The New England College Theatre Department Presents...
Fall 2016: Fortinbras by Lee Blessing
We start with a pile of dead bodies at the end of Hamlet. Young Fortinbras, a modern man of action, enters only to order the bodies of the royal family shuffled off while he devises the best possible media blitz to legitimize his ascension to the throne of Denmark. Horatio, sworn to the dead Hamlet to convey the truth of his actions, is immediately cast by Fortinbras into the role of an unwilling public relations person. Meanwhile, Fortinbras is forced to balance a disastrous and mistaken invasion of Poland with a seductive and harrowing array of ghosts, ranging from a vampish Ophelia to a repentant Claudius and Gertrude, all of whom cast doubts in his mind as to what really makes up the character of a ruler. "Ghosts are hellzapoppin" in Lee Blessing's self-described new "metaphysical farce," Fortinbras, a comic interplay of wry literary criticism and contemporary wit which takes up where William Shakespeare's Hamlet left off. As inescapably relevant to today's political scene as the classic from which it is drawn, Fortinbras cannot help but raise questions about authority and leadership, yet with its mocking (and loving) reverence for Shakespeare's vision, Blessing's play comes closer in tone to Rosencrantz And Guildenstern Are Dead—sexy, inquisitive, and ultimately satisfying to the revisionist theater-lover.
Spring 2017: Autobahn by Neil LaBute
“Sitting in an automobile was where I first remember understanding how drama works…Hidden in the back seat of a sedan, I quickly realized how deep the chasm or intense the claustrophobia could be inside your average family car.” – Neil LaBute The family car is a truly American space. In Autobahn Neil LaBute’s collection of one-act plays set in the front seat, we’ll explore seven brief vignettes that take us through the perception of several unique relationships.