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January,
2000 For Immediate Release | |
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Media contact: Alice Iseminger (440) 775-8171 Equus Venus All performances in Hall Auditorium Central Ticket
Service Located in the lobby of Hall Auditorium, 67 N. Main St. between the Oberlin Inn and the Allen Art Museum. Open 12 to 5 pm,
Oberlin College |
AT OBERLIN COLLEGE HIGHLIGHTS THE DISTURBING WITH PERFORMANCES OF EQUUS AND VENUS, FEB. 7-11 Equus - Performances at 8 pm, Wednesday and Friday, Feb. 7 & 9 2 pm matinee with a post show talk on Saturday, February 10 Venus - Performances at 8 pm, Thursday and Saturday, Feb. 8 & 10 2 pm matinee on Sunday, February 11 Photos and complimentary media tickets available: (440) 775-8171
OBERLIN,
OH—Questions about individual
passion and compassion will be raised during Oberlin College’s Repertory
Theater Week performances through the psychological demise and sexual
experimentation of a young boy in Paul Shaffer’s Equus, and by the exploitation of
a shapely woman in Suzan-Lori Parks Venus. Repertory Theater Week is
February 7 to 11. These two productions are for mature audiences. Equus, by Peter
Shaffer 8 pm, Wednesday and
Friday, February 7 & 9, 2 pm matinee with a post show talk on Saturday, February 10 In Equus,
directed by Rob Ross, ’01, Honors Candidate in Theater, Psychiatrist
Martin Dysart’s patient, seventeen year old Alan Strang, has hideously
blinded five horses with a hoof pick. T.H. McCulloh of the Los Angeles Times writes, “Once,
when told his works seemed like musical compositions, playwright Peter
Shaffer explained that he had started out as a composer. That background
is particularly evident in "Equus," his powerful commentary on passion and
sanity... It rings with melody, counterpoint and a lush compassion for the
human spirit.” The mystery of Alan’s motivations is complex. To the
owner of the horses, the incident was the unlucky result of employing
someone young and unstable.
But as Dysart uncovers the circumstances of Alan’s family – his atheist,
socialist, totalitarian father and devoutly religious yet lenient mother –
his actions are no more extreme than the diametric opposites in which his
parents continually pull him. Both of his parent’s personalities lack
passion, so he turns to the picture of a horse, which replaced that of
Christ in chains, to worship. But when his god, “Equus,” begins an
omnipresent watchfulness, Alan realizes he can never escape from God’s
eyes. To Dysart, Alan’s worship and sexual fascination with
“Equus” is a form of passion that is both stunning and disturbing. Because
it is so untainted by society’s attempts for conformity, the psychiatrist
is in admiration of his young patient. It is an admiration, however, that
eventually leads to his own destruction. According to director Ross, this
Tony award-winning modern day Greek tragedy “questions whether there is a
place for individuality, passion, and worship. The answer, however, is as
confounding as the question itself and, by night’s end, rests solely in
the possession of the exiting audience members, as they pass the “cured”
body of Alan Strang.” The Equus production is for mature
audiences. Equus is
performed by Oberlin students Aaron Bonner-Jackson, ‘01 (Harry Dalton);
Richard Braithwaite, ’03 (Horse); Hallie Gnatovich, ’04 (Jill Mason);
Taylor Greeson, ’03 (Horse); Ann Johnson, ’04 (Dora Strang); Channing
Joseph, ’03 (Horse); Bacilio Mendez, ’04 (Horseman/Nugget); Aaron
Mucciolo, ’02 (Horse); Daniel Neuman, ’03 (Alan Strang); Peter O’Leary,
‘02, (Frank Strang); Mary Ross, ’04 (Nurse); Laura Shepherd, ’01 (Hester
Salomon); and Tom Taylor, ’04 (Martin Dysart). The production staff includes managing director
Michael Grube, associate professor of theater; costume designer Chris
Flaharty, associate professor of theater; sound designer Jen Groseth,
lecturer in theater; technical director Rick Mayfield, lecturer in
theater; lighting designer Carolyn Wong, '01; set designer Sarah Bendix,
'02; stage manager Meg Morley, '03; assistant stage managers Dan
Carmichael, '01 and Asher Rapkin, '04. Playwright
and director Peter
Shaffer (Playwright) has written a number
of plays for stage and screen, including The Salt Land, his first play
which was prestented on BBC; Five
Finger Excercises (1958), which won the Evening Standard Drama Award
and the Drama Critics Award; Equus, which won the 1975 Tony
Award for Best Play, as well as the New York Drama Critics Circle Award;
and Amadeus (1984), which won
eight Academy Awards including “Best Picture.” Shaffer’s cannon includes a
unique mix of philosophical dramas and satirical comedies, and continues
to expand. His most recent work was the stage play The Gift of the Gorgon, which was
produced in London in 1992., the same year in which he won the William
Inge Award for Distinguished Achievement in the American Theater. Shaffer
is from Liverpool, England. Rob
Ross (Director) is a senior English
major with a concentration in Theater from Oakland, CA. Oberlin credits
include Lucia Mad
(Assistant Technical Director); and Life Under Water (Director). He
was a directing intern at the Pacific Conservatory of the Performing Arts.
Ross is directing Equus for his
Senior Honors Project. Venus, by Suzan-Lori
Parks 8 pm Thursday and
Saturday, February 8 &
10, 2 pm matinee on Sunday, February 11 Venus
is directed by Shannon Forney, ’01,
Honors Candidate in Interdisciplinary Performance. Set in “exotic”
London in 1810, this is the true story of the Venus Hottentot, a young
African woman exploited for her body; first in a freak show, and later by
the doctor who buys her body for science, lusts for her and ultimately
destroys her. The Venus
production is for mature audiences. Lured away from her menial job with hopes of
traveling and wealth, Sarah Baartman (the Venus Hottentot) finds herself
in England where she is sold to a side show and displayed as a “freak.”
Her “freedom” is bought by a Parisian doctor for scientific study. His
curiousity turns to lust and the Venus becomes his mistress. He provides
for her until he is in danger of losing his medical reputation and social
standing. When he dissects her body to regain his status, their love and
her life are ended. The Venus Hottentot is found in history as Sarah
Baartman, of the Khoi Khoi people in South Africa. At the time of the
Dutch Boer Wars, she was brought to England and displayed in a freak show for her race as
well as for her physical characteristics. Her voluptuous figure gave rise
to the sexual tension surrounding her in Victorian England. She was
“adopted” by Doctor George Culvier, and their extended love affair ended
in her death. Her body was dissected and displayed in the Musee de L’Homme
in Paris until 1974. There is now much debate as to whether or not to send
her body back to Africa. According to director Forney, “Venus is not just the life story
of Sarah Baartman, but rather the experience of viewing and spectatorship
that Baartman endured throughout her life. It reminds us all of the danger
of display and calls upon us to examine the exoticization of Cultural
Otherness” The audience is situated within a freak show that dominates
both the play and the theater simultaneously. These side show performances
resurrect Venus’ life and call to attention the horrible consequences of
her death, by recreating the spectacle once again, finally ending in a
funeral march for Sarah Baartman. With a heavy use of puppetry and
spectacle, Venus is complete
with fire tricks, stiltwalkers, and puppet faces, treading the line
between play and display as a social and political performance
piece. As reviewed by The New Yorker, “Venus is a formidable experience:
a gnarly but brilliant meditation on the ambiguity of race, history, the
colonized imagination, sexuality, and theatrical storytelling
itself.” Venus is
performed by Oberlin students Joanna Burch-Brown, ’03 (Stilt Gal); Jeremy
Carlson, ‘03 (Penis Man); Arielle Halpern, ‘03 (Mother Showman); Rosa
Hyde, ‘02 (Venus); Shinnerrie Jackson, ‘02 (Cyclops); Leslie Korein, '02
(Bearded Woman); Jonah Mitropoulos, '04 (Fat Man); Erin Shiba, '02 (Twin
#1); Kelly Smith, '01 (Fire Breather); Erynn Sosinski, '02 (Stilt Gal);
Seth Stewart, '03 (Spotted Boy); Ben Stuber, '03 (Baron Doctor); Marlana
Tom, '03 (Twin #2); and Daryl Williams, '03 (Negro Reconstructionist).
Production staff includes set designer Michael Grube,
associate professor of theater; costume designer Chris Flaharty, associate
professor of theater; puppet designer Pete Koschnik; technical director
Rick Mayfield, lecturer in theater; choreographer Mirla Criste, visiting
assistant professor in theater; lighting designer Carolyn Wong, '01; sound
designer Mark Williams, '02; stage manager Ariel Emmerson, '03; and
assistant stage manager Jody Epstein, '03. Playwright
and Director Suzan-Lori
Parks (Playwright) is an associate
artist at the Yale School of Drama and a member of New Dramatists. Her
plays include Imperceptible
Mutabilies in the Third Kingdom, a 1990 Obie Award winner for “Best
New American Play;” The Death of
the Last Black Man in the Whole Entire World, which was published in
the Bedford Introduction to Drama; as well as The America Play and Venus. She has written various
works for radio such as Pickling, Third Kingdom, and Locamotive, and is the author of
the screenplay for Spike Lee’s film Girl 6. Parks is the recipient of
a Whiting Foundation Writers Award and two NEA playwriting fellowships,
and has been awarded grants by the Rockefeller and Ford Foundations, among
others.
Shannon
Forney (Director) is a senior
Interdisciplinary Performance/Latin American Studies major from Harpswell,
ME. Oberlin credits include: The
House of Yes (Mrs. Pascal); On
Sundays (director), Fefu and
Her Friends (Emma); and Bread and Puppet Internship, Fall ‘99.
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