Last week, the Department of Theatre and Dance unveiled the whimsical and bold premiere of “Orlando” — Sarah Ruhl’s adaptation of Virginia Woolf’s classic novel.
The production opened on Oct. 29 at IG Greer Studio Theatre, inviting audiences on a journey spanning centuries as its hero transforms from a young courtier under Queen Elizabeth to a modern woman.
Featuring a dynamic ensemble of student performers, the production offered a fresh take on Woolf’s exploration of gender, identity and the passage of time, challenging audiences to reconsider the boundaries of self and society.
Phoebe Atkins, a senior theatre arts major playing Orlando, said that the play invites modern audiences to engage with Woolf’s timeless story while encouraging fresh interpretation and dialogue about its enduring themes.
“This production is a huge conversation starter for our time,” Atkins said. “Virginia Woolf’s work and Ruhl’s adaptation for the stage centers around the concept of a genderless brain.”
The focus on fluidity of identity throughout the story deepens the audience’s understanding of Orlando’s self-discovering journey.
“While Orlando goes through many changes, there is still an essence of hope and searching for meaning that drives the character forward,” Atkins said.
The enduring sense of hope mirrors the play’s broader message of embracing transformation and self-discovery.
“This production is also important when it comes to the idea that it’s okay to find yourself and change multiple times during your life,” said Atkins. “There is never a right way to be one thing, and that’s a lesson that we need to learn now more than ever.”
Ian Kirchbaum, a sophomore theatre arts major, played the archduke, archduchess, Shakespeare and was a part of the chorus.
“This production brings Virginia Woolf’s novel to life for a modern audience because of the current political climate and the threat to gender norms that are constantly encroached upon every day,” Kirchbaum said.
Bringing these complex ideas to the stage required extensive research into the characters and historical periods. Derek Gagnier, an associate professor of theater arts, explained that a lot of work went into capturing Orlando’s shifts in gender and time.
Gagnier said that the actors conducted research into each time period, as he assisted them with movement mannerisms for each century.
“Phoebe Atkins plays Orlando and we had to reverse things because she plays Orlando as a teenage boy and a young man in his late 20s in the first act and a woman in her 30s in the second. So working on masculine movement in the early 1600s required a lot of exploration and research,” Gagnier said.
Atkins focused a lot on posture and body alignment, studying how men and women carried themselves across different time periods.
“Additionally, a large amount of character work was done that focused on the idea of keeping the same heart of Orlando consistent despite their demeanor and ideas changing through gender and time,” Atkins said.
This dedication to movement and character development has also fostered a strong sense of friendship among the cast.
“I have loved every second of working on this production, every one of my castmates I love so dearly, and I wish them the absolute best,” Kirchbaum wrote. “They are like a second family to me, and I have been incredibly blessed to be a part of this fantastic cast! Love one another and live life to the fullest with each waking breath.”
The cast hopes to translate the movement work into a powerful on-stage message that resonates with the audience.
“There’s also a huge part of this story that insists that things don’t have to make sense, and I also think that’s a beautiful concept to consider as we search for our own individuality as humans,” Atkins said.
