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national theatre honor society, Alpha Psi Omega, the production is entirely student run and led under the direction of Ali Rose Schultz ’14. More than 30 students are involved onstage and off. As director, Schultz is responsible for selecting and assembling designers and actors, running the rehearsal process, and assisting the design process. Schultz chose this production for several reasons: the multifaceted and relatable content, her passion for theatre that inspires social change, and her

How I Learned to Drive – a vehicle toward empowerment Posted by: Mandi LeCompte / March 3, 2013 March 3, 2013 How I Learned to Drive, by Paula Vogel, opens March 8 in the Studio Theater of the new Karen Hille Phillips Center for the Performing Arts at Pacific Lutheran University. Often described as one of the most disturbing love stories in theatre, How I Learned to Drive contains issues of pedophilia, incest and misogyny. The audience is urged to examine their relationship with the term

How I Learned to Drive – a vehicle toward empowerment Posted by: Mandi LeCompte / March 3, 2013 March 3, 2013 How I Learned to Drive, by Paula Vogel, opens March 8 in the Studio Theater of the new Karen Hille Phillips Center for the Performing Arts at Pacific Lutheran University. Often described as one of the most disturbing love stories in theatre, How I Learned to Drive contains issues of pedophilia, incest and misogyny. The audience is urged to examine their relationship with the term

dream for the program would be to expand the technique and level of performance and for Dance to have a permanent home in the Columbia Studio,” McGill said. “There’s beautiful new marley flooring, an abundance of natural light, and necessary ventilation systems in place.” Dancers moved to the Columbia Center studio in 2013 from a space on East Campus. The program was also previously housed in Memorial Gym many years ago. The Department of Communication & Theatre has recently restructured the dance

Othello and Romeo & Juliet. When she finds herself learning about how much of these characters’ lives is unwritten, she begins to question who is the fool in these plays–and in her own life. With an M.F.A. in Theatre Performance from Arizona State University and a Ph.D. in Theater Studies from UC Santa Barbara, Director and Visiting Assistant Professor of Acting & Directing Kane Anderson describes himself as both an artist and a scholar. “For my first project at PLU, I wanted to find a play that

, they must keep their new and budding romance a secret. In this reimagining of Shakespeare’s most well-known work, the conventions of time and sequence have been manipulated to reposition the original plotlines and dialogue in order to highlight new connections and themes for a modern audience. Read Previous Musical genius hits PLU Theatre in Amadeus Read Next Children’s theatre continues its revival at PLU LATEST POSTS Theatre Professor Amanda Sweger Finds Family in the Theatre February 28, 2023

Revenge and Pies: Theatre’s Upcoming Sweeney Todd Posted by: Reesa Nelson / March 13, 2019 March 13, 2019 By Kate Williams '16In this Tony-winning musical, Sweeney Todd returns to London after 15 years in prison on a trumped up charge. His wife is gone and his daughter has been adopted by the very Judge who imprisoned him. As Sweeney seeks justice, he partners with Nellie Lovett, a pie shop owner, who shares her plan for how Sweeney can best serve his revenge. “PLU Theatre and Dance has

, and ten dances choreographed and performed by PLU students. The performance will include contemporary, musical theatre, ballet, jazz, hip hop, and step dancing. “For Shifting Sands, a new work I created, the dancers created all the movement. I didn’t choreograph any of the original dance material. Instead, I gave the dancers carefully chosen choreographic tasks to create solo dances. Because each dancer worked with the same prompt, their solos shared a similar quality of movement, although the