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A Note from Orlando’s Artistic Director Brian Kulick
For the past few seasons, we have been intrigued at CSC with the issues and challenges of bringing novels to the stage, charting the proper navigation necessary to make the successful passage from one medium to another. This began several years ago with the initiation of our now popular BOOKS ON STAGE reading series that has explored adaptations of essential masterworks such as Proust’s Remebrance of Things Past and Tolstoy’s War and Peace. Now we venture into our first fully mounted production of a novel with Virginia Woolf’s Orlando and we are truly fortunate to have playwright/adaptor Sarah Ruhl (In the Next Room, Dead Man’s Cellphone) as our guide. Her luminous adaptation brings this modernist classic from the page to stage and, in the process, discovers the pure, transcendental music of Woolf’s sentences that become, in many ways, the true protagonist of this extraordinary theatrical experience. One needs to turn to such terms as concerto or fugue to begin to describe how Sarah makes Woolf’s world come to life. Sarah is joined by the gifted director Rebecca Taichman and beloved choreographer Annie-B Parson whose work at CSC includes A Simple Heart, Antigone and An Oresteia. In short we are blessed with a dream team to tackle this dream-like novel.