Stanford Repertory Theater

SRT just completed a successful summer festival dedicated to the work of Orson Welles. For reviews of War of the Worlds and Moby Dick-Rehearsed, please go to the Past Seasons Tab. Both shows received TBA Awards Recommended status (the awards are announced later in the fall). Our film series on Welles proved extremely popular, as did our symposium, which included lectures by keynote speaker Professor Steve Vineberg and Professor Samuel Otter of UC Berkeley, among others, as well as memorable performances from Billy Budd and the West Coast premiere of Now You See It (Now You Don’t…) a play about Welles in Brazil, by Laurence Maslon, performed by Harry Ford.

What lies ahead for Stanford Rep?

FALL 2014

Happy Days/Oh les beaux jours

This fall, Stanford Repertory Theater re-mounts our acclaimed production of Samuel Beckett’s Happy Days/Oh les beaux jours, starring Courtney Walsh as Winnie, in San Francisco and in Paris, France.

The performance in San Francisco will take place on Saturday November 15, at 8 pm, at TLF-Théâtre du Lycée Français de San Francisco, 1201 Ortega St (off 19th Avenue), San Francisco, CA 94122. For tickets, go to

The production then 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, Wedenesday December 10, Thursday December 11, and Friday December 12.

Ticket information for the performances in Paris will be available soon. For further information, email

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:

8.23.2013 - "Theater in the ground" - Palo Alto Weekly

8.20.2013 - "A sweltering night of quirky theater" - San Jose Mercury News

8.20.2013 - "REVIEW- Happy Days – Stanford Summer Theater" - Artsalot

8.19.2013 - "Courtney Walsh gives a commanding performance..." - Stanford Daily

8.19.2013 - "Happy Days, Happy Days: Beckett at Stanford" - Stark Insider

8.17.2013 - "Finding happiness where you can" - A Good Reed Review

8.17.2013 - "Happy Days" - Paul Myrvold's Theatre Notes

8.17.2013 - "Samuel Beckett's 'Happy Days' aren't" - Palo Alto Daily Post

8.16.2013 - "Beckett's Happy Days" - Examiner

8.14.2013 - "'Happy Days': Beckett play at Stanford Summer Theater" - San Francisco Chronicle

8.1.2013 - "Stanford Summer Theater presents 'Happy Days'" - Penninsula Backstage


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.

In this dramatic reading, actors will perform selections written in English and translated from German and French, by writers including Siegfried Sassoon, Wilfred Owen, Robert Graves, Ernst Jünger, Eric Maria Remarque, Ernest Hemingway, Isaac Rosenberg, Vera Brittain, Sylvia Pankhurst, and dozens of unknown writers whose letters and diaries tell a more intimate story of men and women caught in the violent destruction of war

Directed by Stanford Repertory Theater Artistic Director Rush Rehm, with visual images and musical accompaniment.

These performances are co-sponsored by Stanford’s 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, This Happy Breed, Brief Encounter, Relative Values, 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.

We’ve changed our name: Stanford Repertory Theater (SRT). And high time, too! We do so much more than summer theater. Our productions are not only year-round but also tour nationally and internationally.

Here at Stanford, we have extended our work across the academic year. In 2011 we began a wonderful collaboration with Stanford’s McCoy Center for Ethics in Society, using theater to grapple with moral and ethical issues, including:

- “Ethics of War” series (2011), with productions of Betrayed and Copenhagen

- “Ethics of Wealth” series (2013), with Brecht’s The Exception and the Rule, which then traveled to local high schools and retirement communities.

- An Inspector Calls (May 15 - 24, 2014).

We have traveled the world with our productions.

- 1998: Our Brecht/Weill cabaret When the Shark Bites traveled to the Shanghai Experimental Theater Festival.

- 2009 - present: Comparative Clytemnestra, developed out of our Electra Festival, performed in San Francisco, Salt Lake City, San Antonio, Cardiff, Amsterdam, Corfu, and Berlin.

- 2012: We restaged our Wanderings of Odysseus in a sold-out run at the Michael Cacoyannis Theater in Athens, Greece.

- 2013: Our staged versions of three Eudora Welty short stories played at three Mississippi colleges, as part of the commemoration of the 50th anniversary of Medgar Evers’ assassination. - 2013/2014: After our summer run, our bilingual version of Beckett’s Happy Days/Oh les beaux jours moved to France, then San Francisco, and will return to Paris in December 2014.

Our company has also staged productions and readings of new plays and beloved classics with our many partners at Stanford Continuing Studies, the National Center for New Plays at Stanford, and Stanford Lively Arts:

- Miss Julie by August Strindberg (Spring 2013) - Under Milk Wood by Dylan Thomas (Fall 2012) - Reykjavic by Richard Rhodes (Spring 2012) - Taboos by Carl Djerassi (Spring 2010) - An Evening of Saroyan (Spring 2009) - The Othello Syndrome (Fall 2009)

- Continuing Studies course “Welles and his Sources,” June 25 – August 20

Join us at Stanford Repertory Theater, offering professional theater year-round!

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