Behind the Scenes 2010

The Last Night of Ballyhoo


A Midsummer Night's Dream


“A Midsummer Night’s Dream” is generally thought to have been written in 1595 or 1596. Samuel Pepys, an avid playgoer of the 17th Century, writes in his diary that it is “the most ridiculous play that ever I have seen.” However, this play has become one of the most often produced plays from Shakespeare’s works and is one of the most popular with audiences. With its themes of every-changing love, herbally-induced intoxication and woodland setting, the late 1960s seemed an appropriate fit for the play.

April 22-25, 2010
Memorial Hall Auditorium

Thur.-Sat., April 22-24, 7:30 p.m.
Sun., April 25, 2 p.m.

Dead Men Tell Tales at CSC Theatre

“Dead Man’s Cell Phone” is the darkly comic journey of Jean, a simple but sweet woman who professes that she wants to “remember everything, even other people’s memories.”

The action of the play is set into motion when she “inherits” a cell phone belonging to a dead man — Gordon. Through Gordon’s cell phone contacts, Jean meets his former shady associates and eccentric family members. This journey, both literal and emotional, follows Jean’s encounters with Gordon’s quirky family and their loss, clandestine business meetings and unexpected romance.

“Dead Man’s Cell Phone” is directed by CSC senior Colt Neidhardt, with set design by senior Clint Wright and sound design by senior Tamsyn Dalton.

“To be able to direct a full-length major production while still an undergraduate is an invaluable experience,” says Neidhardt of his undertaking the role of director. “To have the opportunity to work with my some of my closest friends and peers on this project has been a real gift. I believe wholeheartedly that we have created a show that is not to be missed.”

According to Neidhardt, “this story acts in many ways as social satire on our dependencies on technology. We have taken the ‘human’ out of our ‘human interactions’ and Ruhl’s script fights to explain the importance of saying ‘I love you’ in person as opposed to a text message. These social messages combined with Ruhl’s quirky look at the afterlife provide us with material that is darkly-comic, human and inhuman all at the same time.”