Stanford Repertory Theater
At the first annual Theatre Bay Area Awards Ceremony at ACT’s Geary Theater on November 11, 2014, SRT won FOUR TBA awards for our 2014 production of Orson Welles’ Moby Dick – Rehearsed: Best Production, Best Ensemble Performance, Best Direction (Rush Rehm and Courtney Walsh), and Best Sound Design (Michael Keck). Congratulations to all the artists who worked on our Orson Welles’ Festival and to the wonderful audiences who have supported our work. We look forward to seeing you at our upcoming productions.
Happy Days/Oh les beaux jours
This fall, Stanford Repertory Theater re-mounts our acclaimed bi-lingual production of Samuel Beckett’s Happy Days/Oh les beaux jours, starring Courtney Walsh as Winnie. Having recently played at TLF-Théâtre du Lycée Français de San Francisco, the production now travels to Paris, France, with performances at the theater of the École normale supérieure (where Beckett once taught!), 45 Rue d'Ulm, 75005 Paris, France, Wednesday December 10, Thursday December 11, and Friday December 12, 2014 at 8 pm.
Happy Days/Oh les beaux jours originally played as part of SRT’s 2013 summer festival (August 2013), then at Théâtre La Vignette, Montpellier; France (October 2013), and at Alliance Française, San Francisco (November 2013). Reviews and video clips below:
Words to End All Wars
In collaboration with Stanford Continuing Studies, Theater and Performance Studies, and Stanford’s Peace + Justice Studies Initiative, Stanford Repertory Theater presents Words to End All Wars, a staged reading based on writings from World War I, part of the commemoration of the centenary of that horrific conflict.
Friday, January 23, and Saturday January 24, 8:00 pm, Pigott Theater, Memorial Auditorium. Free admission.
I went for a walk alone through the forest this morning. The weather was so glorious. Now I can see why you, my dear Robert, walk alone into the forest as often as you can from where you are stationed. When I left for my walk, I saw a sergeant standing at our kitchen window with the cook. I said as a joke that that wasn’t allowed. He said, “Shooting people dead for three years isn’t allowed either.”
Letter from Anna Pöhland, wife of a German soldier
In this centenary year of the outbreak of World War I, historians and journalists are searching for ways to frame that cataclysmic event so that we can appreciate how unprecedented and consequential it was – for world political history, for the birth of modern culture, and for humankind’s lapsed trust in its own rationality.
There’s no question that WWI was a traumatic event. But, we can’t begin to understand its meaning without getting closer to the inner lives of those who experienced it, to their ideals, their convictions, their hopes, and their fears. These inner lives are preserved for us in the massive writing that came out of the War, not just in the published work of poets and novelists, but in the thousands of letters, diaries, notebooks, and memoirs of officers, infantry, and those on the home fronts.
The company performs selections by writers including Siegfried Sassoon, Wilfred Owen, Vera Brittain, Ernst Jünger, Eric Maria Remarque, Ezra Pound, Ernest Hemingway, Paul Celine, Mary Borden, Smedley Butler, Rosa Luxemburg, Wyndham Lewis, Dalton Trumbo, and many others. Their memoirs, stories, letters, diaries, and poems tell an intimate story of men and women caught in the violent destruction of the ”war to end all wars.”
Directed by Stanford Repertory Theater Artistic Director Rush Rehm, with visual images and live saxophone accompaniment.
These performances are co-sponsored by Stanford Continuing Studies, the Department of Theater and Performance Studies (TAPS), and the Peace + Justice Studies Initiative (PSJI).
Noël Coward: Art, Style, and Decadence
For its 2015 summer Festival, Stanford Repertory Theater presents a festival celebrating the work of Noël Coward. Actor, playwright, songwriter and lyricist, singer and dancer, cabaret performer, painter, novelist, and raconteur, Coward represents an artistic Renaissance man who shaped important aspects of English and American culture from 1920 through 1970.
As part of its Noël Coward Festival, SRT will mount a main stage production of Coward’s masterpiece, Hay Fever. Directed by Lynne Soffer (who directed SRT’s critically acclaimed production of The Importance of Being Earnest in 2013), Hay Fever stars SRT company artist Courtney Walsh as Judith Bliss, and features other SRT company members, including Rush Rehm as Richard Greatham.
In addition to Hay Fever, we present a second stage production of Coward Cabaret, celebrating Cowards lyrics and melodies, performed in a stylish cabaret setting.
SRT also presents a free Monday night film series focused on Coward’s work as screenwriter, actor, and director. Films include Blithe Spirit, Cavalcade, In Which We Serve, Brief Encounter, Private Lives, and Our Man in Havana. Stanford faculty introduce each film and lead a post-screening discussion, and patrons receive a free program for each film, prepared by SRT’s multi-talented filmographer, Roselyn Hallett.
SRT’s daylong community symposium, “Coward on Art, Style, and Decadence,” explores the complex interrelationship between Coward’s art and life, focusing on the themes of homosexuality, class, politics, and style (both personal and artistic), International guests join Stanford faculty in assessing Coward’s influence and impact over the half-century in which he delighted audiences worldwide. In addition lectures, the symposium includes scenes from Nude with Violin, Coward’s 1956 satire on the modern art market (in honor of the opening of the Anderson Collection at the Cantor Arts Center) performed by the SRT company, a panel discussion with SRT artists, and a delicious catered lunch in the full Coward style.
Noël Coward: Art, Style, and Decadence is presented in collaboration with Stanford Continuing Studies, the Vice-Provost for Undergraduate Education, TAPS, Stanford Arts Institute, the school of Humanities and Sciences, the Stanford Humanities Center, the Division of Languages, Cultures, and Literatures, and the departments of English, Music, and Art and Art History. We are deeply grateful for their support.
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