Set Design by
THE WALLS
By Griselda Gambaro
Thursday, May 1–Saturday, May 3, 2025
7:30 pm each evening and 2 pm on Saturday Middlebury College, Mahaney Arts Center, Seeler Studio Theatre
Qinyi Hua ’25
Directed by Cláudio Medeiros
Middlebury College Department of Theatre presents
The Walls
By Griselda Gambaro
Translated by Marguerite
Feitlowitz
Directed by Claudio Medeiros
Scenography Qinyi Hua*
Costume Design Sarah Sophia Lidz
Light Design Mark Evancho
Sound Design Dan Ribaudo
Fight Choreography Joe Isenberg
Dramaturg Nicole Meyers
Stage Manager Ivy Tan
Assistant Stage Manager/ Understudy Dominick Hutchins
CAST
Young Man Ryan Ulen
Usher Urian Vasquez
Functionary Molly Snow
Time: The present.
Place: A country like any other. A comfortable hotel room.
Approximately two hours with one intermission
Patrons are asked to vacate the theatre during intermission and return to the same seats for Act II.
Content Warning:
The play includes a brief depiction of violence.
Patrons are requested to turn off cell phones prior to the performance. Photography and the use of audio and video equipment are prohibited.
Produced with permission of Marguerite Feitlowitz
*Denotes capstone senior work
DIRECTOR’S NOTE
Griselda Gambaro wrote The Walls (Las paredes) in 1963, when Argentinians lived under a precarious democracy. Three years later a coup installed a civil-military dictatorship, and that was followed by an even more fragile and turbulent elected government. The next chapter in the country’s political history was a brutal military dictatorship. Self-declared as the “Process of National Reorganization” (1976–1983), it implemented state terrorism. It was then that an estimated 30,000 Argentinian citizens disappeared (“Los desaparecidos”). Some U.S. scholars have imbued Gambaro with prescience for works that seemed to anticipate the horrors of the “The Dirty War,” which is how the 1970s dictatorship came to be known. Clairvoyance is a rare gift and should not be confused with attention. I believe Gambaro was merely listening for signs. In 2025, The Walls remains as relevant as ever, both in the United States and throughout the world. It invites us to pay attention. It challenges us to consider our stance in the face of history, as individuals and as a community. And it does so with the author’s expected love of theatricality, and the understanding that laughter is a potent form of recognition. Yes, The Walls is also a comedy, and we hope you will allow yourselves to laugh. Let us laugh, pay attention, and . . .
—Cláudio Medeiros
SET DESIGNER’S NOTE
What defines a safe space? In designing the set for The Walls, I wanted to create a space that offers safety when you first meet it but doesn’t belong to any specific time. The world of Gambaro’s play is neither contemporary nor classical. Inspired by what scenographer Jan Versweyveld calls “new realities,” the set aims to build a world that has never existed and may never existbut feels more real and intact than reality. This is a room shaped by power and perception, one that responds to fear, surrender, and manipulation. I hope it helps tell the story of why people give in. Surrendering is a form of silence. The story of this room is one of many silences. That said, can it tolerate glimpses of resistance?
—Qinyi Hua ’25
DRAMATURG’S NOTE
The Prisoner of Zenda /Ninon de Lenclos
The Walls contains no reference to a particular time period, other than an opening stage direction telling us that the action takes place in a “bedroom in the style of the 1850s.” Nothing else is said about where or when the action takes place. The play could be set anywhere and anytime. We have chosen to place the action in a comfortable hotel room. The time is now! There are, however, two anachronistic references in the play that may be of interest to you: the novel The Prisoner of Zenda and the historical figure “Ninon de Lenclos.” The Prisoner of Zenda is an obscure British adventure novel from 1894 that was adapted into a film in 1952. The movie was released in Argentina, and it appears to have been popular. One of the main characters in the novel is Rupert of Hentzau. He is the henchman to the main antagonist, Duke Michael, who is attempting to steal the throne of Ruritania from his brother. The film’s popularity and Hentzau’s blind obedience to the authoritarian usurper are most likely the reasons why Gambaro chose to reference this novel in the play. “Ninon de Lenclos” was a 17th century French Epicurean philosopher and notorious courtesan. In Lenclos’ perspective, human moral conduct is the effort to expand pleasure and eliminate pain. She justified her own sexual freedom by means of philosophical thinking that canonized romantic love as the supreme good. Ninon is well remembered in France for how boldly she challenged patriarchy. Gambaro’s nod to Ninon de Lenclos anticipates the plays she wrote in the second half of her career, when female characters became central to her dramaturgy.
These references made clear, we leave you in Gambaro’s masterful use of language and keen sense of theatricality. She is Argentina’s greatest female playwright, and we’re excited to bring her work to you today.
—Nicole Meyers ’26.5
PLAYWRIGHT’S BIOGRAPHY
Griselda Gambaro (born 1928) is one of the most studied Argentinian playwrights and leading figures of her generation. She began writing in narrative form but soon moved to dramaturgy, and thereafter she alternated between the two forms. Her career as a prose writer has therefore been inextricably related to her trajectory as a playwright. In addition to writing novels and plays, she has excelled as an author of short stories, children’s and youth literature, essays, and journalistic articles and opinion pieces. In 1977 Gambaro chose to go into exile in Spain, when her novel Ganarse la muerte (To Earn One’s Death) was banned by the military dictatorship. Her famous plays include Los siameses, El campo, La malasangre, Antígona furiosa, Información para los extranjeros, Es necesario entender un poco, Lo que va dictando el sueño, La señora Macbeth, La persistencia, Querido Ibsen: soy Nora, and El don. Gambaro’s theatre has had a far-reaching impact in Argentina and the rest of Latin America, and her plays have been produced in Europe, North America, and beyond. She has received numerous awards in Argentina and abroad, including a Guggenheim Fellowship in 1981, the Dignity Prize of the Permanent Assembly for Human Rights, and the title of Doctor Honoris Causa from the National University of Art of Argentina, among others. In 2010 she gave the keynote address at the Frankfurt Book Fair. Gambaro is an honorary fellow of the Modern Language Association of the USA. She lives in Buenos Aires.
Griselda Gambaro
THE COMPANY
Qinyi Hua ’25 she/her (Scenographer) is a theatre major with minors in studio art and art history from Shanghai, China. As an international theatre practitioner, she has worked in theatre both in Shanghai and NYC, including Sleep No More Shanghai, Theatre Young, PTP/NYC’s 35th season, and the Women in Theatre Festival. Middlebury design credits include Tick, Tick . . . Boom!, Storm Still, and The Worst Mother in the World (set design), as well as And Baby Makes Seven (sound design). Stage management credits include Mr. Burns, Rhinoceros, and Dad Rock. At the end of her college years, Qinyi would like to give endless thanks to her family, friends, and mentors. With love and thanks to those who kept her alive and well, made her laugh (or cry), and always reminded her why theatre matters.
Dominick Hutchins ’28 he/him (Assistant Stage Manager) is a freshman at Middlebury who has been exposed to a few of the many different theatrical jobs available to him from acting in the first-year show to assistant stage managing for this show. He’s excited that he gets to continue learning from all the wonderful people around him and hopes to continue his studies in the theatre scene.
Nicole Meyers ’26.5 she/her (Dramaturg) is a literary studies major from Victoria, British Columbia, with a passion for 20th century feminist literature.
Her previous theatre credits at Middlebury include dramaturg for Orlando and run crew for Guys and Dolls. She’s also the Student Government Association presidentelect and a box office student worker. This summer, she’s looking forward to pursuing her passion for literature at the Bread Loaf School of English in Oxford. In her free time, she enjoys trying new restaurants and reading long novels.
Molly Snow ’26 she/her (Functionary) is a theatre and psychology double major from Portland, Maine. Her Middlebury acting credits include Fun Home (Medium Alison/Swing), Greek Tragedy (Chorus), and The Worst Mother in the World (Mary). She is ecstatic to be working with Dogteam Theatre Project this June! Outside of theatre, she plays ultimate frisbee with the Middlebury Pranksters, sings with her a cappella group, the Middlebury Mischords, and skis whenever she gets a chance. She hopes you enjoy the show and would like to remind you to feel at ease— everything will turn out for the best.
Ivy Tan ’28 she/her (Stage Manager) is a first-year student from Guangzhou, China, with academic interests in gender studies and film and media studies. She became interested in theater after watching her high school’s senior show and has been drawn to backstage magic ever since. This is her first time stage managing, and it’s been a significant experience—filled with behind-
the-scenes moments, late-night rehearsals, and a growing connection with the cast, crew, and tech team. Ivy is grateful for the opportunity to support the storytelling process from behind the curtain and is excited to continue exploring her passion for collaborative artmaking.
Ryan Ulen ’26 he/him (Young Man) is an English-theatre joint major from Howard, Ohio, with a focus in creative writing and acting. Former Middlebury College productions include Destroying Angels (Ollie), Orlando (Marmaduke; Ensemble), Somewhere (Corin), and the 2022 first-show Welcome to the Party. Organizing the Día de los Muertos Celebration (DdmC) and facilitating literary-theatrical spaces as a fellow at Beyond the Page also occupies his time. Walking at Mohican State Park with his dog, Bogey, fulfills his sense of self.
Urian Vasquez ’25 he/him (Usher) is a theatre major with a playwriting focus from Santa Fe, New Mexico. His Middlebury College credits include The Found Dog Ribbon Dance (Dave), tick, tick . . . BOOM! (Michael), Somewhere (Eph), Fun Home (Roy/Pete/Mark/Bobby Jeremy), MCMT’s Big Fish (Will), the 26th Annual First-Year Show Which Way is Up?, and stage manager for Storm Still and The Moors. Urian is the theatre office assistant and one of three student representatives for the theatre department. He also loves magic and fantasy; if you want to talk about Percy Jackson, need a D&D player, or want help writing a fantasy novel, he is all ears!
SPECIAL THANKS
Maria Alessandra Woolson, Miguel Fernandez, Bettina Matthias, Katy Smith Abbott, Pieter Broucke, Ilaria Brancoli Busdraghi, Carol
Christensen, Armelle Crouzieres-Ingenthron
SHOW STAFF
Director Claudio Medeiros
Scenography Qinyi Hua
Costume Design Sarah Sophia Lidz
Lighting Design Mark Evancho
Sound Design Dan Ribaudo
Fight Choreographer Joe Isenberg
Technical Director Jeremy Palmer
Properties Jim Dougherty
Master Electrician Tony Bader
Sound Engineer Jeremy Palmer
Dramaturg Nicole Meyers
Stage Manager Ivy Tan
Assistant Stage Manager Dominic Hutchins
Costume Shop Director Robin Foster Cole
Associate Costume Shop Director Katie Knauber
Assistant Costume Design Juli Valle
Light Board Operator Jamie Schwartz
Sound Board Operator Maya Murtuzu-Lanier
Costume Construction
and Wardrobe Brianna Akuamoah-Boateng, Julia Breckenridge, Camryn Brielmann, Hope Jerris, Elsa Marrian, Payton Rice, Nancy Rivera Almanza, Kendall
Schilling
Hair Styling Ray Lingle
Technical Production Crew Barry Yang, Zeon Waterhouse, August Siegel, Maya Murtuzu-Lanier, Maia McNeill, Amanda Martins, Isabel Manzano, Caelyn Mackie, Sam Kulasinghe-Larriere, Chris Jovy, Ryan Greguski, Alex Garcia, Jahnavi Choraria, Morgan Chacon, Gerrit Blauvelt, Birch Banks
THEATRE DEPARTMENT STAFF
Professors Alex Draper: Acting, Directing, History and Literature
Mark Evancho: Scene and Lighting Design
Cláudio Medeiros: Acting, Directing, History and Literature (Department Chair)
Associate Professors Michole Biancosino: Acting, Directing, History, and Literature
Dana Yeaton: Playwriting
Assistant Professor Olga Sanchez Saltveit: Directing, Acting, Literature
Visiting Assistant Professors Sheila Bandyopadhyay: Directing
Summer Lee Jack: Costume Design
Production Manager Jim Dougherty
Theatre Technical Director Jeremy Palmer
Production Designer, Theatre/Company and Budget Manager, Dogteam Theatre Todd Canedy
Costume Shop Director Robin Foster Cole
Associate Costume Director Katie Knauber
Master Electrician Tony Bader
Theatre Administration Mirjam Brett
Theatre Office Assistant Urian Vasquez
LAND ACKNOWLEDGMENT
The production was rehearsed and performed on land which has served as a site of meeting and exchange among the Indigenous Peoples since time immemorial. The Western Abenaki are the traditional caretakers of these Vermont lands and waters, which they call Ndakinna. We give thanks for the opportunity to share in the bounty of this place and to protect it.
THANK YOU FOR SUPPORTING THE ARTS AT MIDDLEBURY COLLEGE!
The Theatre Program wishes to thank Drue Cortell Gensler ’57, Mr. and Mrs. Edward Barlow, Marie and Edward Matthews, Christian and Gerry-Jo Cranmer, John J. Morrissey ’72, and Mr. and Mrs. Lee Freeman, Jr. for their generous support of our program’s work.
The Theatre Department would also like to thank Jean Seeler ’60, in whose honor the Seeler Studio Theatre is named, for her continued support of and belief in the work of this department.
• COMING ATTRACTIONS •
Dogteam Building Season 2025
June 9–22
Voices
Written and directed by Gerard Watkins
The Journey of the Saint By César De María, Directed by Olga Sanchez Saltveit
A New Play By Sally Seitz ’17
Directed by Amanda Whitely ’19