THE LIQUID PLAIN31 JANUARY- 8 FEBRUARY 2015

LustLoveUCI CLAIRE TREVOR SCHOOL OF THE ARTS DRAMA DEPARTMENT

PRESENTS

31 January - 8 February 2015Robert Cohen Theatre

Claire Trevor School of the ArtsUniversity of California, Irvine

PRESENTS

THE LIQUID PLAIN

BOEING-BOEING25 APRIL-3 MAY 2015

LustLoveUCI CLAIRE TREVOR SCHOOL OF THE ARTS DRAMA DEPARTMENT

PRESENTS

PURCHASE TICKETS BY PHONE: ARTS BOX OFFICE (949) 824-2787 OR ONLINE: WWW.ARTS.UCI.EDU/TICKETS

Lorna & Robert Cohen, Honorary Producers

Present

Sheron Wray Choreographer Wind Dell Woods Dramaturg Phil Thompson Dialect Coach Leah Ramillano Scenic & Props Designer Kristin Neu Lighting Designer Danielle Nieves Costume Designer Mark Caspary Sound Designer & Composer Ross Jackson Stage Manager

Jaye Austin WilliamsGuest Director & Chancellor's Post-Doctoral Fellow in Drama

THE LIQUID PLAINWinner of the 2012 Horton Foote Prize for Promising New American Play

Written by

Naomi Wallace

THE LIQUID PLAIN ARTISTIC STAFF Department Chair & Artistic Director Daniel Gary Busby Vice Chair & Associate Producer Don Hill Assistant Director Sarah Butts Associate Choreographer Sakina Ibrahim Dance Ca[tain Darlisa Wajid-Ali Dramaturgy Mentor Frank Wilderson Fight Choreographer Oge Agulué Fight Captian Colin Nesmith Scenic Design Mentor Cliff Faulkner Costume Design Mentor Holly Poe Durbin Lighting Design Mentor Lonnie Rafael Alcaraz Sound Design Mentor Vincent Olivieri Stage Management Mentor Don Hill, Joel Veenstra Assistant Stage Managers Gabrielle Koizumi, Jessica Cunha Assistant Sound Design Kate Fechtig, Ryan Schwalm Assistant Lighting Design Darrin Wade Assistant Costume Designer Jojo Siu

CLAIRE TREVOR SCHOOL OF THE ARTS PRODUCTION STAFF Production Manager/Technical Director Keith Bangs Assistant Production Manager Shannon G. Bicknell Costume Shop Manager Julie Keen-Leavenworth Electrics Supervisor Joe Forehand Master Electrician Ebony Madry Master Carpenter Geronimo Guzmán Shop Foreman Jeff Stube Prop Shop Supervisor Pamela Marsden Sound Supervisor BC Keller Director of Planning and Facilities Toby Weiner Box Office Manager David Walker Production Coordinator Adrian Tafoya Director of Marketing and Communications Jamie DeJong Graphic Designer Donna Summers

THE LIQUID PLAIN CREW

Audio CrewCaitlin Harjes

Costume CrewHugo Conde, Emily Powers,

David Sasik, Yumi Ueki

Scenic CrewNicolas Arce, Andrew De Los Reyes

E-Hang CrewHarris Banneck, Heidi Bjorndahl,

Paris Lu

E-Run CrewDeanna Lutz, Emilie Maxon

Light Board OperatorKyle Swatzell

CAST

Adjua Jessica Mason

Dembi Maribel Martinez

Cranston/Slaver Josh Odsess-Rubin*

Balthazar/Slaver Thomas Varga

Liverpool Joe/Nesbitt Blake Morris

Bristol Jade Payton

William Blake/Slaver Colin Nesmith

James De Woolf/Slaver Jacob Ben-Shmuel

Gifford/Slaver Avi Wilk

Dance Ensemble Loren Campbell

Dance Ensemble Ongelle Johnson

Dance Ensemble Darlisa Wajid-Ali

* Appears courtesy of Actors' Equity Association

Act I

Bristol, Rhode Island

1791

15 minute Intermission

Act II

1837

We […] weep the liquid plain,And with astonished eyes explore

The wide-extended main – Phyllis Wheatley

[The Black] is always in the position to decide between amputation and gangrene. – James Baldwin

In contemplating how to approach this production of Naomi Wallace’s meditation on the Transatlantic slave trade and its impact on all those exploited by it, an urgent question emerges: How might the “fetch” (in nautical terms, the distance between a wave’s beginning and its crash) of such a violent, ethical breach as Transatlantic slavery, be considered beyond its economic contours? In other words, the most legible aspect of that project has always been its hyper-exploitation of labor. When its violence against the slave is considered at all, whipping being the most commonly invoked example, it is always framed as the engine that drives greater yield from slave labor. How, then, do I disarticulate Slavery’s genocidal architecture from the Marxian-inflected notions around labor exploitation? By this I mean, how do I make distinct the dynamics of the slave’s suffering, from those of the exploited worker’s?

Further, how do I dramatically articulate and expose the physical and psychic violence that destabilizes the Black (the African, the enslaved Middle Passage “survivor” and their descended) through mortal terror; reduces them to, not only commodity and currency (as if those aren’t horrific enough) but also, to objects of physical and psychic pleasure and amusement for both their dominator-captors, and for the workers employed by them? In other words, the slave is at the violent behest of all those non-slaves with whom s/he comes in contact. Further still, how can this destabilization-reduction be exposed as foundational to the continued normalizing of over-rehearsed, spectacularized killing, imprisonment and, as Phyllis Wheatley bemoans, “wide-extended” degradation of the Black in the main of (i.e., everywhere in) today’s world? What I mean, is that the litany of Blacks murdered by police and other institutional violence grows steadily and coheres social and civil existence around an unspoken agreement that the slave-descended are somehow responsible for their institutionalized undoing. Moreover, the Slave’s resistance to the mammoth technologies and tacit, psychic cohesion necessary to slave-making and society-building is not only obfuscated, but reconstituted into narratives of seduction, weakness, passivity and collusion. Blacks are therefore believed by many to have made themselves into under-educated, incarcerated, recidivistic, self-destructive criminals who are responsible for and therefore deserve what they get. This gives rise to other insidious notions; among them, that the pursuit of “Diversity” is a panacea for inequality, non-inclusion and absence of awareness around these issues. To the

DIRECTOR'S NOTE

contrary, it is a banner with a faulty scaffold; for it in no way addresses the Black’s very particular, violent and often insidious jettisoning from the world as holder of multifarious societal formations; nor does it answer for the increasing perpetrations of anti-Black gestures by non-Black People of Color. “Diversity,” in short, is about everyone but the Black; and worse, cites the Civil Rights Movement as the progenitor of the very coalitions that crowd out Black articulations around social and institutional violence today.

One means through which I address these questions is the utilization of dancers to invoke what Saidiya Hartman terms Slavery’s “lost archive” – all those faceless, nameless slaves who were not so at the point of capture, when life, as they had known it, ended for them. Sheron Wray, with whom I previously collaborated on The Trial of Dedan Kimathi, has this time choreographed a stunning series of visceral images from and into the slave ship’s hold that both summons that lost archive and invokes Phyllis Wheatley’s presence.

Like the play’s character, Bristol, who searches for the past that has led to her complicated inhabitation; like playwright Adrienne Kennedy pays tribute to “the people who led to [her] plays”; like poet and scholar Audre Lorde reminds us that “[Blacks] were never meant to survive [Slavery]”; I searched, throughout our rehearsal process, for Phyllis Wheatley, behind the eclipses of abolitionist William Blake, and slaver-turned barkeep John Cranston’s self-concerned longing for redemptive, interracial family formation… I searched for her in the “wide-extended main” of her absence. I did so by having the lost archive breathe the poem excerpt that acts as epigraph to the play and inspires its title. I aimed to excavate her and the archive from the in-betweens with a design scheme that situates our audience within the timelessness and unchartable abyss where Slavery and (so-called) civility meet. The scenic elements both ground and unground us historically; the lighting, sound and costumes help us “ratchet up the scales of abstraction,” as Frank Wilderson terms it, such that we must encounter that with which we are never encouraged to engage: the vast dimensions of racial slavery. These elements help us to do so without sentiment.

In short, in conceiving and guiding this process, I, along with a fiercely dedicated cast, design team and crew, swam without a raft, through the liquid plain – the vast and endless tears – of all those whose weeping was locked away in slave ship holds that have become prisons; as their loved ones were thrown overboard … and are now discarded into overcrowded, poorly- or non-provisioned schools; who were repeatedly raped, beaten, killed… and continue to be; who moaned … and are moaning, in illegible, inaudible pain -- as they faced, are facing … all modes of death; and worse, its anticipation … or its promise of “relief”. This is the unthinkable dilemma that Baldwin dares to think.

In short, Transatlantic Slavery’s afterlife continues, while the archive decimated by it beckons our submersion . . .

— Jaye Austin Williams

“If you can’t remember it can’t be thiefed” – Adjua, I.i.

“Can’t trust a man who don’t remember” – Dembi, I.ii.

“Aye. I think the song be finding me” – Cranston, I.ii.

“In order to find our way successfully, it is not enough just to have a map. We need a cognitive schema as well as practical mastery of way finding.”

– David Turnbull

I am interested in the ways the epigraphs above speak to the concept of location, rather locating, of mapping oneself into the world, of memory, of remembering, and of developing a cognitive schema (a mental framework) for finding oneself in the vastness of time and space. How do we locate this play physically (here) and temporally (now)? How do we locate it symbolically? What paths and passages do we cross in returning to these docks in Bristol, Rhode Island, during the height of the Transatlantic Slave Trade? How does one recover a stolen past? How does one remember the presence of absence in the dramatic world that Wallace has created? How do we orientate ourselves in the enormity of The Liquid Plain? A play script is a map into a dramatic world, a record, a diagram of the spaces where memories, cultures, languages, and ideas converge. David Turnbull explains that the “power of maps lies not merely in their accuracy or their correspondence with reality. It lies in their having incorporated a set of conventions that make them combinable in one central place, enabling the accumulation of both power and knowledge at the centre.” If the play is a map, what a production seeks to do is dramatize the topography and topology, to imbue (inspire with opinions, feelings, habits, etc.)1 the indexical lines representing streams, rivers, roadways, passages, the curves of mountain ranges, the boarders and boundaries of territories with a creative

DRAMATURG NOTESWind Dell Woods, Doctoral Student /Dramaturg

1 "Imbue." Oxford English Dictionary. Oxford: Oxford University Press, 2015. OED.com. Web. 13 Dec. 2015.

force. The Liquid Plain is not simply a geographical map, but one that plots out a journey back through time. It is also not a subjective picture of history, but a (re)presentational return to and through history, a return that forgets as much as it remembers. Like the lines on a map, the information that is transmitted is never complete; rather they gesture to potential ways, passages that were once accounted for but may no longer be there. As Turnbull suggests, a map is not enough, one needs “a cognitive schema,” one needs a mental compass to navigate and interpret the terrain successfully. The creative team, under the directorial guidance of Dr. Jaye Austin Williams, has worked diligently, logging an immense amount of hours, to construct a cognitive schema, which locates this production in the here and now. The production works to animate the lines and indexes, those that are accounted for and those that are present only in their absence. At the same time, this production analyzes the perspective and coordinates that the play maps out. Turnbull points out two important features of maps, first:

For a map to be useful, it must of course offer information about the real world, but if this 'real world information' is to be credible, it must be transmitted in a code that by Western standards appears neutral, objective and impersonal, unadorned by stylistic device and unmediated by the arbitrary interests of individuals or social groups.

And, second,

It is not just that maps do have a perspective, or that the perspective is taken for granted, it is rather that the disengagement hides the privileging of a particular conceptual scheme.

It is my belief that this production turns the map on its side. This repositioning or reorienting troubles the neutrality and objectivity of the informative codes, while at the same time exposing possibilities for new conceptual frameworks. In other words, this production works to place the content and context of the play into productive tension with the disturbing question of: “How does

one map the unmappable?” How does one map a place that is not an actual location, but is, in the words of Dionne Brand, a location that is “real, imaginary and imagined”? How does one map an experience of an encounter? How does one map the history of the sea? How does one map a metaphor? The Liquid Plain is an expressive exploration over the tides and currents of these questions. Wallace’s dramatic portolan (a written description, charting the course along which ships sail), poetically plots the journey, the return to the past, to the (w)holes of history, and to the archives that haunt from the holds of ships. In her charting, however, Wallace veers around the unimaginable violence inflicted on those who continue to “weep the liquid plain,” those whose suffering remains as unnamed as Adjua’s sister. Wallace’s mapping is as much a reimagining of history, as it is a rethinking of it. Williams’s directorial vision pushes this further by posing yet another question: how does one think the unthinkable or perhaps the unthought? The objectification and exploitation of the Black captive is certainly one cognitive schema to assist one in finding, rather thinking, their way through the violence of the Middle Passage. However, Williams asks us to ponder another host of questions pertaining to the “structural relations of power,” as well as the libidinal economy (the means by which those relations ignite and sustain the pleasures, sexual and otherwise, that emanate from the unconscious, and through which the slaves and slave-descended are terrorized with explicit and/or implicit psychic threat of serious consequence; including, but not limited to, loss of livelihood, physical pain, torture or death)2 that animate the violence and captive position of the Black body into current times. Williams intervention throws into relief the presence of absence in Wallace’s dramatic mapping, and exposes those plots, plains, contours, and landmarks that we cannot see, the deep and dark spaces, those spaces that move us closer towards our own fears, towards the unknown, the unknowable. In this sense, this production is an invitation aboard, but also an invocation to remain in the sea, that vast mythic body that possesses the power to

2 I want to thank Professors Frank Wilderson, Jared Sexton, and Dr. Jaye Austin Williams for assisting me in developing this formulation of the “libidinal economy”.

carry away (departure) just as a much as it brings ashore (arrival). Williams attempts to lay bare that which Wallace avoids in her cartography, exposing the faint traces of stolen memories and (un)recollected coordinates of Black suffering. I see this production as one that seeks to give voice to those “bones” that appear in August Wilson’s Joe Turners Come and Gone, those bones that rise up from the water, take in breath, and take on flesh. This production locates us at the very site (sight) to which the character Bynum explains that, he “ain’t got word to tell you. But if you stand to witness it, you done seen something there.” By Williams placing the audience in the vastness of the ocean, the sea, she engages all of us in both the act of seeing (looking onto the dilapidated docks) and seaing (navigating the sea). It is disorientating, by which I mean one is unable to locate the sun (which one can imagine is the case from the holds of a ship, as well as from the bottom of the sea). The inability to mark the sun’s travel from east to west, to add coherence to one’s location, to track the passage of time, to chart that place from whence one was taken and the location to which one is always arriving, I feel, is the mental schema through which Williams invites the audience to navigate The Liquid Plain. Aesthetically, this production haunts me with a similar question posed by Dionne Brand in her book, A Map of the Door of No Return: “What if the cognitive schema is captivity?”

Special Thanks.The Director wishes to thank Naomi Wallace for the opportunity to concertize with her; Wind Dell Woods for his keen dramaturgical

eye; Dr. Frank B. Wilderson III for his extraordinary commitment and unflinching support; Professor Sheron Wray for her choreographic

brilliance and for her dialect coaching and cultural advising; for their fierce, expansive minds and acute engagements with Transatlantic

Slavery and The Liquid Plain for the Humanities symposium engaging this production: Drs. Jared Sexton, Tiffany Willoughby-Herard,

Rachel O’Toole, Sora Han, Karen Kim; and Sally Terrefe, Ph.D.c, and Nicholas Brady; Dr. Cecelia Lynch for her commitment to a continued

interdisciplinary conversation; and last but never, ever least, a truly courageous, talented and thoughtful cast, production team and crew.

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Jun. 5 UCI Symphony OrchestraThe Conductors With Special Guest Rebecca Tomlinson, SopranoProgram will include: MahleMahler, Adagietto from Symphony No. 5Strauss, Brentano LiederMahler, Symphony No. 4

Irvine Barclay Theatre* 8:00 pm

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Mar. 13UCI Symphony OrchestraAmerican RenaissanceProgProgram includes Aaron Copland’s Appalachian Spring and William Grant Still’s Symphony No. 1 “Afro-American,” and will also feature the winner of the Concerto Competition.

Irvine Barclay Theatre* 8:00 pm

2014/2015 SYMPHONY SEASON

The Claire Trevor School of the Arts would like to thank our supporters for their gifts of $500 to $100,000 and above during the past academic year. A

complete list of all our contributors can be found in the performance programs distributed at the majority of our plays and concerts.

We thank you all for your generosity!

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$50,000 – $100,000+ Andy Warhol Foundation for the Visual ArtsThe Beall Family FoundationThe J. Paul Getty Trust Cheryll and Richard Ruszat

$25,000 – $49,000 The Boeing CompanyWilliam Gillespie Foundation Microsemi CorporationThe Nicholas EndowmentH. Colin Slim

$10,000 – $24,999 Applied MedicalCommunity Foundation of Jewish Federation of Orange County Sallie and Don DavisWilliam Joseph GillespiePaul and Elisabeth Merage Family FundRockwell AutomationRockwell CollinsElizabeth and Thomas TierneySandra and Kenneth Tokita

$5,000 – $9,999 Argyros Family FoundationDiane and Dennis BakerDwight DeckerEmulex CorporationFirst Harvest Foundation TrustJanice and John MarkleyKelly and James MazzoVivian and Jim McCluneyJames ScarafoneStradling Yocca Carlson & RauthSocorro and Ernesto VasquezVizio, Inc.Bill WarnerThe Wooden Floor

$1,000 – $4,999 Audrey and James AlbaughHana and Francisco AyalaAdele and Charles BaeckerShirin and Moiz BeguwalaMary and James BellAlbert Bennett and Rudi BerkelhamerCarol and Eugene ChoiAndrea CullenRobert ElliottFidelity Charitable Gift FundFirst American Financial FoundationPatricia and Michael FitzgeraldKathryn and Philip FriedelSuzanne and Michael FromkinMary Gilly and John L. GrahamKalyani Gopal and Nambirajan SeshadriBernadette and Raouf HalimKathy and Shephard HillHoag Memorial Hospital PresbyterianSusan K. HoriHellene and Sam IacobellisPatricia and Kenneth JandaClay and Debbie Jones Family FoundationAlexandra and Stephen LaytonThe Gilbert E. LeVasseur, Jr. TrustPhuong Luong and Joseph S. Lewis, IIIMadly Making Orange LLCWhitney and Jerry MandelDeborah and Jeffrey MargolisThe Charles and Twyla Martin FoundationToni Ann MartinovichSusan and Goran MatijasevicRachel and Anthony MausPhil McNameeDarrellyn and David MelilliStephanie and Chris MondelloSandra and Daniel MurtaghMVE-Institutional, Inc.Newport Diagnostic Center, Inc.Marilyn and Thomas NielsenPatricia and John O’Donnell

If you would like to support the Claire Trevor School of the Arts, a specific program, or a particular academic department, please contact our Development Office at (949) 824-8750.

The Claire Trevor School of the Arts would like to thank our supporters for their gifts of $500 to $100,000 and above during the past academic year. A

complete list of all our contributors can be found in the performance programs distributed at the majority of our plays and concerts.

We thank you all for your generosity!

THANK YOU!

Orange County Museum of ArtEdward ParrElaine and Philip PaulPatricia and Daryl Pelc Kelly Lanier PerineAmber and Kenneth RohlSchwab Charitable FundElane Scott and Rick Stephens Segerstrom Center for the ArtsMasoud ShahriSimon FoundationBetty SisemoreJanice and Ted SmithAlison and Richard SteinStern Charitable Remainder TrustSusan and Timothy StraderMarilyn and Thomas SuttonWilliam S. & Nancy E. Thompson FoundationUeberroth Family FoundationVanguard Charitable Endowment ProgramSophia and H. Kumar WickramasingheCarol and Kent Wilken

$500 – $999 Elizabeth and Gordon AndersonSarah Anderson and Thomas RogersLinda and Michael AriasArpana Dance CompanyLisa Barron and Roberto VasquezPamela and Harold BennettEllen Breitman and Brien AmspokerMary and John CarringtonKatherine and Michael ClarkCarol and Ralph ClaymanVictoria and David CollinsErlich ArchitectsClifford Faulkner and Shigeru YajiEvelyn and John GeraceMelanie Rios GlaserPreetinder and Shivbir GrewalElizabeth and Bruce Hallett

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Legacy GivingAnonymous Diane and Dennis BakerWilliam DaughadayWilliam J. GillespieEstate of Gunther HollandBeth R. and Walter A. Koehler, Beth L. KoehlerLucille KuehnNancy Lee Ruyter

If you would like to support the Claire Trevor School of the Arts, a specific program, or a particular academic department, please contact our Development Office at (949) 824-8750.

SUMMER ACADEMIES I N T H E

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SUMMER ACADEMIES I N T H E

ART

DANCE

DRAMA

MUSIC

ROBOTICS

scholarships available

arts

949.824.8976http://outreach.arts.uci.edu

OCTOBEROct. 10-Dec. 13* Cross-section: a Solo Exhibition by Ed Moses Oct. 10-Jan 24* Eddo Stern: New WorksOct. 10 Trio Céleste Concert: “Canyon Echoes”Oct. 18 Faculty Artist Series: Kojiro UmezakiOct. 18* Beall Center Family DayOct. 20* Anime Sci-Fi Movie NightOct. 24* Gassmann Electronic Music SeriesOct. 25 IMPROVISATORE

NOVEMBERNov. 6* CTSA OPEN HOUSENov. 14-22 The Last Lifeboat Nov. 15-23 Metamorphoses Nov. 19* Noon Showcase ConcertNov. 19* UCI Small Jazz Group ConcertNov. 21 UCI Symphony Orchestra: “The Isles”Nov. 22 Faculty Artist Series: Michael Dessen TrioNov. 24* UCI Wind Ensemble Concert

DECEMBERDec. 3* UCI & IVC Guitar Ensembles Noon ConcertDec. 3* UCI Jazz Orchestra ConcertDec. 6-14 Cat on a Hot Tin Roof Dec. 11-13 New SlateDec. 12* Art Song & Artistry Series UCI Cantando: Songs in SpanishDec. 17* Chamber Music Recital

JANUARY 2015Jan. 9-Mar. 20* A Solo Exhibition Curated by Rhea AnastasJan. 9-Feb. 7* Critical Curatorial Program Thesis ExhibitionJan. 10 Faculty Artist Series: Lorna Griffitt & FriendsJan. 17 Faculty Artist Series: Darryl Taylor “American Song Recital”Jan. 23-25 PassionJan. 30* Gassmann Electronic Music SeriesJan. 31-Feb. 8 The Liquid Plain

FEBRUARYFeb. 6-May 2* Play: In Three ActsFeb. 11-15 Dance Visions Feb. 18* Noon Showcase ConcertFeb. 18* UCI Small Jazz Group ConcertFeb. 20, 21 Faculty Artist Series: Kei Akagi & Friends

2014-15 Season-At-A-Glance

Purchase tickets by phone: Arts Box Office (949) 824-2787 or online: www.arts.uci.edu/tickets

Feb. 20-Mar.13* Second Year MFA ReviewFeb. 23* Wind Ensemble ConcertFeb. 25* UCI Jazz Orchestra Concert

MARCHMar. 6 Art Song & Artistry Series: An Evening of SpiritualsMar. 7-15 The Electra Project Mar. 8 Claire Trevor DayMar. 13 UCI Symphony Orchestra: “American Renaissance”Mar. 18* Chamber Music Recital

APRILApr. 3-17* 11th Annual Guest Juried Undergraduate Exhibition Apr. 8* Bach’s Lunch Apr. 11 Faculty Artist Series: Jerzy Kosmala and friendsApr. 16-18 Dance EscapeApr. 18* Beall Center Family Day / Celebrate UCIApr. 24-May 8* MFA Thesis Exhibition, Part IApr. 25 Faculty Artist Series: Nina ScolnikApr. 25-May 3 Boeing-Boeing Apr. 29* UCI & IVC Guitar Ensembles Noon ConcertApr.30-May 2 Physical Graffiti

MAYMay 3 Annual Honors Concert May 8, 9 Faculty Artist Series: Hossein Omoumi and FriendsMay 13* Noon Showcase ConcertMay 13* UCI Small Jazz Group ConcertMay 14* Integrated Composition, Improvisation & Technology (ICIT) ConcertMay 15-29* MFA Thesis Exhibition, Part IIMay 18* UCI Wind Ensemble ConcertMay 20* UCI Jazz Orchestra ConcertMay 22* Art Song & Artistry Series: Alumni ConcertMay 30-Jun. 6 Sweet Smell of Success

JUNEJun. 5 UCI Symphony Orchestra: “The Conductors”Jun. 5-13* Honors Thesis ExhibitionJun. 5-13* Select Undergrad ExhibitionJune 7 Trio Céleste Presents: The American Music Project Jun. 10* Chamber Music Recital

Claire Trevor School of the ArtsFlashback

1967, the Drama Department presented Oedipus, the story of a tragic protagonist in Greek mythology.