Samuel Jones

In 2018, the first line of Spectator’s XMAS!13 review read, “This year Santa Claus is retiring. Microphone substituted for candy cane, the announcement came moments into the show.”

“Kiss me through the hole in this nasty wall,” calls Pyramus, played by Joel Meyers, CC ’21, his head poking out from under the legs of the Wall to his lover Thisbe. The Wall was played by Jane Walsh, CC ’23.

“Mine?” “Mine?” “Mine?” “Mine?” The animated squawking seagulls chant in unison, grasping for their hunger to be fulfilled.

Dael Orlandersmith leaned over the podium, never letting the echo of her voice die in the auditorium. She allowed her voice to run at a gallop, enunciating every “t” and “d” with a punch as she engraved a brand new, bittersweet piece onto the hearts of the audience.

“This must be a simply enormous auditorium!” thought an audience member.

“With energy, pizzazz, and candid hilarity, the unexpected jolts and quirky visages of Greenfeld captivated from start to finish.”

As Mercutio took his last breath, lightning lit up the dome of Low Library and thunder boomed in the sky.

Is it all even real? Or are we in a simulation?

White space surrounds the works: white walls, white lights on a white ceiling, white paper, white dressing screens, white blinds on the windows.

Red, fleshy chunks of watermelon skid off the stage into the faces of the audience.