the senior thesis and brainchild of Chap. While brainstorming ideas for this project, she came across an article about hazing scenarios of different universities, one of which involved a special relationship with a goat. 

What started out as a suggestive gag slowly morphed into a full fledged production.

“I really wanted to write something that felt really outside of myself,” said Chap. “One of my really close friends went to college and joined a frat. So I got some exposure to seeing that dynamic.”

Chap wanted to capture the reasons and motivations why a college student might want to join a fraternity. While there are no direct references to Yale’s Greek Life, Chap said that she incorporated humor and language that felt “pretty Yale.”

“I think a lot of the show is about when to speak up and in what places we feel comfortable speaking up,” Chap said. 

Taking inspiration from “Lord of the Flies,” she crafted four distinctly different characters that all find themselves in this animalistic conundrum. Playing the demure dummy Drew is Leo Levitt ’28. Shivraj Singh ’28 plays the emotionally intelligent Toby, while Harry Lowitz ’28 plays the zany and neurotic Harry. 

Playing the “alpha of the group” Michael is Wyatt Fishman ’27. “Fuck the Goat” is Fishman’s first foray into Yale theater, but will unlikely be his last, he said. 

“Michael is kind of the enemy,” said Fishman.“He wants to appear some way that maybe deep down he’s not. As emotions and backstories unravel, you find out he’s trying to hide something.” 

As the only cast member in a fraternity, Fishman said that he was able to connect to the material. However, the Sig Nu brother stressed, the audience members do not need to be a part of any brotherhood to enjoy the show. 

“The show is very grounded in the college experience and what freshmen may think of college when they first get here,” said Fishman. 

Despite the harrowing nature of bestiality, Fishman said the underlying subject matter of the play — navigating college and its unlikely friendships — is almost a universal truth across college campuses. At its heart, the show is an examination of relationships against the backdrop of a dingy college basement. 

“It’s about friendship, and the pain we’ll put ourselves through in order not to be lonely,” said Monthy. 

“Fuck the Goat” is Monthy’s directorial debut, although she is no stranger to the stage. After four years of performing, she wanted one last go at a Yale production — this time behind the curtain.

“Direction is ownership, it’s artistic, it’s managerial, it’s action. It’s all the things that felt out of my control as an actor, suddenly in my hands,” she said. 

For Monthy, directing has been a way of cementing her legacy. By working with a small cast of relatively new actors, she said that she has been able to pass on lessons she learned from her past directors. 

Monthy hopes to prepare the next generation of Yale actors to know what it means to find a character — even if that character is a douchey business major who, one way or another, is going to be initiated into the herd.  

“Even though nobody at Yale has experienced this specific situation, it feels very recognizable. Lots of people have experienced the crazy stuff you do to get into clubs,” she said. 

Rounding out the production team is co-director Noah Bradley ’25 and producer Victoria Mnatsakanyan ’27. 

Fear not, no goats were harmed in this production. Audiences can expect to leave with “a deeper sense of nuance about people, community and friendship,” said Monthy. 

Prepare for a night of bleats, beers and blurred lines as the brothers of Pi Kappa Phi test their newest pledge class.

The Crescent Underground is located between Morse and Stiles colleges.

The post Lace up your frat shoes and lay out the hay: “Fuck the Goat” to open this weekend appeared first on Yale Daily News.

This year, the program was not renewed, despite positive reactions from audience members and Dramat leadership alike. According to Maya Evans ’27, the program received “good feedback.” 

“Theater is a place of entertainment, education, and discovery,” said Alex Shadman ’27, an ASL student. “Placing limitations on the people who can experience these productions is counterintuitive.”

“Not feasible for us as a student organization”

As the Dramat’s policy director, Evans ensures that the Dramat’s policies are as “equitable and accessible” as possible. Recently, she oversaw the Dramat Board’s new anti-racism initiatives and revised the official policies regarding the depiction of sexual content on stage. 

According to Evans, the Dramat board largely believed in the benefits of the program. 

“To my understanding, because the interpreters were available, more Deaf and hard-of-hearing people were going to the shows,” said Evans. 

Providing ASL interpreters can be quite costly. Without additional funding, being able to provide public interpreters is just “not feasible for us as a student organization,” said Evans.

ASL was provided through Undergraduate Productions, an organization that is committed to ensuring safety at Yale theater, according to the website. 

Describing the updated policy surrounding ASL interpretation services, Undergraduate Production’s website states that “it is the responsibility of the organization or production team to secure the interpreter and provide funding for the request.”

When the News asked about the discontinuation of the program, UP did not respond to comment. 

The decision to axe the program has raised concerns about Yale’s commitment to make the arts more inclusive. While interpretation for the Dramat’s mainstage productions is still listed as “available upon request” on the Dramat’s website, few audience members have requested it. 

“An unfair burden on Deaf patrons” 

Interpreter Kyle Leonidas-Nye said that he disagrees with the policy change.

“A request-based system puts an unfair burden on Deaf patrons,” he said. “If a Deaf person decides last-minute that they want to see a show, they might not be able to because interpreters weren’t requested in advance.”

“And for us interpreters,” he continued, “It’s extremely difficult to prepare for a show on short notice. We need at least a month to properly rehearse and do justice to the material.”

Leonidas-Nye has previously worked on Dramat shows like “Rent” and “Legally Blonde.” He views his time working with student production teams as “very accommodating.” However, Leonidas-Nye said that it should be the theater’s responsibility to make their productions accessible from the start.

“Theater is a huge part of culture, and it should be accessible to everyone,” he said. “Ensuring access means allowing Deaf audiences to participate in that shared cultural experience.”

Students taking ASL classes have previously enjoyed attending these interpreted shows, which not only provided opportunities to improve their language skills but also to experience the artform in new lights.

“These shows were a great opportunity for hearing students to see theatrical interpreters in action,” said Shadman.

Shadman has a rich theater background. He has performed alongside interpreters at the Dramat and recognizes the importance of accessible theater. 

Giving each other “grace” 

Dr. Julia Silvestri, the ASL Program Coordinator at Yale, has similar feelings.

For Deaf people interested in art, she said that having interpreters provides them an opportunity to interact with different modes of storytelling.

“It’s a great way for hearing people to interact with Deaf people without excluding them,” she said. 

Silvestri is Deaf, and has attended shows with provided interpreters. Growing up, her hearing father and Deaf mother would go watch interpreted shows. For them, theater was something they could experience together, appreciating theater in unique but impactful ways. 

While each Deaf person’s experiences are different, Silvestri personally prefers when interpretation is provided.

“If I walk into a theater and see people signing, I’m going to feel more comfortable and safe,” she said. 

For larger theatrical groups like the Dramat, having interpreters and ushers who know ASL can put Deaf and hard-of-hearing audience members at ease. However, Silvestri emphasized that people need to give each other “grace,” especially in the face of complicated situations. 

“In situations where people learn new things: where people learn new things, where Deaf people try to be involved and where students try to support them, there are a lot of moving parts,” Silvestri said. “I tend to believe that it’s nice when people help each other.” 

As the Dramat continues to navigate the challenge of making their productions more inclusive, the discontinuation of the ASL interpretation program highlights a larger conversation about accessibility in Yale arts. While students and faculty alike recognize the value of interpreted performances, the burden of securing and funding interpreters remains a barrier.

For now, ASL interpretation is only available upon request — an option that some, like Leonidas-Nye, argue is insufficient in ensuring true accessibility. But students like Shadman remain hopeful that Yale will reconsider its decision.

“Interpretation allows for people of different identities to enter theatrical spaces and feel as though they are valued like everyone else,” he said. 

The Dramat was founded in 1901.

The post Dramat’s ASL pilot program discontinued, raising accessibility concerns appeared first on Yale Daily News.

The YAC presents one mainstage production each semester. Compiling songs across the musical theater canon, they present a themed concert that’s one night and one night only. This time, it’s all about love.

“This one will really pull on your heart strings,” says Abigail Yadegar ’25, one of the performers. “It’s filled with hits that feel warm and familiar, and, if we do it right, you’ll hopefully leave the theater humming a tune and skipping down the street.” 

Cabarets are not a typical musical. They have no linear storyline or set characters. Instead, it’s about the performer having their own chance to shine solo — although, occasionally there will be a duet or trio.

Director Abby Asmuth ’26, who is also a WKND editor at the News, has a deep appreciation for this format. To her, it allows the chance for different voices to be showcased. “Timeless” is no exception.

“We’re going chronologically, starting with jazz musicals all the way to today. And because of that, we’re featuring a lot of different sounds that encourage a variety of types of voices,” Asmuth said.

Asmuth, alongside Benjamin Jimenez ’26, serve as the co-directors and co-producers of “Timeless.” Together, with the help of musical director Christine Dong ’26, they assembled a talented cast of singers ready to sing across the vast musical theater genre. 

The show begins in the early 20th century with familiar jazz standards. Cole Porter, class of 1913, makes an appearance alongside classic musical theater favorites that slowly transition into modern hits of today. Audiences will delight in renditions of “The Music Man,” “Wicked” and even some Disney classics. 

“Audiences will see the breadth of the musical theater canon, and how the sound has really changed and matured over time,” Asmuth said. 

To performers like Yadegar, YAC has exposed her to music she never thought she’d encounter.

“I absolutely love musical theater, always have and always will, but I have so enjoyed discovering new shows, composers, and songs through this process,” she said. 

According to Yadegar, it has been “lovely” to witness talented artists at Yale take such iconic pieces and place their own spin on them. Each singer is given the opportunity to make their song their own, much to the delight of the performer, as well as audiences. Cabarets provide a more intimate space for this that isn’t always guaranteed on a traditional stage, according to Asmuth. 

Yadegar will perform “Till There Was You” from The Music Man, which serves as a reminder that “if we are willing to look for it, love can be found singing all around us.” She said that she hopes audiences will feel empowered to seek out these moments of beauty and love, as they are what “makes life worth living.”

For other performers, like Emma Fusco ’26, “Timeless” is a prime example of the creativity Yale theater has to offer.

“They’ve done a cool spin on this one. It starts with waiting for love, then moves into love, then into heartbreak,” she said. 

“Timeless” is Fusco’s first time performing in a cabaret. Nevertheless, she is thrilled to be given the chance to perform in such a unique setting. 

“Musical theater rocks!” she said. “But seriously, it’s such a fun outlet for performers. It’s one solid hour of fun, beloved songs, and the energy is always really exciting.”

Whether you’re a theater savant or simply a fan of live music, “Timeless” strives to embolden audiences to sing about love. 

The Lighten Theater is located within Pauli Murray College.

The post Listen to your heart this Friday at Yale Artists Cabaret’s “Timeless” appeared first on Yale Daily News.

“Miss Molly” is this year’s “FroShow” — an annual show acted, directed and produced entirely by first year students. The show explores queerness with grace and tongue-in-cheek humor in a backdrop — 1880s England — where gay men were criminalized and ostracized. 

“Miss Molly is a love letter to gay love and queer visibility,” said Kelaiah Bigby ’28, the director of this year’s FroShow.

The show follows Mr. Matthias Manley and Mr. Aloysious Thurston, two Victorian gentlemen, and their forbidden, velvet-cladden love affair. To dispel any rumors of their clandestine meetings, they hatch a plan to marry aristocratic sisters, Molly and Genevieve Housington. 

However, hot on their trails is the Viscountess Housington, a sensible woman whose wit is as sharp as her corset. The gentlemen must keep up their charade as she begins to unravel their farce. 

Making her Yale directorial debut, Bigby is taking on one of the largest stages the University has to offer. Striving to stay loyal to the script, her directorial process stresses the themes and messages playwright Christine Carmela is trying to convey.

“There’s a lot of emphasis on the words, the script and the conversations the characters are having with each other. They’re really important to the story,” said Bigby. 

Working alongside Bigby on production is a large, dedicated team of theater savants. Among them is stage manager Araiya Casriel ’28 and producer Maya Molina ’28. Equipped with a strong vision — and creative stage and costume designers — they aim to bring Victorian England to 222 York St. 

Bringing these debutantes and gilded gays to life is a talented cast of actors who embody characters cursed with wealth and an excess of emotions. 

Playing the conniving, love-stricken Mr. Matthias Manley and Mr. Aloysious Thurston are Chad Bowling ’28 and Gil Altman ’28. The Housington sisters are brought to life by Farah Kheder ’28 and Reeti Malhotra ’28. The Viscountess Petunia Housington, the girls’ discerning mother, is played by Hila Tor ’28. 

“It’s been wonderful playing Genevieve,” said Malhotra, who is also a staff reporter at the News. “She’s a goth, moody, self-assured, hot-tempered, compassionate, and well-read ‘slag’”

While these characters can easily fall into Victorian stereotypes, Bigby and her team of talented actors have worked tirelessly to bring out their “multidimensionality,” according to Malhotra. 

These efforts make the characters loveable, real and relatable to audiences today. Whether the characters are emphatically anti-patriarchal or overly anxious, the show strives to embrace both its preposterous yet sentimental nature. 

“It’s been fun, with someone who lives in such a different period in society as Matthias, finding those similarities to my own modern life,” said Bowling. 

To him, finding relatability in every character is essential to the acting process, no matter how different these characters are. 

“Miss Molly” invites audiences to witness a seemingly ludicrous tale of Victorian queer love. However, past the quippy zingers and nonsensical squabbles, Malhotra describes the show as one about “unconventional, but still loving, dear and profound” relationships.

“You’re going to see a weird mixture of relationship dynamics in this, between family members and lovers and friends. But one thing underpins them all: a mutual fondness, respect, and affection for one another,” Malhotra said. 

Filled with catastrophes, corsets and closets, “Miss Molly” is a campy uproar that will satiate any audience with a Bridgerton-sized hole in their hearts. 

The University Theater is located at 222 York St. 

The post This year’s FroShow, “Miss Molly: A Marital Deceit of Honest Intentions,” takes viewers on a gay romp in Victorian England appeared first on Yale Daily News.

The Double Dutch group, co-founded by Kayla Samo ’25 last year, combines dance, acrobatics and jump rope skills to showcase the movement-form popularized in 1950s Harlem. Shows are scheduled for Feb. 13 at 7 p.m. and Feb. 15 at 6 p.m. in the Off Broadway Theater. 

“Double Dutch, throughout history, has been a way for Black women to connect through an activity,” Samo told the News. 

Jump roping, specifically Double Dutch, has deep roots within the African American community. Black women found companionship in the activity since it was inexpensive and required little space.

The aerobic movement blossomed into a tradition that brings together song, rhythm and friendship.

“Men stereotypically have the sports they play,” Samo said. “Double Dutch is a way for Black women to express themselves.”

Jumpin’ at Yale started last year to celebrate Black culture while providing a space for students to find community through the playground tradition. Some students felt that there were not enough groups that celebrated Black artistry; the ones that did were far too competitive, Samo said.

Students like Samo wanted to create an outlet that was “open to all.”

Deja Dunlap ’26, had never Double Dutched before coming to Yale. Now, she is ecstatic to have the opportunity to “heal her inner child.”

“There’s not a lot of spaces for Black people, especially Black women, to get together and express joy. It’s been like a community for us, just being together, having fun,” she said.

Double Dutch has a lot of connections to hip hop, tap and other core aspects of Black performance culture. The sound of the rope hitting the floor combined with the jumping creates a unique sonic experience that takes root in historic traditions.

According to Dunlap, Jumpin’ strives to continue “Black artistry and movement.”

“Jumpin’ Across the US” will take audiences from coast to coast in its journey through Black culture. From New York to Chicago to Los Angeles, each stop is an examination of that city’s unique history through meticulously choreographed Double Dutch. The show will spotlight the contributions of Black artists and incorporate dances and songs enshrined in each city’s culture. 

Finding inspiration from TikTok and YouTube, the group found city-specific dance content that could be performed through Double Dutch.

Putting a show like this together is no easy feat, said Samo. Every performer brings their own unique ideas, culminating into a vibrant display of agility and creativity.

Katherine Johnson ’26, describes this collaboration as the highlight of the group. It’s what makes Jumpin’ “so unique and fun,” Johnson said.

Jam-packed with modern takes on traditional activities, audiences will leave with a new appreciation for the rhythmic jump rope phenomenon.

The Off Broadway Theater is located at 41 Broadway. 

The post Jumpin’ at Yale to perform Black History Month showcase appeared first on Yale Daily News.

Tickets go on sale Jan. 31 and are available here.

“‘Pippin’ is very fantastical and pushes the boundaries between what’s real and what’s not,” said Elsie Harrington ’25.

The upcoming production is the senior directing and acting theses of Clara Yuste-Golob ’25 and Harrington, respectively. This production is unlike any of its predecessors. 

In a gender-bending reimagination, the show takes on new, deeper meanings of finding oneself. 

“Pippin is originally this white, straight, ingénue man and that’s possibly the most boring thing in theater,” said Harrington.

The musical centers around Pippin, a young prince searching for meaning and fulfillment in his life. The show is framed around a traveling theater troupe, led by the mystifying Leading Player who guides Pippin through a series of grandiose adventures in his quest for an extraordinary existence. 

With Harrington in the titular role of Pippin and under the careful direction of Yuste-Golob, the show challenges traditional gender norms, shifting the narrative to a woman wrestling with ambition, self-worth and fulfillment. 

The two said that musical theater is often led and centered around men. Grand, existential coming-of-age stories, especially those that hail from the 70s, are reserved for male protagonists. 

“Many musicals don’t offer complex roles for women, and we wanted to change that,” said Yuste-Golob. 

The production’s reimagining extends beyond just its lead role. With a female Pippin, other dynamics of the story naturally shift, particularly the element of romance, which now takes on a queer dimension. 

Yuste-Golob finds this “particularly exciting” as musical theater has typically shied away from queer, female relationships. 

Assisting Yuste-Golob on the production team is stage manager Sita Kottilil ’25, as well as producers Emily Patrick ’26 and Thomas Kannam ’26. Nneka Moweta ’27 choreographs a talented ensemble while Yoshimi Kimura ’27 serves as music director. 

Rounding out the cast is a collection of seasoned players who are no strangers to the stage. Salma Laraki ’26 plays the elegant, hopeless-romantic Catherine while Stellan Min ’27 plays the eccentric, war-mongering Charlemagne. 

Maya Franz ’25 tackles the role of Leading Player, the main catalyst for all of Pippin’s adventures.

“It’s kind of a dual role: I lead the troupe but I’m also the narrator, making sure the audience knows what’s happening,” says Franz. They liken their character to a puppet master, controlling the show and leading Pippin as he embarks on his quest. 

“Pippin explores all these different paths in life, and I think that it’s very relatable to a lot of people in college,” they said. 

This new version of “Pippin” offers audiences a chance to see a familiar story through a new and compelling lens. According to Harrington, the cast and crew is excited to show off fast-paced choreography, comedic timing, beautiful costumes and the amazing music. 

“I think people will enjoy the communal experience — there might even be some sing-a-longs,” said Yuste-Golob.

At its core, Pippin is a hero’s journey. This fresh interpretation not only challenges long-standing theater conventions, but also enriches the themes of the musical and makes the forty-year old show relevant to contemporary audiences. 

For plots that bring disaster, humor handled by masters, and sex presented pastorally in a story you will never forget, join the cast and crew of “Pippin” next weekend. 

The Black Box Theater is located at 53 Wall St. 

The post Filled with foibles and fables, “Pippin” leads you to your own corner of the sky appeared first on Yale Daily News.

The show is slated to run on the weekend of Jan. 23 to 25 in Yale’s Off Broadway Theater. The production boasts a cast of experienced Yale actors. 

“Even though the show is about adults, it’s about 30-something year olds, it actually has a lot to say about people our age,” said Caceras Mazano. “As much as it’s a show about relationships, it’s about finding a sense of direction in your life … it’s about learning to live with uncertainty and ambivalence, and I think that those are all beautiful things that I think are eternal.” 

The show follows Robert, a 35 year old, perpetual-bachelor man surrounded by his married friends who constantly pester him about his singleness. Through vignettes of marital squabbles and comedic platitudes, “Company” will delight audiences with Sondheim’s signature wit and strategic score. 

But underneath the tongue-in-cheek slights and playful nods lies a deeper examination of the pressures of marriage and the challenges of maintaining human relationships. 

“The way that the show goes about achieving [these themes] is particularly exciting,” said Caceras Manzano. “It uses the structure of musical comedy to make people feel open and receptive to all of these big life questions … It’s also a very strong ensemble show which allowed us to build a strong, cohesive group of actors that worked off of each other.”

Tasked with bringing good and crazy characters to life are a collection of Yale’s best actors and actresses. Taking on the quintessential role of “Robert” is Ben Heller ’27. Playing the highly neurotic “Amy” is Sadie Pohl ’26; Peter Sykes ’25 takes on the sorry yet grateful “Harry” and Isabella Walther-Meade ’25 playing the bright-eyed, adventurous “Marta.” 

The delightfully-cynical “Joanne” is brought to life by Hannah Kurczeski ’26. Kurczeski, who starred in “Into the Woods” earlier this year, is no stranger to Sondheim. According to her, she was delighted in digging into the script. 

“Spending so much time with Sondheim’s style has helped me so much with finding the clues he hides in the music for a character’s interpretation,” she said. 

The role of Joanne is that of a woman scorned by love. The thrice-divorced socialite sings the show’s more scathing, yet honest songs. Any sustained note or intentional rest in the score is important, as Kurczeski explains that they convey “integral parts” about the character. 

Playing any Sondheim role requires diligence that not all actors can muster. However, Kurczeski and her cast mates embrace this notoriously difficult score; the cast began rehearsals in September. 

Coming together to complete the company are the talented musicians that prop it up. Led by Coco Ma ’25, prolific Yale musicians — Tony Ruan ’25, Zoe Frost ‘27 and Ana Rodrigues ’25 — have banded together to form the musical backbone of the show: the pit orchestra. 

“Sondheim’s score is pretty bare,” says Lizzie Seward ’27, one of the pit saxophonists. “ It allows for certain sections to shine really well.”

Each instrumentation is given “countermelodies and fills,” according to Seward, that weaves between the different sections and ultimately makes its way to the actors on stage. The ensemble setting allows each actor to demonstrate their vocal caliber. 

The Sondheim classic is at times clever, biting and vulnerable; audiences can expect to leave the show pondering what it means to be alive. 

“Company is a hilarious show but also shows us how much we need our friends,” said Frost. 

Currently, all four shows are sold out, but students are invited to join the waitlist. 

The post “Side by Side by Side,” the cast of Company to deliver laughs, hard lessons this weekend appeared first on Yale Daily News.

Over 20 shows are slated to run between now and commencement, with more surely to be announced in the meantime. From Broadway staples to experimental theatrical renderings, the upcoming season is a diverse display of student talent.

“Everything about Yale theater is exciting,” said Meridian Monthy ’25, one of the actresses engaged in this semester’s theatrics.

Monthly is a lead in Anaiis Rios-Kasoga’s ’25 original play “Honesty Hour.” The show follows two women who, for one hour each week, rant about anything and everything. The show runs throughout the last weekend of January.

A bulk of the shows slated for this spring are originals. Oftentimes, these student-written productions tell stories and include themes forgotten by mainstream theater.

Among these are odes to the Haitian identity in “Dinner These Days” by Arielle Alouidor ’25 and complications of race and legacy in “Little White Lies” by Natalie Brown ’25, both slated for the end of February.

From April 9 to 12, Samanatha Saotome Feninger ’25 and Sam Ahn ’25 will present “Homecoming,” a senior thesis show. 

The show is based on Feninger’s experience going back to Japan to attend her grandfather’s funeral. The show explores what “home” means to Asian immigrants while grappling with the costs of corporate success.

“Stories about Asian Americans are rare in the theater, and it’s important to write those stories into the literature,” said Ahn.

These original shows result from months, sometimes years, of tireless effort and countless rewrites and are rare opportunities to see Yale student stories on stage.

Seasoned theatergoers can attend “Company,” the second production of Sondheim this academic year, as well as two other Broadway classics, “Pippin” and “Grease.”

Additional reimagined productions include “Songs for a New World” and “Next to Normal.”

“I think audiences will really love how much fun we have up on stage,” said Hannah Kurczeski ’26, a staff writer at the News who will play Joanne in “Company.”

As the name suggests, Kurczeski is in good company with her tight-knit castmates. According to Kurczeski, audience members can expect the closeness of the cast to translate into the characters’ dynamics.

Opera fans can delight at performances of Gilbert and Sullivan’s “Trial by Jury” and the highly anticipated “Veremonda,” a 17th-century piece, which remained largely obscure until 2015. “Trial by Jury” runs from April 3 to 5 and “Veremonda” runs from April 26 to 27.

“Gloria,” the Dramat’s spring experimental show, set to run in mid-February, is a contemplation of American work culture and the innate toxicities of the workplace.

The mainstage performance, running a few weeks after “Gloria,” is a staging of “Intimate Apparel.” The story centers on an African American woman who travels to New York City to pursue her dreams as a seamstress.

FroShow, an annual production produced entirely by first years and Dramat’s hallowed tradition, commences Feb. 20 and concludes Feb. 22. “Miss Molly: A Marital Deceit of Honest Intentions” promises to be a gay romp, literally –– full of duplicity and laughter. 

The plot follows two distinguished gentlemen engulfed in a secret gay love affair who decide to court two sisters to hide their secret. However, hot on their heels is the girls’ mother, a discerning viscountess who does not buy their earnestness.

“It’s camp, it’s fun, it’s gay, and it doesn’t take itself too seriously,” Lyndon Chen ’28 said.

As the show’s costume designer, Chen believes audiences will find it refreshing and entertaining, a nice change of pace from the “heavier” dramas.

With the wide array of shows available, audiences are bound for a diverse experience of Yale theater. For more information on tickets and other upcoming events, see Yale College Arts’ “Shows and Screenings” page.

Additionally, applications for this semester’s Creative Performing Arts grants are open until Jan. 20. 

The post Yale’s spring semester ushers in an exciting theater line-up appeared first on Yale Daily News.