Imagine that in the wake of a post-apocalyptic event, a group of survivors gathers together and recalls the classic “Cape Feare” episode from television’s “The Simpsons.” From their recollections, this group evolves the tale into the foundation of a new theatrical and musical artform – complete with commercials. Playwright Anne Washburn has taken this concept to hilarious heights in her wickedly funny “Mr. Burns, A Post-Electric Play,” billed as a dark comedy with music.
Departing from where the headlines and media coverage left off, Greg Pierotti’s B-More asks residents of Baltimore to tell their stories. A multitude of perspectives from youth, elders, activists, educators, police officers, and the friends and neighbors of Freddie Gray all examine, defend, or defy the racist structures that caused yet another death of a black American citizen in an incident of police violence in their community.
In the unique voice of choreographer Raissa Simpson (“Pushing The Standard” – San Francisco Chronicle), Dancing in Sepia becomes an eloquent examination of racial representations on stage. Through probing permutations of past imagery, resistance, inter-culturalism and Afrofuturism, Simpson’s rolling set design adds to a stunning sensory landscape for the dancers of UC Davis.
Shakespeare’s “Romeo and Juliet” is performed by the undergraduate acting company of Professor Peter Lichtenfels’ DRA 122B class on March 3-6 in Wright Hall’s Arena Stage. This is a new take on the so-called ‘world’s greatest love story,’ calling forward the subtext of disillusioned youth in conflict with hierarchy and authority. This performance is completely supported by the work achieved in the class and opens a window into the world of performance education at an advanced level.
Thu-Sat, Mar. 3-5, performances begin at 8pm, Sun, Mar. 6 is a 2pm matinee.
A dynamic contemplation of human existence in time provides the context for a remarkable evening of movement when the UC Davis Department of Theatre and Dance presents Time Is Passing By, created by the distinguished choreographer John Jasperse.
