Directed by Ashley Butler with original music by Andrew Lynch
February 20-March 1, 2025
Telfair B. Peet Black Box Theatre
By Virginia Woolf | Adapted by Sarah Ruhl
Directed by Ashley Butler with original music by Andrew Lynch
DIRECTOR’S NOTE
Virginia Woolf’s 1928 novel, Orlando, is a wild and beautiful romp through time and space. According to some accounts, the faux biography was written as a lark—an artistic and literary experiment—through which Woolf indulged in creative conventions of language and narrative, and explored provocative themes of gender, sexuality, and societal norms that cleverly skirted the censorship rules of the day.
A pioneering piece of queer literature, Orlando is often said to be a love letter to Woolf’s longtime lover, Vita Sackville-West, upon whom the character of Orlando is loosely based. As members of the Bloomsbury Group—a set of notable bohemian British writers, artists, and philosophers of the early 20th century—both women were in open marriages that allowed them some freedom to live, if not fully authentically, at least under the protection of a kind of disguise.
Orlando is a quest narrative, as its titular character journeys through several centuries, across land and sea, and through many relationships in search of identity, purpose, and selfactualization. Exploring the idea of nature—both in terms of the natural world and as the essential essence of a thing—the story interrogates gender in terms of biological assignment, fluidity, societal roles, presentation, performance, and all the “penalties and privileges” therein. Themes of death and resurrection pervade the journey, leading to multiple transformations. Orlando’s story is in turn funny, poignant, and magical, as any good fairytale might be.
Playwright Sarah Ruhl’s dramatic adaption of Woolf’s novel has fascinated me for many years, so I was thrilled to be granted the opportunity to bring it to life on stage. Ruhl retained much of Woolf’s narrative verbatim and compressed the sprawling novel into a succinct, theatrical package that can be unwrapped in a myriad of ways. The play capitalizes on the fluidity of time and space, allowing theatre artists room literally to “play.” We present Orlando’s story in an organic playground of natural materials and found objects, with costumes referencing and crossreferencing historical time periods and aspects of nature and gender. We leaned into stylized, physical storytelling and an original, soaring soundscape.
I was incredibly privileged to be supported by a team of amazing collaborators. The students— including both principal and standby casts, the assistant director, and the management team— are an incredibly talented, intelligent, and giving group of humans who were absolutely integral in creating the world in which our Orlando lives. Additionally, it has been my profound honor to work with so many of my truly fabulous colleagues to bring this show to life. Their highly creative visions and solution-oriented approaches have been a dream for this director.
Orlando—why now? The “spirit of the age” is blowing both hot and cold on several aspects of this play’s story and themes. What better way to dive into the conversation than in the theatre?
Euphrosyne/Rosalind/Penelope Hartropp/Grimsditch/Salesperson ..... Sophia Neno (Standbys do not appear onstage unless announced before the performance.)
SCENE BREAKDOWN
Act I
The Elizabethan Age
The English countryside, Orlando’s home, the English Court, the ship of the Russian embassy, London
Act II
The 17th Century
The English countryside, Orlando’s home, Constantinople
INTERMISSION (15 minutes)
Act III
The 18th Century
A ship on the ocean, Orlando’s home
Act IV
The 19th Century
Orlando’s home, London, the English countryside
Act V
The 20th Century
Orlando’s home, the English countryside, London, then back to Orlando’s home
And then, a century later... the present moment
STUDENT COMPANY BIOGRAPHIES
Maddox Brock (Assistant Costume Designer) is a sophomore theatre and materials engineering double theatre. She previously has assistant designed for Natasha, Pierre & The Great Comet of 1812 and was on wardrobe crew for Barbecue. She would like to thank her friends and family for all of their support.
Davy Davis (Assistant Director) is a senior BA theatre major from Elba, AL. Their other AUTD credits include Wellesley Girl (Sound Designer), Dare WE Defend (Sound Designer), Barbecue (Deck Crew), and Fractals: Infinite Movement (Assistant Head Electrician).
Isabella Doyle (Sasha) is a first year BFA music theatre major from Nashville, TN. This is Isabella’s AUTD debut!!! She’s so excited to be a part of this show! Isabella wants to thank all of management, the design team, crew, the cast, and everyone who helped with the show!!
Harrison Dunn (Queen Elizabeth) is a junior BFA performance and film double major from Huntsville, AL, making his debut AUTD performance. Born in a trunk in the Princess Theater in Pocatello, ID, Harrison performs stand-up comedy, and knows the entire American Songbook.
Wil Eplett (Favilla/Archduke/Archduchess/Others) is a sophomore BFA music theatre major and arts administration minor from Lilburn, GA. You may have seen him in Dare WE Defend (Devising Ensemble) or Ordinary Days (Warren). He is so excited to show off the hard work he and the rest of this talented ensemble have put together.
Daisha Flint (Orlando) is a senior BFA performance major from Piedmont, AL. Their recent AUTD credits include Wellesley Girl (Donna), Dare WE Defend (Devising Ensemble), and Monstersongs (The Kid). This being her last production as a performer, Daisha would like to thank AUTD and her mentors, friends, and family for their love and support.
Lily Hamilton (Assistant Sound Designer) is a sophomore BA theatre major on the design/tech track from Auburn, AL. She is excited to work on her fourth AUTD production. Previous credits include assistant sound designer and A1 for Natasha, Pierre & The Great Comet of 1812 and Ordinary Days. Lily was also A1/A2 at Auburn High School. She is a proud member of AU Players.
Cam Hart (Deck Stage Manager) is a first year BA theatre major on the management track from Homewood, AL. She was the deck stage manager for AUTD's Wellesley Girl. Cam has worked with Birmingham Children’s Theater as a stage manager for Big Fish and with Gradient Dance as a stage manager for Tortoise and the Hare.
Em McAlexander (Standby Favilla/Archduke/Archduchess/Others) is a first year BA theatre major from Daphne, AL making her AUTD debut. Em is a member of AU Players. Some of her favorite past roles include The Addams Family (Morticia) and The Tempest (Prospera). She is so excited for her first show here at Auburn!
Romey Moody (Euphrosyne/Spanish Dancer/Dupper/Elevator Man/Others) is a first year BA theatre major from Dothan, AL. She previously performed with Providence Christian School’s theatre department. Her notable roles from high school include Hello, Dolly! (Dolly Levi) and Annie (Miss Hannigan). This is Romey’s AUTD debut.
Sophia Neno (Standby for Euphrosyne/Rosalind/Penelope Hartropp/Grimsditch/Salesperson) is a sophomore speech pathology major and theatre minor from Mobile, AL. Her debut with AUTD was in Dare WE Defend (Devising Ensemble). Sophia is excited to work with the amazing cast and crew of Orlando.
Kate Nymark (Standby for Queen Elizabeth) is a sophomore BFA music theatre and economics double major from Maple Grove, MN. Previous Auburn credits include AUTD's Dare WE Defend (Ensemble) and AU Players’ Pride and Predjudice (Colonel Fitzwilliam). Kate is on the front-of-house team for AUTD.
Sam Oliver (Russian Seaman/Rosalind/Washerwoman/Salesperson/Others) is a sophomore BFA music theatre major from Birmingham, AL, last appearing in Dare WE Defend (Devising Ensemble). This show was an exciting new challenge, pushing their versatility to the limits. In their spare time, Sam enjoys writing and producing original music under the name “Sammy The Human.”
Elijah Racz (Standby for Shelmerdine) is a first year theatre and bio-med (with a concentration in pre-med) double major from Russellville, AL. This is his AUTD debut! Past credits include Cabaret (Ernst Ludwig) and Bright Star (Max/Ensemble). He hopes everyone enjoys the show!
Amy Roberts (Calling Stage Manager) is a junior BA theatre major on the management track from Scottsboro, AL, transferring from NACC. Previous AUTD credits include Ordinary Days (Deck Stage Manager). NACC credits include The Lightning Thief: The Percy Jackson Musical (Stage Manager), She Kills Monsters (Stage Manager), and Anastasia (Ensemble). Amy wants to thank her family and friends.
Sawyer Skinner (Standby for Orlando) is a first year BFA music theatre major from Hobe Sound, FL and is thrilled to be making her AUTD debut. She wants to thank the incredible cast, crew, and management for the opportunity and experience, as well as her ever supportive family, and gives all the glory to God.
Moreland Smith (Standby for Sasha) is a first year music theatre major and animal sciences minor from Columbus, GA. Previous credits include: AUTD’s Wellesley Girl (Deck Crew), Finding Nemo Jr. (Chum/Gill) and SOHIP Improv Troupe at Springer Opera House, and Anastasia (Anya) and The SpongeBob Musical (SpongeBob) in high school. Enjoy the show!
Bekah Taylor (Clorinda/Penelope Hartropp/Sea Captain/Grimsditch/Others) is a junior BFA theatre performance major from Reeltown, AL. Some of her past AUTD credits include Ordinary Days (Deck Stage Manager) and Dare WE Defend (Devising Ensemble). Other credits include Pride and Prejudice (Stage Manager) and Hands on a Hardbody (Cindy Barnes).
Andrew Vance (Shakespeare/As You Like It Orlando/Shelmerdine/Others) — y’all can call him Drew — is a junior BFA musical theatre major from Orange Beach, AL. Recent AUTD credits include Flying/Falling (Dancer), Wellesley Girl (Max), and Natasha, Pierre & The Great Comet of 1812 (Prince Bolkonsky). Drew would like to thank Ashley, Davy, and his truly invaluable support system. Cheers!
GUEST ARTIST BIOGRAPHY
Thomas Dunn (Scenic & Lighting Designer) designs scenery and lighting throughout the US and abroad. Thomas’ approach to design stems from years of investigative work with light and spatial constructions, treating them as both a sculptural medium and a facet of stage design. He is excited to share his design work with the Auburn community on this fantastic production. Other selected design credits include works with JoAnne Akalaitis, Jonathan Bepler, Wally Cardona, Steve Cosson, Annie Dorsen, DD Dorvillier, Daniel Fish, Beth Gill, Trajal Harrell, Ted Hearne, Jennifer Lacey, Noémie Lafrance, David Levine, Molly Lieber, Ong Keng Sen, Zeena Parkins, Tina Satter, Jay Scheib, Eleanor Smith and Muna Tseng. Thomas is the recipient of a Kevin Kline Award for Outstanding Lighting Design for The Little Dog Laughed at The Repertory Theatre of St. Louis, as well as a Bessie Design Award for Visual Design for Nottthing Is Importanttt with DD Dorvillier/human future dance corps at The Kitchen in New York City. Thomas received his art and design training at Bennington College and the Yale School of Drama. He is the Visiting Assistant Professor of Scenic and Lighting Design for the Auburn University Department of Theatre & Dance. Enjoy the show!
LEARN MORE
• Playwright Sarah Ruhl is an award-winning American playwright, author, essayist, and professor. Her plays have been produced on Broadway and across the country as well as internationally, and translated into fourteen languages. Read more about her work at sarahruhlplaywright.com.
• Join us after the Thursday Feb. 27 performance for a talkback session with the actors and members of the creative team.
• Check out the dramaturgical display in the theatre lobby to learn more about the play and the process of the production.
• Follow us on Facebook and Instagram for interviews, takeovers, and other features about the show!
We offer this season’s productions as a way to add to our collective understanding of resilience.
Developed by Dr. Joel Bennett and staff at Organizational Wellness & Learning Systems, the 5 “Cs” listed here are known as the five competencies of resilience and considered useful tools to assess our own unique resiliency skills.
Orlando explores themes of gender, identity, and the fluidity of time via an extraordinary quest for self-discovery. Through a magical and poetic narrative, Sarah Ruhl's adaptation of Virginia Woolf's novel is a spellbinding consideration of love, compassion, transformation, and the eternal search for belonging amidst a hostile world.
Across 5 major degree tracks and 3 different minors, our students engage daily in the rigorous hands-on work of the theatre. They construct sets, sew costumes, create designs, call shows, choreograph dance, devise new work, build props, focus lights, analyze texts, block scenes, score scripts, and everything in between.
Support Theatre and Dance at Auburn University
AU Theatre and Dance students are some of the hardest working on campus. And every year we must start anew in finding ways to help support their remarkable efforts.
We are especially in need of gifts to support Theatre and Dance Scholarship Fund. Our students depend on scholarship support to keep up rigorous academic and creative schedules, and to balance the various aspects of student life.
Please consider becoming an AU Theatre and Dance donor today, or renew your previous generous gift if you gave in the past.
Every gift, no matter the size, truly makes a difference and will mean the world to our students!
We are profoundly grateful to our generous donors. Every gift helps to support the work of our department and our incredible theatre and dance students.
We would love to thank you publicly, but we need your permission to list your name. This listing includes all donors who have given us permission to list as of the time of printing. If your name is missing and you’d like to be included, please contact us to be added to the next program.
Students at Work
Top: Samone Poke takes class in the dance studio. Bottom: Lily Sosebee sews in the costume shop. Photos by Henry Eiland.
DEPARTMENT OF THEATRE & DANCE
OUR MISSION
Theatre has the potential to foster dialogue, alter perceptions, and inspire social change. The Auburn University Department of Theatre and Dance is dedicated to the education and professional training of theatre artists, scholars, and audiences within a liberal arts environment.
The Department champions the interaction between theory and practice and produces citizen artists who advocate for the arts through their own work in local, national, and international communities.
Auburn University theatre and dance students think critically, creatively, and collaboratively and carry their knowledge from rehearsal spaces and classrooms to stages, campuses, and communities worldwide.
Learn more about our department and degree tracks at: auburnuniversitytheatre.org
ADMINISTRATIVE STAFF
Department Chair: Tessa Carr
Coordinator, Student and Patron Services: Becky Henderson
Office Administrator: Vickie Murtadha
Marketing Coordinator: Magalí Zaslabsky
Graphic Designer: Ashley Butler
STUDENT STAFF
Event Staff: Romelo Blackmon, Wil Eplett, Rosemary Gross, Lily Hamilton Kate Johnson, Abby Krehling, Presley McQuiddyGasparlin, Kate Nymark, Lily Sosebee, Bekah Taylor, Ashleigh Vickery, Reid Williams
Costume Studio Assistants: Linnie Johnston, Tino Soto, Andrew Vance, Michaela Williams
Props Assistant: Reid Williams
Production Assistant: Abigail Bowling
Marketing/Recruitment Assistants: Olivia Beland, Hannah Carstarphen, Kara Anne Smith
Scenic Studio Assistants: Daisha Flint, Jason Owens
Sound & Lighting Assistant: Davy Davis
Wig Assistant: Hali Everette
Follow @auburnuniversitytheatre on Facebook and Instagram
Auburn University is an equal opportunity educational institution/employer.
Top: Kate Nymark (front) and Abigail Bowling (back) in Dare WE Defend (2024). Center: Telfair Peet Theatre.
Bottom: William Johnson works in the scene shop (2024).
