Production Season 2017-2018

Department of Theatre Production Season 2017-2018


Translations and Adaptations


One of the tools used in translation is adaptation. It is used to provide clarity in cases where cultural differences might cause lack of understanding or confusion. A text that is adapted is not translated literally, a practice that increases the accuracy, or cultural equivalence, between two texts. Even in strict translation, a contextual analysis is necessary to choose the right word in ambiguous cases or when synonymous words might suffice.


One of the tools used to craft identity is adaptation. As a strategy of survival, identity is a performance, an act that has been rehearsed within a cultural and historical context. The act of selfhood takes place within a culturally determined space with existing limitations and directives, and therefore requires translation and adaptation when the space of the performance shifts. If, like a character portrayed on the stage, identity is a reality constituted by the performance of self, then the unequivocal signifiers of a stabilized, intractable life are not possible.


Within the context of our contemporary global community, it is necessary to reread the foundational texts of western culture from the various points of view that have been excluded, thus establishing culture as a practice that may be criticized from marginalized locations. Are we willing to expand the conventionality of culture and of self to allow the other to enter in, to present a translated vision, to give opportunities for adaptation, to destabilize, and therefore, to free?



Waiting for Godot

- a tragicomedy in 2 acts

By Samuel Beckett

- translated from the original French by the author

Directed by Augustine Ripa


September 29 & 30, October 1, 4, 5, 6, 7


A country road.  A tree.  Evening.


At the appointed time and at the appointed place, Vladimir and Estragon faithfully return to wait for something—to wait for Godot.  Not sure what or who Godot is, they deaden the agony of waiting by inventing their very existences in clever, cunning, and comic ways.  Without each other, what are they?  They have faith.  They have commitment.  They have love.  In a world that does not yield answers, our protagonists create their own.  And it’s funny!


“But at this place, at this moment of time, all mankind is us, whether we like it or not.  Let us make the most of it, before it is too late!”—Act II


“The most significant English language play of the 20th Century,”—the British Royal National Theatre.



Stupid F*@#ing Bird
By Aaron Posner
Directed by Pam Pepper

November 10, 11, 12, 15, 16, 17

An aspiring young director rampages against the art created by the older generation. A young actor wrestles with an aging Hollywood star for the affections of a renowned novelist. And everyone discovers just how inadequate love, art, and growing up can be.  In this irreverent, contemporary, and hilarious reinvention of Chekhov’s The Seagull, the timeless battle between young and old, past and present, unrequited desires and selfish aims, is played out within a modern framework.  Stupid Fucking Bird will tantalize and incite you to consider how art, love, and revolution fuel your own pursuit of happiness.

Winner of the Charles MacArthur Award for New Play or Musical in 2014.

“The bird may be stupid, but this is one smart play.” ~~Broad Street Review

by Sarah Ruhl
directed by Caraline Jeffrey ’17 Department of Theatre Apprentice


February 23, 24, 25, 28, March 1, 2, 3


“Orlando had become a woman—there is no denying it. But in every other respect, Orlando remained precisely as he had been.”

As a boy growing up in the Elizabethan age, Orlando’s wild adventures seem to have no end—but things change suddenly when he wakes one morning to find he is a woman. 


As identities transform and centuries pass, Orlando discovers just how difficult it can be to live and love in one’s own skin. Part biography, part fabulation, part poetry, this adaptation of Virginia Woolf’s famous novel “suits the stage like a dream, slippery and fantastical.” –The Guardian



Act Like You Know

10-Year Anniversary Show

Directed by Kashi Johnson

April 13, 14, 15, 18, 19, 20, 21, 2018


Hip Hop Theatre is alive and well at Lehigh University!  Showcasing original material written by Lehigh students and featuring a mash-up of performance styles including dance, rap, spoken word and more; this original play will remix and adapt 10 years of memorable acts from Professor Kashi Johnson's innovative Hip Hop theatre course Act Like You Know. Focusing on social justice issues that celebrate identity and inspire creative self-expression, this show will make you to reconsider what you thought you knew about Hip Hop.