{"id":568802,"date":"2023-09-30T13:02:11","date_gmt":"2023-09-30T17:02:11","guid":{"rendered":"https:\/\/www.rochester.edu\/newscenter\/?p=568802"},"modified":"2023-10-08T19:31:45","modified_gmt":"2023-10-08T23:31:45","slug":"international-theatre-fall-production-orlando-568802","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/newscenter\/international-theatre-fall-production-orlando-568802\/","title":{"rendered":"The \u2018first English language trans novel,\u2019 adapted for stage"},"content":{"rendered":"<h2 style=\"width: 85%; font-weight: bold; line-height: 135%; margin-bottom: 0.5em;\">The International Theatre program\u2019s production of <em>Orlando<\/em> promises a \u2018wild ride\u2019 and a serious reflection on the fluidity of identity.<\/h2>\n<div class=\"side-right\">\n<h3>Experience <strong><em>Orlando<\/em> on stage<\/strong><\/h3>\n<p>The production opens Thursday, October 5, at 8 p.m. in the Smith Theatre at the Sloan Performing Arts Center on the Ä¢¹½´«Ã½ River Campus. Tickets are free for Ä¢¹½´«Ã½ students with ID and available at the door one hour before showtime (subject to availability). Guaranteed University student tickets may also be reserved online.<\/p>\n<ul>\n<li>Visit the <a href=\"https:\/\/www.sas.rochester.edu\/theatre\/productions\/current-production.html\">International Theatre Program website<\/a> for showtimes, directions and parking, and tickets.<\/li>\n<\/ul>\n<\/div>\n<p>When the <a href=\"https:\/\/www.sas.rochester.edu\/theatre\/\">International Theatre Program<\/a> launches its production of <a href=\"https:\/\/www.sarahruhlplaywright.com\/\">Sarah Ruhl<\/a>\u2019s <em>Orlando<\/em> this October, it joins a trend: an increasing and intensifying interest in the eponymous novel by Virginia Woolf.<\/p>\n<p>Ruhl has described her play, which she wrote in 1998, as true to the story Woolf told in the 1928 book. As she remarked in a 2010 <a href=\"https:\/\/youtu.be\/1RRPbWNUnb8?si=n_MN4awFBJaei38J\">podcast interview<\/a>, the icon of literary modernism possessed a mind \u201cso incandescent, it was hard to leave anything out.\u201d Woolf\u2019s novels <em>Mrs. Dalloway<\/em> (1925) and <em>To the Lighthouse<\/em> (1927) are considered exemplars of modernist experiments in form. But in the context of those works, <em>Orlando<\/em> has long been seen as \u201can outlier,\u201d according to <a href=\"https:\/\/www.sas.rochester.edu\/eng\/people\/faculty\/london_bette\/index.html\">Bette London<\/a>, a professor of English at Rochester.<\/p>\n<p>\u201cThe kinds of things one associates with [Woolf\u2019s] work are not necessarily things one finds there,\u201d she says. There\u2019s no stream of consciousness to render the interior life of its protagonist. Instead, <em>Orlando<\/em> is a satirical and fantastical plot-driven narrative\u2014and, as Ruhl has described as \u201ca wild ride.\u201d<\/p>\n<h3><strong>A \u2018wild\u2019 exploration of identity and gender fluidity<\/strong><\/h3>\n<p>Orlando is a nobleman who one day, early in adulthood, wakes up as a woman. He\u2019s born in the 16th century during the reign of Queen Elizabeth I, and when the story ends in the 20th century, Orlando\u2014now she\u2014is still alive, and just as remarkably, still youthful.<\/p>\n<p>Ruhl\u2019s play is one of a few adaptations of Woolf\u2019s novel, which has also been made into opera and film. An award-winning playwright whose accolades include a MacArthur fellowship, Ruhl has found interest in her play growing in tandem with contemporary fascination with the novel. As the notion of gender fluidity has entered mainstream discourse, the novel has become recognized more widely as far ahead of its time. The English writer Jeanette Winterson, who has penned the introduction to a <a href=\"https:\/\/www.penguinrandomhouse.com\/books\/727419\/orlando-by-virginia-woolf-introduction-by-jeanette-winterson\/\">new edition<\/a> of the work set for release in 2024, has called <em>Orlando<\/em> <a href=\"https:\/\/www.theguardian.com\/books\/2018\/sep\/03\/different-sex-same-person-how-woolfs-orlando-became-a-trans-triumph\">\u201cthe first English language trans novel.\u201d<\/a><\/p>\n<p>Clearly, says London, <em>Orlando<\/em> \u201cspeaks to queer identities and to nonbinary identities, even if those wouldn\u2019t necessarily be terms that Woolf was using.\u201d But it also speaks to a universal truth. \u201cOne of the things Woolf was trying to address in her writing is the fluidity of all identity. We\u2019re not simply one thing. Each person has these multiple selves.\u201d<\/p>\n<figure id=\"attachment_569162\" aria-describedby=\"caption-attachment-569162\" style=\"width: 350px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-569162\" src=\"https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2023\/09\/inline-virginia-woolf-christiaan-tonnis.jpg\" alt=\"Artwork by Christiaan Tonnis shows two painted images of Virginia Woolf alongside each other, one older and upside down.\" width=\"350\" height=\"355\" srcset=\"https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2023\/09\/inline-virginia-woolf-christiaan-tonnis.jpg 1000w, https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2023\/09\/inline-virginia-woolf-christiaan-tonnis-621x630.jpg 621w, https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2023\/09\/inline-virginia-woolf-christiaan-tonnis-768x780.jpg 768w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/><figcaption id=\"caption-attachment-569162\" class=\"wp-caption-text\">Virginia Woolf\u2019s 1928 novel <em>Orlando<\/em> \u201cspeaks to queer identities and to nonbinary identities, even if those wouldn\u2019t necessarily be terms that Woolf was using,\u201d says Bette London. (<a href=\"https:\/\/www.flickr.com\/photos\/christiaan_tonnis\/15189572023\/in\/photolist-7hqG8T-6EtF5s-23aqAz1-p9hytM-5bki39-fho5B3-8KabnR-U45LES-E3acHa-p9fwyP-3p1tfT-2jBQqME\">Flickr \/ Christiaan Tonnis<\/a>)<\/figcaption><\/figure>\n<h3><strong>For the cast, serious reflection and roles that are \u2018almost bonkers\u2019<\/strong><\/h3>\n<p>For the college student cast, the timely themes of <em>Orlando<\/em> have inspired reflection and deep engagement, while the story itself and its theatrical possibilities have made work on the production an adventure.<\/p>\n<p>Orlando is portrayed by Stella Carleton \u201926, an English major from Houston. She echoes London, saying \u201cOrlando is Orlando regardless of which gender they are presenting as, but that gender is still important to the way they move about the world.\u201d And yet, Carleton adds, \u201cWhile the issues of gender identity are vital and core to the story, I also want to make sure every audience member can find something to take away from the show.\u201d<\/p>\n<p>For Gabriel Pierce \u201925, who plays the Archduke Harry\u2014a comical foil to Orlando\u2014the experience of working on the production has been transformative. Pierce, a biomedical engineering major from Canandaigua, New York, describes his perspective on gender and sexual identity prior to his work on <em>Orlando<\/em>\u00a0as \u201cessentially, enough to care, be informed, and do what I could to support movements, but not enough to think of it outside of a political conversation. My interest in gender and gender fluidity has deepened significantly as I\u2019ve worked with my role.\u201d<\/p>\n<p>The kind of evolution Pierce describes reflects the value of theater in teaching and learning, according to <a href=\"https:\/\/www.sas.rochester.edu\/eng\/people\/faculty\/maister_nigel\/index.html\">Nigel Maister<\/a>, the Russell and Ruth Peck Artistic Director\u00a0of the International Theatre Program.<\/p>\n<p>\u201cTheater is an expression of radical empathy\u2014the creative and imaginative ability to situate oneself in, and to understand the mind and heart of another,\u201d Maister says. \u201cThe study and expression of theater teaches students\u2014be they onstage or off\u2014to critically grapple with the core questions that underpin our communal humanity, while creating community, empathy, understanding, humility, and compassion.\u00a0And because it is a live event, it is one that happens at human scale but engages the full measure of the imagination.\u201d<\/p>\n<p>Theater can also be, of course, loads of fun. Adds Pierce: \u201cSome of these characters and scenes are so whimsical, they are almost bonkers.\u201d<\/p>\n<div class=\"pullquote\"><span style=\"font-size: 400%;\">\u201c<\/span>Orlando is Orlando regardless of which gender they are presenting as, but that gender is still important to the way they move about the world.\u201d<\/div>\n<p>Working with director <a href=\"https:\/\/www.willpomerantz.com\">Will Pomerantz<\/a>, cast members describe an environment of creative inspiration and bold experimentation.\u00a0Britt Broadus \u201924, who portrays Sasha\u2014the first love interest Orlando experiences as a woman\u2014says, \u201cUnlike other productions I\u2019ve been a part of, the cast has been able to play an active role in constructing this story together.\u201d An English and psychology major from Damascus, Maryland, Broadus adds: \u201cWe\u2019ve been encouraged to bring in our own ideas, music, and dance moves. We\u2019ve all been able to add something which makes it feel like we\u2019ve collectively created this story full of humor, honesty, and passion.\u201d<\/p>\n<p>Pomerantz says this kind of collaboration is vital.<\/p>\n<p>\u201cWhenever I begin work with a group of actors, one of the first things I tell them is that if do my job as director the way I believe it should be done, when the audience attends a performance, one of first things they should say or think is that they can\u2019t imagine this play being able to be done by another group of actors,\u201d he says. \u201cThe play should feel so inextricably tied up with this particular cast and this present moment that it should all feel inevitable.\u201d<\/p>\n<p>Pomerantz calls a dance sequence in which each cast member contributed a segment \u201cone of my favorite parts of the show.\u201d Moreover, cast members discussed with him issues relating to gender identity which he says deeply resonate with the play.<\/p>\n<p>\u201cI have been \u2018schooled\u2019 by this cast during this process\u2014and I mean that in the most positive way possible,\u201d he says. \u201cAnd that has absolutely been part of the thrill of working on this timely material at this particular moment.\u201d<\/p>\n<hr \/>\n<h3><strong>Read more<\/strong><\/h3>\n<div class=\"large-up-3\">\n<div class=\"column\" style=\"padding-left: 0px;\">\n<p><a href=\"https:\/\/www.rochester.edu\/newscenter\/intimacy-directors-theater-intimacy-coordinators-on-screen-558652\/\"><img decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2023\/05\/fea-intimacy-coordinatory-intimacy-director-theater.jpg\" alt=\"Two actors performing a scene on stage.\" \/><strong>Intimacy directing is making a difference on stage and beyond<\/strong><\/a><\/p>\n<p><span style=\"font-size: .9em;\">On-stage intimacy work has become a pillar of the theater industry, and it\u2019s becoming a more integral part of performances by the International Theatre Program.<\/span><\/p>\n<\/div>\n<div class=\"column\" style=\"padding-left: 0px;\">\n<p><a href=\"https:\/\/www.rochester.edu\/newscenter\/posthumous-lives-world-war-i-memorialization-remembrance-539012\/\"><img decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2022\/10\/fea-world-war-i-memorialization.jpg\" alt=\"Black-and-white photo of a solider pinned to a gate in front of a sea of ceramic poppies to symbolize World War I memorialization.\" \/><strong>How the Great War altered memory and memorialization<\/strong><\/a><\/p>\n<p><span style=\"font-size: .9em;\">English professor Bette London explores the evolution and continued resonance of remembrance rituals in post-World War I Britain.<\/span><\/p>\n<\/div>\n<div class=\"column\" style=\"padding-left: 0px;\">\n<p><a href=\"https:\/\/www.rochester.edu\/newscenter\/hedwig-angry-inch-costumes-glam-rock-theater-511762\/\"><img decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2022\/02\/fea-hedwig-costumes.jpg\" alt=\"Closeup of student with glam rock hair and makeup wearing a clear face mask.\" \/><strong>Costume-ready for \u2018fabulously fun\u2019 glam rock theater<\/strong><\/a><\/p>\n<p><span style=\"font-size: .9em;\">A behind-the-scenes look at how shows the International Theatre Program geared up for its production of <em>Hedwig and the Angry Inch<\/em>.<\/span><\/p>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The International Theatre program\u2019s production of <em>Orlando<\/em> promises \u201ca wild ride\u201d and a serious reflection on the fluidity of identity.<\/p>\n","protected":false},"author":742,"featured_media":569142,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13092],"tags":[20542,29502,4926,4096,39562,16072],"class_list":["post-568802","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-arts","tag-department-of-english","tag-featured-post-side","tag-international-theatre-program","tag-nigel-maister","tag-performing-arts","tag-school-of-arts-and-sciences"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The \u2018first English language trans novel,\u2019 adapted for stage<\/title>\n<meta name=\"description\" content=\"The theatre production of &quot;Orlando&quot; at the URochester promises \u201ca wild ride\u201d and a reflection on the fluidity of identity.\" \/>\n<meta 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