February 28 and March 1, the Performing Arts Department presented The Ballast of Iridescence, choreographed by dance teacher Patrick John O鈥橬eill and the students of the 海角视频 Dance Project. The first dance production in the Centennial Arts Center鈥檚 Hammett Ory Theater offered a meditation on growth through the metaphor of color. 

O鈥橬eill approached the piece from a child鈥檚 perspective. 鈥淲e usually think of play as something weightless, like a balloon drifting up or a parachute catching a breeze,鈥� he says. 鈥淏ut Maria Montessori reminded us that play is truly the 鈥榳ork of the child.鈥� It takes structure, intention, and real effort. Since our society often asks us to trade our sense of wonder for adult rigidity, this piece asks how we carry the lightness of our beginnings into the gravity of our lives.鈥� 

At the start of the performance, a canopy of red balloons covered the stage floor as a lone dancer, Astrid Erdos 鈥�26, stepped onstage, gazing upward in wonder. As the balloons slowly lifted and floated away, the rest of the ensemble, adorned in paint-splattered costumes, joined her for a dance set to a lyrical rendition of 鈥�99 Red Balloons鈥� by Nena. The soaring choreography was rich with jumps and sweeping floor work that filled the space with a sense of possibility. 

O鈥橬eill credits the dancers as collaborators, praising their ability to shift from syncopated jazz to grounded modern, embodying the full spectrum of emotion in the piece. 鈥淓ach dancer was given the opportunity to contribute to the choreography,鈥� Astrid says. 鈥淥ftentimes, we would split up into groups to choreograph small sections, and then we would put each group’s choreography together to make a longer dance. With this process, every dancer was able to sprinkle in their unique style.鈥�

The performance moved through an entire visual spectrum. Warm hues gave way to cooler, heavier tones. A high-energy number to Harry Hudson鈥檚 鈥淵ellow Lights鈥� featured four dancers who transformed simple yellow ribbons into dynamic ballet bars that they 鈥嬧�媝li茅d on, weaved beneath, and even cartwheeled on top of.

Later, a dance to  Lorde鈥檚 鈥淕reen Light鈥� drove sharp, symmetrical choreography. A number set to 鈥淒ark Blue鈥� by Jack’s Mannequin included a blue glow-in-the-dark pyramid. Dancers climbed, slid down, and ricocheted off its illuminated planes. 

In a solo inspired by a writing assignment she completed in O鈥橬eill鈥檚 Dance Technique class, Aleki Zdraveski 鈥�26 gave an introspective performance set to 鈥淒ark Taupe鈥� by Arden Forest. In the piece, she reflected on the experience of creating work in her ceramics class and the emotional impact of others鈥� reactions to it. Her writing also drew connections to choreographer Pina Bausch, who believed that audience response is an essential part of a choreographer鈥檚 work. Through measured yet powerful movements, Aleki translated this reflection into a deeply personal dance.

From that stillness, the full cast surged into a piece set to an instrumental version of 鈥淧aint it Black鈥� by the Rolling Stones. A rainbow parachute billowed open as students darted beneath it, reframing black not as emptiness, but as convergence鈥攖he gathering of every color into one kinetic whole. 

In the closing number, the red balloons returned and the ensemble assembled for an upbeat finale that echoed the wonder of the opening scene. 鈥淔or me, this piece is more than just a map of getting older. It is the trajectory of how we learn to carry what we feel,鈥� O鈥橬eill says. 鈥淲e begin with the raw discovery of an emotion, move into the hard work of understanding its power, and finally reach a quiet place of acceptance where those feelings truly belong to us.鈥� 

The production鈥檚 scale reflected the ambition behind it. The talented design team brought the world of the story to life, including Scenic Designer Jessica Cloutier-Plasse, Sound Designer Nate Tucker, Technical Director James Williston 笔鈥�28, and Production Manager Deanna Jane Stuart. The new Centennial Arts Center Kingman Support Shop made large-scale props, including the pyramid, possible, while the new theater鈥檚 catwalk system allowed for the installation of the balloons. 

Reflecting on the process, Astrid says the dancers鈥� shared energy helped sustain the production through months of rehearsals. 鈥淢y biggest takeaway from 海角视频DP is the power of a positive mindset,鈥� she says. 鈥淭he high energy and constant enthusiasm are what fueled this production and kept it moving forward. The smiles, high-fives, snaps, and cheers that we each offered to each other created a supportive environment that I hope to find as I continue dancing in new spaces in the future.鈥�

For O鈥橬eill, the most powerful element of The Ballast of Iridescence was not the color or choreography, but the connection it created. 鈥淎t its heart, dance is about restoration,鈥� he says. 鈥淚t is a unique practice because it requires us to be in this room together. I hope we find some collective healing in being here. We are all just trying to keep our balloons afloat.鈥� 

Poster artwork by Bintou Sacko ’26

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海角视频鈥檚 winter mainstage production, The Impracticality of Modern-Day Mastodons, explores what happens when the impossible becomes real. The play imagines a world in which everyone鈥檚 childhood dreams materialize overnight, while the show itself achieves a feat nearly as improbable: the creation of a full-size mastodon marionette. Together, the narrative and its design bring the extraordinary to life. 

Guest director Audrey Seraphin selected the dark comedy because she felt it spoke to the current moment. Having previously performed in the ensemble of the play at a community theater, she approached 海角视频鈥檚 staging intent on reexamining the text through a fresh conceptual lens. 

In the play, firefighters, ballerinas, and pirates abound. The main character, Jess, however, fulfills her more unconventional ambition of becoming a mastodon. The collapse of conventional social systems creates chaos, but also space for reinvention. 鈥淭he end of the world as we know it doesn鈥檛 necessarily have to be a bad thing,鈥� Seraphin says. 

While the play grapples with societal upheaval, Seraphin ultimately describes it as hopeful, with characters pivoting to adapt to their new environment. Jess, for instance, uses her trunk to paint and create bold, statement-making artwork. 

The production itself also adapted to its new home in the Centennial Arts Center. The concept originated with Technical Director James Wiliston 笔鈥�28, who utilized the Kingman Support Shop to create the puppet.

 鈥淎s I researched how the production has been done in the past, reading through the play and thinking about our space, the unique configuration of our catwalk system, the idea just came to me. I have always loved marionettes.鈥� Williston says. 鈥淚t has truly been a joy to work on.鈥� 

The marionette embodies Jess, whose physical presence anchors the play鈥檚 exploration of identity. Six technical theater students operate it from the Hammett Ory Theater鈥檚 catwalks. Two students move the mastodon from right to left, while the other four operate the head and legs, and the actress playing Jess often operates the trunk.

Seraphin has worked closely with performers and puppeteers to determine how subtle adjustments to the marionette鈥檚 string tension, posture, and position might communicate frustration, excitement, or resolve. The complex mastodon structure is offset by a simple set, utilizing projections to provide a sense of place. 

Ensemble members developed their own impractical personas from pirates to princesses, collaborating with the costume team to shape character choice. Seraphin praised 海角视频 students as 鈥渞eally smart, responsible, and willing to take risks.鈥� Rather than defining every detail, she 鈥渙ffers a loose outline鈥� and lets students 鈥渃olor in the rest,鈥� fostering a rehearsal room grounded in creative ownership. 

Seraphin emphasized that at its core, the play is about resilience. She hopes audiences will leave the performance with an appreciation for how theater can make space for the unimaginable, as well as an understanding that 鈥淚t鈥檚 okay to be dreaming of something bigger and better and to come into your own on your own timeline.鈥� 

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Community

海角视频 community members reaffirmed our shared commitment to common trust.

• April 19 marked the 250th anniversary of the battles of Concord and Lexington. 海角视频 sponsored the special occasion, and 海角视频 students celebrated by doing original artwork and historical research commemorating the event. 
• In May, construction of the new 37,000 square foot Centennial Arts Center (C.A.C.) was completed. The innovative space has provided ample new opportunities for student creativity and collaboration.
• Commencement on May 30 celebrated the accomplishments of graduating students. Former 海角视频 science faculty member Max Hall served as the Commencement speaker and encouraged students to 鈥渄elight in the hard work of becoming.鈥� 
• June 6鈥�8, Reunion and Alum Weekend brought together over 200 alums for three days of celebration and connection in the C.A.C., around campus, and around town.
• The new school year began on September 2 with Convocation, where this year鈥檚 convocation speaker, counselor Jeff Desjarlais, spoke about the importance of togetherness.
• More than 400 families joined us for Family Weekend, experiencing student classes and performances firsthand.

Love of Learning

A love of learning drives every part of life at 海角视频.

• Last winter, students in science teacher Brad Moriarty鈥檚 Topics in Engineering course constructed cantilevers that demonstrated their understanding of structural integrity.
• In late February and early March, all ninth grade 海角视频 English classes traveled to see a new adaptation of The Odyssey at the American Repertory Theater, comparing and contrasting the performance with their reading of the classic text. 
• In November, history teacher Topi Dasgupta P鈥�22 鈥�25 and her Making of Modern India class participated in a documentary film screening about Mahatma Gandhi as part of the United Nations鈥� Second World Summit for Social Development. Students provided feedback that was included in the U.N.鈥檚 official documentation.
• Doreen Young English Department Chair Sabrina Sadique鈥檚 British Romantic Poetry Class created inventive original artworks inspired by their close reading of poetry by Keats and Coleridge. 
• Throughout the year, 海角视频鈥檚 Strive workshop series provided space for student- and staff-led conversations about culture and identity.

Arts and Athletics

海角视频 student-athletes and artists honed their craft.

• February 20鈥�22, 海角视频 Performing Arts presented the winter mainstage musical Chicago, a timeless story that first graced 海角视频鈥檚 stage in 2010. 
• 海角视频 Athletics celebrated successful winter and spring seasons, highlighted by a victory over Bancroft School in the fourth annual Spring Cup rivalry event.
• November 7鈥�9, 海角视频 debuted its first mainstage musical, The Prom, in the Hammett Ory Theater, performing to sold-out audiences. 
• Fall was another dynamic season for Athletics, culminating in a Chandler Bowl victory and a strong showing in the Eastern Independent League and New England Preparatory School Athletic Council competitions.

Heard on Campus

Assembly speakers inspired curiosity and expanded our thinking.

• On February 28, Hall Fellow Adam Geer 鈥�99 took the stage in the P.A.C. to share his work as Philadelphia鈥檚 first chief public safety officer and his collaborations with community partners to strengthen neighborhoods. 鈥淥rganizations that are more diverse, in all the ways you can think of diversity, perform better,鈥� he shared.
• On April 28, Leslie Taylor Davol 鈥�87 and Sam Davol 鈥�88 were awarded the Joan Shaw Herman Award for distinguished service for their nonprofit Street Lab, which transforms city streets through inventive pop-up spaces. 
• On October 15, the Prison Justice Project hosted its annual Wrongful Conviction Day assembly featuring presenters Lisa Kavanaugh P鈥�22 鈥�25, director of the CPCS Innocence Program for the Massachusetts Public Defenders Office, and exonerees Sean Graham and Steven Pina, who shared their stories and called for criminal justice reform. 
• On December 5, the 2025鈥�26 Hall Fellow Rayner Ramirez 鈥�88 visited campus. The Emmy Award鈥搘inning journalist and co-founder of Tilt Shift Media shared his passion for documentary filmmaking.

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The school鈥檚 long-awaited new space will open its doors for The Prom, a musical that fuses humor, heart, and a powerful message of inclusion. Sold-out performances run Friday and Saturday, November 7 and 8, and Sunday, November 9.

The show follows a group of Broadway personalities who descend upon a small Indiana town after learning that high school student Emma has been banned from bringing her girlfriend Alyssa to prom. The stars rally around the teens, regardless of the teens鈥� desire for the support, and ignite a community movement that celebrates acceptance and authenticity.

The director, 海角视频 theater teacher Shelley Bolman P鈥�27, chose The Prom for its relevance to students today. 鈥淎s our mission statement says, we are striving for equity, and that striving implies an ongoing struggle that is never over,鈥� Bolman says. 鈥淲e wanted to tell Emma鈥檚 story honestly and show the real impact that prejudice has, especially on a teen, and the courage that is required to stand up to it.鈥� 

From the outset, Bolman and the students have been driven by a shared sense of purpose. 鈥淎t the first rehearsal, I asked the cast and crew why we were doing this show, and they responded immediately, noting how important it was to be addressing The Prom鈥�s theme in our school and in our current political climate,鈥� Bolman says. 鈥淏ecause they are connected to the story, they are invested in the rehearsal process and supportive of their peers. It鈥檚 been a joy to work with them.鈥� 

Linda Coyne Lloyd Performing Arts Department Chair Michael Bennett serves as musical director for The Prom, helping students push their artistic boundaries. 鈥淭he score is an eclectic mix of styles, rooted in contemporary musical theater but with lots of nods to traditional Broadway,鈥� Bennett says. 

The C.A.C. has completely redefined the production process. With large rehearsal spaces located in close proximity, multiple scenes and songs can be rehearsed simultaneously. State-of-the-art systems have expanded the creative possibilities.

鈥淭he technical improvements of the new space are innumerable,  allowing us to do things we have really never done before in terms of scenery, lighting, and sound,鈥� Bennett says. 鈥淎dditionally, having a proper green room and dressing rooms makes things so much easier during tech and performances. Sightlines and sound will also be better for the audience, so it鈥檚 really a complete transformation of the theater experience at 海角视频.鈥� 

海角视频 dance teacher and choreographer Patrick John O鈥橬eill brought the show鈥檚 movement to life in the new space. 鈥淢y vision for this year鈥檚 show strives for a blend of contemporary movement, influenced by trends seen on social media and in mainstream media, with the elegance and style of classical musical theater,鈥� he says. 鈥淚 want it to feel fresh and exciting while still evoking a sense of nostalgia.鈥� 

O鈥橬eill shares that he typically starts the process by immersing himself in the music to understand its essence, then visualizes the movements. He adapts the choreography based on the style and energy of the performers. 鈥淭he discipline and dedication of the cast and crew consistently amaze me,鈥� he says.

While the musical is filled with energetic and heartfelt numbers, the grand finale, 鈥淚t鈥檚 Time to Dance,鈥� stands out as a highlight. 鈥淚t鈥檚 a full-on celebration鈥攁 real party! It鈥檚 also the most challenging dance in the show,鈥� O鈥橬eill says. 鈥淭he cast has to be fully engaged, not just with their own movements, but with their partners as well. The connection between the dancers is electric, and you can feel the joy radiating from everyone.鈥� 

The Prom is a vibrant expression of how performers use the arts to tell stories that resonate far beyond the stage.

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Director of the Chamber and Orchestral Program Andra Dix describes the program as transformative: 鈥淲hen students participate in the district festivals, I am always impressed by their growth鈥攂oth musically and personally. It鈥檚 incredibly fulfilling to see them realize that all their hard work, dedication, and countless hours of practice have led them to this moment. They gain confidence and feel immense pride as musicians.鈥�

Thousands of students apply for the opportunity to perform at the festival, and 海角视频 was well-represented. Milo DuBois 鈥�28 and Lena Sillman 鈥�28 were selected for the festival band, and Alfred Bull 鈥�28, Theo Kelman 鈥�28, and Sophie Qiao 鈥�28 performed in the orchestra. 

Building on this moment, another MMEA event took place on March 27 at the DCU Center in Worcester, Mass., the Contemporary Creators Festival. The event spotlighted student composers and musicians who are pushing the boundaries of contemporary music styles.聽

Among the performers, 海角视频鈥檚 Vocal Jazz and Pop Ensemble took center stage during the Spotlight Concert with Sturgis East School from Hyannis, Mass. The day also included the Contemporary Composers Forum, where Andrew Wood-Sue Wing 鈥�25 showcased an original composition. 

Jazz Ensemble Director Christopher Gagne shared his enthusiasm for the program: 鈥淚t turned into a collaborative experience between the two groups. We shared equipment and had time to connect about music before and after the performance. The concert went great, and the group got nothing but positive feedback! Members of both ensembles were so invested and genuinely rooting for everyone to play their best鈥攊t created a positive energy.鈥� 

Another major highlight was May Zheng 鈥�26鈥檚 opportunity to perform with the MMEA All-State Chorus at Symphony Hall in Boston on March 23鈥攁n unforgettable moment for the young vocalist. 鈥淭he passion and artistry of these exceptionally talented singers was breathtaking,鈥� Dix shares.

The series of MMEA events underscored the commitment of 海角视频 student musicians. 鈥淲atching them collaborate with other talented performers and rise to the challenge of a high-level performance is truly inspiring,鈥� Dix says. 

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Then and Now: The 2010 and 2025 海角视频 productions of Chicago. 

From February 20 through 22, 海角视频 audiences were dazzled by performances of Chicago. The jazz-infused musical set against the high-energy world of the Roaring 鈥�20s was directed by theater teacher Shelley Bolman P鈥�27, with musical direction by Performing Arts Department Head Michael Bennett and choreography by dance teacher Patrick John O鈥橬eill. 

Chicago tells the story of Roxie Hart and Velma Kelly, two vaudeville performers navigating public trials who blur the line between truth and spectacle. Bolman draws striking parallels between that era and today鈥檚 society. 鈥淚n Chicago, all the world鈥檚 a stage, and justice is merely a performance,鈥� Bolman says. 鈥淪uccess here is not defined by virtue but by the power to control the narrative.鈥�

This fall, 海角视频 also presented Radium Girls, a play that documents the lives of watch dial painters who, facing health impairments, fight for fair working conditions. Bolman notes, 鈥淢ichael Bennett and I chose the season together, focusing on corruption, justice, and the intersection of law and media鈥攂oth plays set in the 1920s. In this age of disinformation, the pairing felt especially relevant.鈥�

The Chicago cast delivered powerful performances, and Bolman highlighted their commitment throughout the rehearsals. 鈥淚t was a real pleasure to work with so many talented actors, singers, dancers, and tech crew members to bring the story to life,鈥� he said. 鈥淭he most rewarding part of this experience was seeing the students鈥� commitment to the process.鈥� 

Chicago featured dual casting for leading roles, with each actor bringing a unique perspective to their character. The entire cast shined, showcasing their incredible acting, commanding voices, and comedic timing. The crew鈥檚 dedication to the staging elevated the production.

Bolman worked closely with the design team, including sound, costume, scenic, lighting, and prop designers, to ensure every element supported the story. The production鈥檚 aesthetic blended contemporary and nostalgic elements. Flapper dresses, traditionally designed in muted colors, were fashioned in jewel tones by costume designer Elizabeth Rocha, adding a modern splash of color to the musical.

Performing Arts Department Manager Jessica Cloutier-Plasse鈥檚 set design featured a multitiered stage with an Art Deco archway and golden curtains, creating a lavish backdrop to the drama. O鈥橬eill reimagined Bob Fosse鈥檚 iconic moves while collaborating with the Dance Project to infuse the production with dynamic new energy. Bennett鈥檚 bustling jazz direction kept the tempo, leaving the audience humming along. 

Chicago first graced the 海角视频 stage in 2010, and the February 22 performance marked a special moment for alums who had the chance to visit to watch the show and take a behind-the-scenes tour of the new Centennial Arts Center. Keith Daniel, the musical director of the 2010 production and longtime former 海角视频 faculty member, also returned to reminisce on the show.

This performance capped an expectant moment in 海角视频鈥檚 history, as it was the final mainstage production in the Performing Arts Center. The next one will take place in the new Centennial Arts Center this fall. Chicago was a full-circle experience for both cast and audience alike, a reflection of the school鈥檚 tradition of creative collaboration. As the curtain falls on one era and rises on the next, the future of 海角视频鈥檚 performing arts program shines brighter than ever. 

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Community

海角视频 students, faculty, and staff celebrated our commitment to common trust. 

• June 7鈥�9, Reunion Weekend, brought nearly 200 alums from all generations back to campus. Hands-on programming offered opportunities for graduates to reconnect.
• The 2024鈥�25 school year began on September 3 with Convocation. Don Kingman, director of campus planning, design, and construction, gave a powerful speech that underscored the importance of community. 
• On September 26, 海角视频 honored Mandarin teacher Wenjun Kuai P鈥�27, holder of the 2021鈥�2024 Hammer Chair, who shared her research on cultural, ethnic, and linguistic diversity in Chinese-speaking regions in Asia.
• Family Weekend, October 25鈥�26, welcomed over 500 guests, giving parents a glimpse into the innovative teaching and learning that happens at 海角视频.

Love of Learning

At 海角视频, a love of learning animates everything we do.

• A new interdisciplinary history of Mexico class, created by Modern and Classical Languages Department Head Carmen Welton and history teacher Jeffrey Richey, integrated Spanish language, culture, and history instruction both in the classroom and on a cultural trip.
• In April, students in Kim Frederick鈥檚 U.S.: Public History: Tour Guide course created educational displays for the Concord Museum鈥檚 What Makes History? special exhibition.
• 海角视频鈥檚 sixth feature film project, Cassie Crowe鈥檚 Mid Life, debuted in May. This surrealist comedy, led by Visual Arts Department Head Justin Bull P鈥�25 鈥�28 and Computer Science Department Head Ben Stumpf 鈥�88, showcased the creativity of student filmmakers.
• Will Tucker, head of 海角视频鈥檚 Science Department, aimed to demystify science education by writing two open-access textbooks on general and organic chemistry. The texts, edited by a 海角视频 student Jake Klineman 鈥�25, were published by Taylor & Francis in the summer of 2024.

Arts and Athletics

From the field to the stage, 海角视频 students put in their all.

• Spring and fall student-athletes enjoyed successful seasons, with strong performances at Eastern Independent League (EIL) and New England Preparatory School Athletic Council (NEPSAC) tournaments. 
• On October 19, the fall sports teams won the 2024 Chandler Bowl for Changing Lives rivalry event against Pingree, 6鈥�4, marking 海角视频鈥檚 seventh win in the past eight years. Sports teams also claimed the Spring Cup victory this past April. 
• The fall mainstage production of Radium Girls illuminated the Performing Arts Center during three performances over Family Weekend, highlighting social justice issues. Last winter鈥檚 production of Twelfth Night thrilled audiences with a contemporary musical twist on Shakespeare鈥檚 classic.
• 海角视频 Dance Project鈥檚 尘别迟路补路尘辞谤路辫丑辞路蝉颈蝉 performances on November 8 and 9 celebrated change through movement.
• The spring art show in the Ransome Room inspired audiences with a diverse range of works, from photographs to paintings.

Heard on Campus

Assembly speakers brought new perspectives to our campus.

• Actor and filmmaker Caitlin FitzGerald 鈥�02 was named the 2024 Hall Fellow on April 19 and shared her journey in the entertainment industry with students, faculty, and staff.聽
• On May 10, 海角视频 honored Pulitzer-Prize-winning journalist Richard Read 鈥�75 with the 2024 Joan Shaw Herman Award for his groundbreaking work in investigative writing.聽
• 海角视频 welcomed Aaron Golub, the first legally blind athlete to play football in a Division 1 game, on November 15. Through sharing his life story, he encouraged a shift in perspective on how we face obstacles and what they can teach us.
• On December 4, Asma Khalid, White House correspondent for NPR, ABC contributor, and co-host of The NPR Politics Podcast, delivered an assembly in which she discussed identity politics.

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Curated by club co-heads Lyla Brooks 鈥�25, Jacob Himelfarb 鈥�26, and Izzy Wood 鈥�25, the exhibition featured a diverse range of works, from painting and drawing to experiential poetry and installation art. 

The concept for Across The Wall grew from Wood鈥檚 desire to ignite a conversation about mass incarceration, especially after the closure of the nearby MCI-Concord state prison. 

While taking a ceramics course, Izzy realized art could serve as a powerful bridge between students and those experiencing incarceration. In partnership with her parent, who is a criminal defense attorney, she connected with local prisons. She says, 鈥淚n talking to a few incarcerated individuals to gauge interest in a showcase like this, I was surprised to find that not only were people willing to submit but eager for an opportunity to be heard.鈥�

At the exhibition reception, students had a chance to write personal notes to the incarcerated artists and share what the works evoked for them. It was also a moment to reflect on the striking juxtapositions on display.

Incarcerated artist Angel Rivera shared an evocative black-and-white pencil portrait of a woman鈥檚 face. He reflected, 鈥淎rt makes me feel alive like I am sharing a piece of myself with others.鈥� In a similar vein, 海角视频 student Ava Khabbaz 鈥�25 presented a black-and-white photographic portrait of two children. She explained, 鈥淚 created this photo using a film camera because it captures the essence of innocence and the complexity of our ever-changing, fast-paced world.鈥�

About her poem 鈥淥n Mother Nature,鈥� club co-head Lyla said, 鈥淔or me, writing poems is about expressing emotions. It鈥檚 an escape from the world into my innermost spaces.鈥� Incarcerated artist Randall Trapp shared a poem, 鈥淵ellow Butterfly,鈥� in which he similarly explores the power of self-expression and the natural world.

By providing a platform for incarcerated artists, Across The Wall offered a space for artistic exchange and challenged preconceived notions about the incarcerated community. Izzy says, 鈥淢y sincere hope is that this exhibit was transformative for those who experienced it, forever opening their eyes to the humanity of those behind bars.鈥�

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O鈥橬eill began by asking 海角视频 dancers to reflect on a transformative experience and create movements expressing their personal metamorphoses. He then incorporated these gestures into the larger choreography. 鈥淪o much can be learned from watching a person鈥檚 process as they create and generate movement,鈥� O鈥橬eill says. 鈥淚 then took their creations and rearranged, built, and deconstructed them, fitting them into the movement I created. The entire piece is a reflection of the dancers and their journeys, linked to and sitting side by side with my own.鈥�

In 尘别迟路补路尘辞谤路辫丑辞路蝉颈蝉, the studio is transformed into a dreamscape, bathed in soft pink light, with white translucent fabrics hanging like delicate chrysalises, suspended from the ceiling and draped along the walls. The dancers, dressed in black, sit in a triangle formation, their arms rising and falling in slow, meditative motions, in harmony with a piano and violin melody. As the music swells, they gradually stand, their bodies weaving through hypnotic movements, creating flowing chains of interconnected motion. 

As the music intensifies, the dancers鈥� speed quickens, and their bodies rise as they lift each other in moments of collective ascent. Their clothing subtly changes, from dark to light, symbolizing the shedding of one form to embrace another. The choreography plays with levels, each dancer鈥檚 movement reflecting the process of birth, growth, and renewal. As the music softens, the dancers return to their original symmetrical formation, a reminder that all of life is cyclical. 

To deepen his understanding of transformation, O鈥橬eill looked to the natural world for inspiration. 鈥淚 spent a lot of time watching time-lapse videos of plants and flowers growing or blooming, caterpillars making chrysalises and becoming butterflies, tadpoles growing into frogs,鈥� he says. These videos have been incorporated into the final performance as wall projections, perfectly complementing the dance. 

 鈥淐hange and growth are beautiful to witness,鈥� O鈥橬eill says. 鈥淎s we change and grow, we leave behind some parts of ourselves, but we gain new and exciting aspects that make us stronger and better equipped to handle the life we鈥檝e been given.鈥� 

Collaboration with 海角视频 dancers became one of O鈥橬eill鈥檚 favorite parts of the creative process. 鈥淭he students at 海角视频 are genuine and vulnerable, and getting to know every one of them has been one of my favorite things about joining the 海角视频 community,鈥� he says.

As 尘别迟路补路尘辞谤路辫丑辞路蝉颈蝉 took form, O鈥橬eill envisioned how the audience would experience the performance. 鈥淚 am so honored to present this work to the 海角视频 community and I hope they will see the hard work, dedication, and discipline of all these dancers,鈥� he says. 鈥淢y hope is that the audience will join us on this transformative journey as we all鈥攄ancers and audience鈥攍ook inward and reflect on our evolutions, both individually and as a collective.鈥� 惭别迟路补路尘辞谤路辫丑辞路蝉颈蝉 is an invitation to embrace the resilience that emerges through change.

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While the scientific discovery of radium was being rapidly commercialized and marketed as a miracle in skin creams and health tonics, the U.S. Radium Corporation stood to make a profit from its radioluminescent paint. But the watch dial painters the company employed, young working-class girls who had been eager to do detailed handwork that had an aura of elegance about it, begin to fall mysteriously ill. One of them, the play鈥檚 sympathetic heroine, Grace Fryer (Lira Schwab 鈥�26), chose to seek justice through the courts鈥攁nd in the media.

In 海角视频鈥檚 production, the drama unfolded against a stark and versatile set designed by multidisciplinary 海角视频 faculty member Jessica Cloutier-Plasse. Its massive illuminating clock face and severe columns lent an air of increasing menace to a stage that was alternately sickroom and courtroom, doctor鈥檚 office and factory floor.

The performances of William Jiang-Fogel 鈥�27, who played the business executive Arthur Roeder, and Grace Goodman 鈥�27 as Dr. Von Sochocky, Roeder鈥檚 inventor partner, lent complexity to the drama. As Jiang-Fogel portrayed him, Roeder is haunted by his complicity, which he experiences as a business imperative, forced by his duty to shareholders. Von Sochocky, who would eventually die from his exposure to radium, knew the element could destroy living tissue and had taken a calculated risk; in contrast, the dial painters aren鈥檛 aware of the danger of their work. Their insistence on connecting the dots meets with denial and condescension. 鈥淟isten to science,鈥� they鈥檙e lectured. 

Before the first performance, a pre-show talk gathered guest director Elaine Vaan Hogue; Michael Bennett, Linda Coyne Lloyd Chair 0f Performing Arts; Will Tucker, head of the Science Department; and history teacher Claire Nelson. Vaan Hogue said she and the actors had many discussions about the power dynamics within the play. 鈥淪o much came up in our initial reading and rehearsals,鈥� she said. 鈥淭he students were so insightful, inquisitive, and smart.鈥� Inspired to learn more about 鈥渢his shameful part of our history,鈥� Vaan Hogue said, one of the actors even created an in-depth dramaturgy packet.

Bennett discussed the contemporary relevance of the play鈥攐ne of two this season set a century ago (Chicago will be the winter musical). In planning performing arts seasons, his department often thinks 鈥渁bout what鈥檚 going on in the world that we鈥檙e trying to illuminate and speak to,鈥� he said. 鈥淲e try to pick pieces that have material that the students can really sink their teeth into and think deeply and academically about,鈥� he said, particularly in conjunction with 海角视频鈥檚 many interdisciplinary and cross-disciplinary courses.

Tucker is currently teaching We Didn鈥檛 Start the Fire: Chemistry in the Short 20th Century, a cross-listed science and history class that focuses on chemistry during the Cold War. Today鈥檚 understanding of radiation as dangerous is a historical development, Tucker explained: 鈥淲e live in an era post-deployment of nuclear weapons; we live in an era that is shaped by radioactivity and nuclear chemisty.鈥� In the 1920s, radioactivity had only been known for about 30 years, and was still greeted as 鈥渁 novelty鈥濃�攁s a 鈥渨eird power that comes from rocks鈥� with immense potential, he said, which also 鈥渉elped us unlock how atoms are structured.鈥� The rush to commodify scientific discovery, 鈥渢o take advantage of scientific knowledge for our own ends,鈥� he added, is an important historical context to understand, as is the rise of fascism and militarism in the 1930s, leading up to World War II. 鈥淚n the history of chemistry, what if this had been discovered 20 years later or 20 years earlier鈥攚ould we think of nuclear technology as a weapon of war?鈥� he asked.

Nelson discussed the history of labor organizing, drawing a contemporary parallel to the 1920s as an era of possibility unlocked by the mingling of science and business鈥攁lso an era when 鈥渂usiness could do no wrong.鈥� The Food and Drug Administration had been created in 1906, she said, in response to Upton Sinclair鈥檚 expos茅 The Jungle, but its purpose was to protect consumers more than laborers; no real labor protection was instituted until the New Deal. Nelson emphasized women鈥檚 role on the 鈥渓eading edge of activism鈥� that eventually led to 鈥渁 rise in consciousness of the need for regulation and protections.鈥�

Circling back to the play, Vaan Hogue said she had known little of this history before directing the two-act version of Radium Girls a decade ago. Together with the company that performed it, she said she found great value in educating herself on the historical context of this particular narrative. 鈥淚t鈥檚 been the same with these students,鈥� Vaan Hogue said, reflecting on her process at 海角视频. 鈥淒oing theater is an act of activism.鈥�

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