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2009-2010 Performances

Performance: The Exonerated 

Type: Play 

Primary partner(s): ACLU, NAACP, ASSU, Stanford Progressive,Department of English, Emma Goldman Society for Queer Liberation, Ethics in Society Center/Program, Black Pre-Law Society, Stanford Beyond Bars, Students Taking on Poverty, Asian-American Activist Coalition, NexGen, Bingham McCutchen LLP, Center for Comparative Studies in Race and Ethnicity 

Description: Based on the true stories of innocent people who have been on death row in the United States, including those who where executed before they could be found innocent. 

Performance: Mirror, Mirror 

Type: Monologue Series/Play 

Primary partner(s): the PHE Program, Stanford Peace of Mind, alpha Kappa Delta Phi, Project Love, Alpha Epsilon Phi, and Sigma Psi Zeta 

Description: A collection of anonymous, true stories from Stanford students about their struggles with body image, submitted to us online and performed as monologues. We also performed the monologues in dorms and other venues across campus in February 2010, accompanying the performances in the Nitery with panel discussions about body image issues at Stanford. The goal was to channel real voices of students who struggle with body image issues to (1) raise awareness about the widespread prevalence and diversity of body image issues on-campus, (2) reduce the debilitating stigma associated with various struggles with body image at Stanford, and (3) connect Stanford students with available resources through post-show discussions. 

Performance: Triangle Factory Fire Project 

Type: Play 

Primary partner(s): American Civil Liberties Union (ACLU), Amnesty International, Associated Students of Stanford University (ASSU), A Human Face, Jewish Student Association (JSA), Project Love, Stanford Immigrant Rights Project (SIRP), Stanford Labor Action Coalition (SLAC), Students Advocating for Gender Equality (SAGE)

Description: In the Triangle Waist Factory off Manhattan's Washington Square, a cigarette is tossed into a bin of fabric scraps. Despite desperate efforts, flames sweep through the eighth, ninth and tenth floors. On the ninth floor, some make it to the fire escape, only to have it collapse beneath their weight. Others run to the exit door but find it locked—many, including the soon-to-be-married Margaret Schwartz, die with their hands on the doorknob. Dozens leap from the windows to their deaths, shocking the crowd of onlookers gathered below. And some through bravery or sheer luck make it out alive. In the space of twenty-eight minutes, the fire is under control, but 146 people, mainly young immigrant girls, have died. This play uses eyewitness accounts, court transcripts and other archival material to create a dramatic moment-by-moment account of this historic fire and the social upheaval that followed. 

Performance: Spring Into Action Progressive Play Festival 

Type: Student Written Plays 

Primary partner(s): Asian American Theatre Project, Associated Students of Stanford University (ASSU), Association of Chinese Students and Scholars at Stanford (ACSSS), Chinese Women Collective at Stanford, English Department, Ethics in Society Center/Program, First Generation Low Income Partnership (FLIP), Haas Center for Public Service, Movimiento Estudiantil Chicano de Aztlan (MeCha), Music Department, Muslim Student Awareness Network (MSAN), National Association for the Advancement of Colored People (NAACP - Stanford Chapter), Oceanic Tongues, Project Love, Stanford Labor Action Coalition (SLAC), Stanford Asian American Activism Coalition (SAAAC), Stanford Immigrant Rights Project (SIRP), Stanford Says No to War, The Women's Coalition 

Description: A festival of two student-written progressive plays: Wealth of Words, a collection of pieces submitted anonymously by Stanford students who are the first in their families to attend college or come from low income backgrounds, and Abraham Niu and the Friendly Fires, a folk-rock musical about a Chinese Canadian soldier deployed to secure Kandahar, Afghanistan, who is mortally wounded by friendly fire and finds himself in a fanciful, liminal world between life and death.

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